Anna Clawson and Nicole Ward x x
Curated projects



COME ON IN
NAEUN KANG / TALA MADANI / TUDA MUDA / BELLADONNA PALOMA

at Snails, Oslo, 2025

(exhibition spread between our Snails project room and my cleared out studio)

SNAILS_NAEUN_KANG_PAINTING_CLAWSON_AND_WARD_CURATOR_EXHIBITION_NORWAY_EUROPEEntrance into Snails project space

TALA MADANI and NAEUN KANG PAINTING and ANIMATION curated by Anna CLAWSON and Nicole WARDLeft-Right
Naeun Kang, A Study of Emotional Dysregulation, 2025, oil on unstretched linen, 79x47cm
Tala Madani, Shit Mom Animation 1, 2021 Single-channel colour animation 7'54"

TALA_MADANI_SHIT_MOM_ANIMATION_anna_clawson_nicole_ward_exhibitionTala Madani, Shit Mom Animation 1, 2021 Single-channel colour animation 7'54"

at SNAILS gallery_NAEUN_KANG_PAINTING_curated by ANNA_CLAWSON and NICOLE_WARD Naeun Kang, A Study of Emotional Dysregulation, 2025, oil on unstretched linen, 79x47cm

tala_madani_NAEUN_KANG_PAINTING_Anna_CLAWSON_and_NICOLE_WARD_EXHIBITION Naeun Kang,
Note to Self (Questionmark), 2024, graphite on paper, 30x42cm
and
A Study of Emotional Dysregulation, 2025, oil on unstretched linen, 79x47cm

tala_madani_PENCIL_DRAWING_NAEUN_KANG_ANNA_CLAWSON_NICOLE_WARD_exhibtionNaeun Kang, Note to Self (Questionmark), 2024, graphite on paper, 30x42cm

Tala_madani_NAEUN_KANG_BELLADONA_PALOMA_Anna_clawson_nicole_ward_exhibition_norway_osloLeft - Right
Naeun Kang, Note to Self (Questionmark), 2024, graphite on paper, 30x42cm
and
Belladonna Paloma, Cannibal Elphaba, 2024, Tea, Irn-Bru, watercolour, ink on acid free paper 300gsm, 38x29.7cm

Tala_madani_belladonna_palome_painting_anna_clawson_nicole_wardBelladonna Paloma, Cannibal Elphaba, 2024, Tea, Irn-Bru, watercolour, ink on acid free paper 300gsm, 38x29.7cm

Artist_Tala_Madani_Belladonna_paloma_painting_hand_anna_clawson_nicole_ward_exhibitionBelladonna Paloma, Cannibal Elphaba, 2024, Tea, Irn-Bru, watercolour, ink on acid free paper 300gsm, 38x29.7cm

TALA_MADANI_at_SNAILS_PROJECT_SPACE_ANNA_CLAWSON_NICOLE_WARD_OSLO_NORWAY_EXHIBITION Outside my studio (with door detached) with a view leading onwards down to the Snail project room

TALA_MADANI_ARTIST_EXHIBTION_TUDA_MUDA_PAINTING_OSLO_NORWAY_ANNA_CLAWSON_NICOLE_WARD Left-Right
Naeun Kang, Smiling Pussy, 2022, glazed stoneware 6x10x4cm
and
(clock wise) Tuda Muda, Wishful Thinking, Banana Split, Milky Way, Fruit Salad, all oil stick and oil pastel on acid free paper, 340gsm

TALA_MADANI_GROUP_EXHIBTION_NAEUN_KANG_SCULPTURE_WINDOW_ANNA_CLAWSON_NICOLE_WARD_EXHIBITION Naeun Kang, Smiling Pussy, 2022, glazed stoneware 6x10x4cm

TALA_MADANI_GROUP_EXHIBITION_TUDA_MUDA_PAINTING_AT_SNAILS_EXHIBITION_ANNA_CLAWSON_NICOLE_WARD(clock wise from bottom) Tuda Muda, Wishful Thinking, Banana Split, Milky Way, Fruit Salad, all oil stick and oil pastel on acid free paper, 340gsm

TALA_MADANI_NAEUN_KANG_TUDA_MUDA_PAINTING_PORTAIT_BODY_ANNA_CLAWSON_NICOLE_WARDTuda Muda, Wishful Thinking, 2024, Oil stick and oil pastel on acid free paper, 340 gsm, 24x32cm (Horizontal)

PAINTING_TUDA_MUDA_CLAWSON_AND_WARD_SNAILS_PROJECT_SPACE_OSLOTuda Muda, Milky Way, 2024, Oil stick and oil pastel on acid free paper, 340 gsm 24x32cm (Horizontal)

TUDA_MUDA_PAINTING_PAPER_CLAWSON_NICOLE_WARDTuda Muda, Banana Split, 2024, Oil stick and oil pastel on acid free paper, 340 gsm, 32x24cm (Vertical)

TUDA_MUDA_PAINTING_PAPER_SNAILS_OSLO_NICOLE_WARD_CLAWSONTuda Muda, Fruit Salad, Oil stick and oil pastel on acid free paper, 340 gsm, 32x24cm (Vertical)

TALA_MADANI_GROUP_INSTALLATION_BELLADONNA_PALOMA_DRAWING_SOUND_SCULPTURE_EXHIBITION_ANNA_CLAWSON_NICOLE_WARDInstallation view from inside my studio
all three works here by Belladonna Paloma

GROUP_EXHIBITION_TALA_MADANI_NAEUN_KANG_TUDA_MUDA_BELLADONNA_PALOMA_DRAWING_PAINTING_ANNA_CLAWSON_NICOLE_WARDBelladonna Paloma, Headstone Sewer Hole, 2024, tea, nettle, mint, flour, water, onion skins, turmeric, cider vinegar, salt, watercolour on acid free paper, 37.5x56.5cm

GROUP_EXHIBITION_BELLADONNA_PALOMA_NAEUN_KANG_CLAWSON_WARDLeft - Right
Flower Milk of the Boghead, 2023, 10’25” looped audio (throat, tongue, teeth, lips, water, milk, tea, banana) on bluetooth speaker, lip gloss, glass jar 30x18cm
and
Cunt God, 2023, Pencil, ink on acid free paper, 300gsm, 26.2x28.3 cm BELLADONNA_PALOMA_DRAWINGBelladonna Paloma Cunt God, 2023, Pencil, ink on acid free paper, 300gsm, 26.2x28.3cm

SOUND_WORK_BELLADONNA_PALOMA_CLAWSON_WARDBelladonna Paloma, Flower Milk of the Boghead, 2023, 10’25” looped audio (throat, tongue, teeth, lips, water, milk, tea, banana) on bluetooth speaker, lip gloss, glass jar 30x18cm

TALA_MADANI_TUDA_MUDA_NAEUN_KANG_BELLADONNA_PALOMA_SNAILS_EXHIBITION_TEXT_GUIDE_GROUP





An Evening in the Dark with Diego Marcon
 (in conversation with Mike Sperlinger)


at Black Box, KhiO, Oslo, NO, 2021

An informal conversation between Italian artist Diego Marcon and Mike Sperlinger, which included an opportunity for the audience to watch a few of Diego’s short films.

Working mainly across film and video, Diego explores the relationship between reality and its representation, in relationship to various film genres, such as slapstick comedy, horror, the musical, and the cartoon. His interest in the more sombre realms of the human psyche is represented by the recurrent motif of childhood to evoke a primary, vulnerable human condition.

Programme:

Ludwig, 2018
Video, CGI animation, color, sound, loop of 8’14’’

Monelle, 2017
35mm film, CGI animation, color, sound, 16’07’’

The Parent's Room, 2021
35mm film, CGI animation, color, sound, loop of 9’52’’



Biographies:

Diego Marcon (b. 1985, IT) is a visual artist working mostly with film + video. His works have been shown in solo and group exhibitions in spaces such as Museo MADRE, Naples; Fondazione Prada, Milan; Institute of Contemporary Arts Singapore/LASALLE, Singapore; La Triennale di Milano, Milan; MAXXI + MACRO, Rome; Museion, Bozen; Centre international d’art et du paysage, Vassivière; Whitechapel Gallery, London; Fondation d’entreprise Ricard, Paris. His films have been screened in film festivals worldwide, including the International Rotterdam Film Festival, Rotterdam; Viennale, Vienna; Festival du nouveau cinéma, Montréal; Cinéma du Réel, Paris; Courtisane, Ghent; BFI, London; FID Marseille, Marseille + doclisboa, Lisbon. In 2021, his last film "The Parents' Room" premiered at 74th Cannes Film Festival, as part of the official selection of the Directors' Fortnight.

Mike Sperlinger (he/him) is Head of Programme at OCA (Office for Contemporary Art, Norway), responsible for OCA’s public programmes, publications and for overseeing OCAs participation at the Venice Biennale. Prior to joining OCA, Sperlinger was Professor of Writing and Theory at the Oslo Academy of Fine Art (2013-2024). Before moving to Norway, he was co-founder and assistant director of LUX (www.lux.org.uk), a London-based organisation for artists working with the moving image. Working variously as a writer, editor and curator, his interests are centered around the collective aspects of art experience. Open Forum is a student-run initiative from the Academy of Fine Art in Oslo that facilitates lectures, talks and other live events within fluid settings.






Lip-Flap
Laura Phillips / Greg Pope / Vicky Smith

at the Deichman Grünerløkka, Oslo, NO, 2022

A special 16mm screening event showcasing three photochemical artist filmmakers. Laura, Greg, and Vicky each performed a selection of their film works live, highlighting their individual relationships to sound and their methods for incorporating it into their 16mm film work either via listening, collaborating, or dissonance.

Finding a way to synchronise visual and audio tracks was essential to traditional filmmaking because film stock reacts to light, not sound. lip-flap refers to a failure in audio-visual synchronisation. Taking this idea of dissonance and extending this to serendipitous surprises, we speculate spaces of vulnerabilities, disquieting and bodily matter of the films on show. This programme demonstrates works that are made in collaboration with a plethora of sound artists, poets and noise makers (Sam Illingworth, Mark Vernon, Matt Davies, Shirley Pegna and Melanie Clifford).

Programme:
Greg Pope
It Goes Without Saying, 2021
25 min performance with sound + moving image

Laura Phillips
Chapter One: Visualising Nature: Phylum Porifera, 2022
HD film 1min 39 sec and sound - Premier screening!

Phantom Secure, 2022
11min performance with 16mm film + HD projector
His and Hers and the Sun, 2022
4min HD digital with sound

Vicky Smith
Not (a) part (2019) 16mm hand-processed B+W, animation / live action, 6 min. Supported by The Brigstow Institute.
Re:exposure (2020) 16mm hand processed B+W, animation / live action, 10 mins. Part-funded by Arnolfini.

Biographies:

Greg Pope: After dabbling in punk rock bands and absurdist performance, Greg Pope founded film collective ‘Situation Cinema’ (Brighton 1986) and ‘Loophole Cinema’ (London, 1989). Working collaboratively and individually, Pope has made installations, live art and single screen film works since 1996. These works include live cinema performance pieces as well as 35mm film productions, text-based percussion and slide projection performances. He has collaborated with numerous film and sound artists as well as presenting solo and screening retrospectives at festivals and events in Europe, North and South America and Australia.

Laura Phillips: Laura Phillips, b.1986 Bristol, is a Sagittarius, non-smoking artist who lives and works between Bedminster, South Bristol and Southmead, North Bristol. Her work explores obsolescence and collective histories using a mixture of photochemical processes, sounds and digital imagery. Working at the intersection of visual-music, expanded film and performance she is interested in the ideas of the commons, ecology and information infrastructures. Her work has been acquired by the Arts Council England Collection, and previously screened at International Film Festival Rotterdam (2020); Supernormal Festival (2019) Oxfordshire; NAWR at BBC Studios Swansea (2019); and Arnolfini (2019/20), Bristol. She makes films and plays waterphone in the audio-visual project Viridian Ensemble, who perform live improvised music and images. Their recent releases include The Prelude commission for The Quietus and Aerial Festival 2020.

Vicky Smith: Vicky Smith’s work in experimental animation explores the vulnerable and vital body. Her work screens internationally, in galleries and festivals including in 2021: ‘A Picture of Health’ at Arnolfini Gallery, Bristol; ‘Raw Vision’ in Splash, Scratch, Dunk! Films Made by Hand at London Barbican and ‘Bodies and Boundaries’, Cinenova UK. She runs workshops in experimental film practice including at UWE, Arnolfini, BEEF and Lux, and has curated many film screenings, including recently Go, Go, Go! Women in Experimental Animation (2019). Publications include: Hand Drawn and Non-Natural Colour in Films by Barbara Hammer and Sandra Lahire in Animation Studies Online (2021); Experimental and Expanded Animation: Current Perspectives and Practices, co-edited with Nicky Hamlyn (2018) and in Animation Practice, Production and Process issue 7 (2019).







Backyard KHUS

Belladonna Paloma / Silje Iversen Kristiansen / Robert Carter

an afternoon of performances at Kunstnernes Hus, Oslo, NO, 2024

Biographies:

Silje Iversen Kristiansen (born Norway) deals with human experiences and time, from a subjective point of view. She focuses on what’s asking for her attention from day to day, and takes it from there. Her work primarily take shape as drawings, installations, soundworks and performance.

Belladonna Paloma (born UK) is an artist, poet and trans witch living on a remote croft in the Shetland Isles. She paints, tattoos, writes poetry, and makes computer games. Her work is into listening to faeries, how divination disturbs linear time, grief rituals, toilet gods and necromancy. Bella makes art as acts of devotion. This devotion has most recently centred on Shetland’s boglands, and wetlands more generally, continuing her interest in the politics and mysticism of what we choose to call ‘waste’. Some places her work has been published and exhibited by: Glasgow International Festival (June 2024), Glasgow Zine Fair (2024), Almanac Journal of Trans Poetics (upcoming), The Overkill Festival, Netherlands, in collaboration with Uma Breakdown (2023), IMT Gallery, London (2023), Collective, Edinburgh, in collaboration with Rabindranath X Bhose and Oren Shoesmith (2023), Vital Capacities (2023), Sluice Magazine (2023), Museum of Contemporary Art, London (2023), TISSUEPAPER Magazine (2023), Gropius Bau, Berlin, in collaboration with Daniella Valz Gen (2023), Gaada, Shetland (2023), Sticky Fingers Publishing (2023), Art Licks (2022), Two Queens, Leicester (2022), Abingdon Studios Project Space, Blackpool (2022), Cariboo Projects, Bristol (2021), and Supernormal Festival, Oxfordshire (2019). Her book-length poem about Bigfoot, There’s always things falling out the sky, was published by Pink Sands Studio Press, 2021.

Robert Carter (born UK) is an artist and writer from Manchester living in Oslo. He graduated from the Bergen Art Academy in 2020 with Notes on Dad, a short film which depicted the artist with his sister cleaning their dad’s apartment together. In 2022 he self-published the Dental Advice Bureau, a ‘lock down’ journal made up of creative non-fiction from seven artists. Recent solo exhibitions includeHappy Man(Isotop, Bergen) and Baked Painting(home alonE, Clermont-Ferrand).

Photography: Johan Andrén