This period marks a reset in which Stenseth, with many years of experience in audiovisual storytelling, will explore ROM’s physical premises and investigate both the space and its location in a historical and geographical context. The project gives her room to develop new works, while the public gains a unique insight into the artistic process at its very beginning.

This is what Stenseth says about her artistic practice:

In my work as an artist, I focus on different aspects of our culture, history, and present. My interests revolve around feminist perspectives, otherness, contradictions in society, posthumanism, landscape, time, and the politics of memory. I mainly work with video, photography (digital/analog), and text (prose/poetry), and each project explores a theme. I experiment with narrative structures and navigate a wide range from the documentary to the fictional, staged, impressionistic, and poetic.

Background:
Women’s issues and women’s perspectives have for many years been central to my audiovisual works and photographic series, inspired by both living and deceased female figures and their lives and work. This focus goes back to the photo series “House of Difference” (1994), a portrait series of ten women in the Barents region with a focus on storytelling, place, and migration. The video installations “Fuglinne” and “Byfuglar” (2001–03) are about the pedagogue and bird protector Y. Teigen and her relationship to birds. Other works in this line include “Something About Wapke, …” (2006) about visual artist Wapke Feenstra; “The Kiss and Waste Project” (2007–11), a video installation based on letters from various women in eight Northern and Eastern European countries, with a focus on the personal and the political; the film “Omveg” (2012) about work at a now-closed shoe factory in the village of Dale in Sunnfjord; “Svevestøv” (2015) about the ghost of Dagny Juel Przybyzewska; and the project “Av Helene” (2017–2023), based on the Austrian radical feminist and philosopher Helene von Druskowitz. Her most recent project takes as its starting point a wetland area on the outskirts of the farm Steinavågen in Kinn municipality. “T:myra” (2025) is a polyphonic video where images, sounds, and texts merge into one another.

Anne-Lise Stenseth (b. 1959) is a visual artist with a background from Bergen National College of Art and Design, the Academy of Fine Art in Oslo, and the Creative Writing Program at the University of Tromsø. Stenseth has exhibited extensively in Norway and abroad at, among others, Gamle Munch (Oslo), Haugar Art Museum (Tønsberg), Titanikas (Vilnius), Tbilisi History Museum Karvasla (Georgia), Sogn og Fjordane Art Museum (Førde), Tromsø Kunstforening, Stavanger Art Museum, Fotogalleriet (Oslo), Museum Folkwang (Essen), Liverpool Biennale, Stenersen Museum (Oslo), and Depo (Istanbul). Her works are represented in the collections of Sogn og Fjordane Art Museum, Haugar Art Museum, Preus Museum, Sørlandets Art Museum, Stavanger Art Museum, and the National Museum.

https://www.annelisestenseth.com/