The exhibition Sexi Flex by Hedda Hørran marks part one of a trilogy spanning Bærum Kunsthall → Telemark Art Centre → Visual Artists in Oslo (BO).
Across these three chapters, the story of a room occupied by something—or someone—foreign unfolds, inviting the audience into an anarchic, nostalgic, absurd, and sexy universe.
Intro to MTV’s Rich Girls plays
“…This town is our town / (This town) It is so glamorous / Bet you’d live here if you could / And be one of us…”
I always say it’s full of erotic elements. I see it full of obscenity. It’s just—Nature is vile. I see fornication and asphyxiation and choking and fighting for survival and… growing… and just rotting away. Of course there’s a lot of misery. But it is the same misery that is all around us. The trees here are in misery, and the birds are in misery. I don’t think they—they sing. They just screech in pain. It’s an unfinished town. This town. It’s still prehistorical. It’s our town. It’s like a curse weighing on an entire landscape. And whoever goes too deep into this has their share of this curse. So we are cursed with what we are doing here. It’s a land that God, if they exist, has—has created in anger. It’s the only land where—where creation is unfinished yet. Taking a close look at—at what’s around us, there—there is some sort of harmony. It is the harmony of… overwhelming and collective murder. And we, in comparison to the articulate vileness and baseness and obscenity of all this—Uh, we in comparison to that enormous articulation—we only sound and look like badly pronounced and half-finished sentences out of a stupid suburban… novel… a cheap novel. We have to become humble in front of this overwhelming misery and overwhelming fornication… overwhelming growth and overwhelming lack of order. Even the—the stars up here in the—in the sky look like a mess. There is no harmony in the universe. We have to get acquainted with this idea that there is no real harmony as we have conceived it. But when I say this, I say this full of admiration for the town. It is not that I hate it, I love it. I love it very much. But I love it against my better judgment.
(Werner Herzog/Hørran)
Hedda Hørran (b. 1989, NO) holds a BFA in Fine Art from the Trondheim Academy of Fine Art and an MFA from the Oslo National Academy of the Arts. Hørran approaches the exhibition space through worldbuilding. The room becomes a scenography in which an anarchic narrative unfolds through total installation, sculpture, and performance. Her work functions as a memento mori, while simultaneously attempting to transgress and blur the boundaries between the living and the dead.
The installations are constructed from found materials and the manipulation of these. Hørran focuses on creating immersive spatial experiences rich in details and “easter eggs,” aiming to reveal the transient and the perishable. Through her work she questions how we approach the world: how nature, objects, and people are perceived as resources—things to be used until they no longer can be, and seemingly lose their value. Care and humor play central roles, and the work continually balances on the threshold between tragedy and comedy, utopia and dystopia.
Hørran has previously exhibited at, among others, the Norwegian Sculptors Society (NO), Spriten Kunsthall (NO), Heerz Tooya (BG), Celsius Projects (SE), and Isafjordur Art Museum (IS).
Upcoming projects include exhibitions at Telemark Art Centre and Visual Artists in Oslo (BO) in 2026.
The exhibition is supported by the Visual Artists’ Remuneration Fund (BKV) and Agaia.