selected works

⭌ The Dromomanian pull

Upsycled penny-loafer
Hand-stitched leather shaft, cow leather
Resycled pewter shoe clasp, sand casted
2025, Karoline Bakken Lund

A part of a sculpture and dressing series for “SWEET SPOT”  
in close collaboration with Harald Beharie

SWEET SPOT

Premiere 2026
Dansens Hus, Oslo (NO)
23. january

Sweet Spot is a stage performance for six performers, premiering 23. january 2026, Dansens Hus, Oslo. In Sweet Spot, a visceral world unfolds in an intimate and immersive space.

For Sweet Spot, choreographer and performer Harald Beharie and visual artist Karoline Bakken Lund expand their continuous collaboration and research. Working together since 2017, they examine the poetic and physical possibilities of collapse, where objects, textures and bodies drift between support and obstruction, cultivating porous visual and social landscapes. In Sweet Spot they also collaborate for the first time with light designer Ingeborg Staxerud Olerud and composer and musician Ingvild Langgård. 

Sweet Spot is a tempting and seductive hellmouth filled with mischief and tender allure, a hellish pit dancing and kneading itself back and forth between intertwining epochs. Dwelling in the abyss, Sweet Spot conjures a distorted dance macabre in a hypnotic landscape gathering six ecstatic figures who sing, collapse and syncopate around each other.

Driven by a “dromomaniac” pull; an uncontrollable urge to keep moving, Sweet Spot spirals  into a ceaseless whirlwind, an abundance of unhinged rhythms, folklore, groovy processions and sudden surges devouring the spectator and everything in its path. 

Sweet Spot draws inspiration from the allegorical poem 'The Whale' where the whale lures fish with a sweet smell, only to capture them. The tale serves as a catalyst for exploration of how seductive and sweet appearances and intimacies can conceal underlying murky dangers, leading one into a hellmouth where anything can happen.




Concept & Choreography Harald Beharie 
Close collaborator/artistic research Karoline Bakken Lund
Performers Loan Ha, Carlisle Sienes, Harald Beharie, Amie Mbye Irene Theisen and Ester Thunander 
Set-design/sculpture & Costume Karoline Bakken Lund 
Light design Ingeborg Staxrud Olerud 
Musician Ester Thunander 
Composer Ingvild Langgård 
Faciliatator/ Dramaturg Deise Nunes 
Intimacy Coordinator Lexie Koren
Producer Kristina Melbø Valvik 
Distribution/touring Damien Valette 
Co-producers Dansens Hus, Oslo, Rosendal Teater (Trondheim) , RAS (Sandnes), BIT Bergen Internasjonale Teater (Bergen), Arsenic, Arsenic – Centre d’art scénique contemporain (Lausanne), SPRING festival (Utrecht), Zodiak - Centre for New Dance, Helsinki (Helsinki), MDT (Stockholm) 

Residency support Fabbrica Europa (Firenze), Kaserne(Basel) and Kilden (Kristiansand)
Supported byNorwegian Art Council and Kristiansand Municipality

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For inquires about the production:

Production: Kristina Kvalvik, production.beharie@gmail.com
Distribution:Damien Valette, valette.d@gmail.com
https://haraldbeharie.com

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⭌ UNDERSANG SCULPTURE SERIES
Installation view,
Urb Festival, Kiaasma
Helsinki, 2025

handsewn calf leather
waxed, linen thread
welded iron
2024, Veronica Bruce & Karoline Bakken Lund

UNDERSANG

(premiered 2024)
30 May 2024, Oslo 
The project received the Norwegian Critics prize for 2024
Undersang is an outdoor work by Harald Beharie in collaboration with visual artists Karoline Bakken Lund, Veronica Bruce and musician Christian Beharie, which takes shape as a collective walk and a performance in the forest. 

Undersang is a tapestry of opulent configurations soaked in a shimmer of extravagant gestures. Here mythologies, national romantic ideals and science fiction converge, revealing a world of ancient powers. 

Placing Afro-Nordic diasporic narratives in the forest, Undersang weaves conceptions of blackness, nature and dissonance as a strategy of empowerment. Sparking questions about what it means to belong. 

Undersang is queer ecology in the making, using extravagance  and romanticism as a site for refusal, for reclaiming time. Looking beyond the idea of ownership, it seeks a fertile ground for healing, for lament and for celebration.


Choreography Harald Beharie 
Sculptures Karoline Bakken Lund and Veronica Bruce 
Costumes Karoline Bakken Lund and Harald Beharie
Composer, sound Christian Beharie 
Performers Loan Ha, Mariama Slåttøy, Carlisle Sienes, Jens Trinidad, Nosizwe Baqwa, Amie Mbye and Harald Beharie 
Faciliatator/ DramaturgDeise Nunes 
Outside eye Hooman Sharifi
Producer Mariana Suikkanen Gomes 
Distribution Damien Valette 
Co-producers Black Box Teater(Oslo)Dansens Hus (Oslo) 
BIT (Bergen) Rosendal Teater (Trondheim) RAS (Sandnes) TOU (Stavanger) 

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For inquires about the production:

Production: Kristina Kvalvik, production.beharie@gmail.com
Distribution:Damien Valette, valette.d@gmail.com
https://haraldbeharie.com

 

BATTY BWOY
Batty Bwoy is a solo performance by Harald Beharie  in collaboration with visual artists Karoline Bakken Lund, Veronica Bruce, sound designer  Jassem Hindi and progrock band Ring van Möbius.
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Batty Bwoy is a solo which doesn’t start with a question, or a critique, but from a place of play and desire, entangled in violence and charming cruelty. Through a reappropriation of the Jamaican term “Batty Bwoy” (literally, butt boy), slang for a queer person, the work twists and turns the myths of the Black queer body unfolding vulnerable possibilities in an interplay of consciousness and naivety.

Scrutinizing the absurdity of a queer monstrosity, Batty Bwoy articulates the porosity of bodies and languages, their mouths swallowing and regurgitating the corporal fictions projected onto their skins.  

In an odyssey of droning prog-rock, Batty Bwoy attacks and embraces sedimented narratives around the fear of the queer body as a perverse and deviant figure. The expression "Batty Bwoy" is used to evoke an ambivalent being that exists in the threshold of the precarious body, liberated power, joy, and batty energy!

The work has found inspiration in mythologies, disgusting stereotypes, feelings, and fantasies of the queer body and identities, homophobic dancehall lyrics, 70s Giallo films from Italy, resilient “gully queens,” and queer voices in Norway and Jamaica that have visited and taken part of the process.

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For inquires about the production:

Production: Kristina Kvalvik, production.beharie@gmail.com
Distribution:Damien Valette, valette.d@gmail.com
https://haraldbeharie.com

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a  killer mobile device
archive as fiction

Installation view, performance

IMPORT / EXPORT  
sculpture and performance series, 2016 
Draped, mercerized cotton thread woven in two-shaft shawl,
originally woven for Nord-Trøndelag folk costume. Krivi Weaving Mill.

The National Academy of the Arts, Oslo, 2016 
photo: Anne Valeur

Negotiating between her sculptural practice, cosplaying, acts of dressing and the role of an educator, Bakken Lund gathers and archives textile and soft material cultural finds as haunting viscosities and reclaimed romances, for potential activation. Dealing with symbols and identity markers as fiction. 

The Chatelaine Oficina functions as a methodological toolbelt: historically the “chatelaine” is  a decorative clasp with suspended chains carrying tools and implements of femme domestic tasks, reimagined in her practice as a tool to investigate endangered craft techniques through their symbolic resonance, material-political conditions and implications, and dress-historical trajectories and fluidity as potential for fictional creatures.  

*A chatelaine is a decorative belt hook or clasp worn at the waist with a series of chains suspended from it. Each chain is mounted with useful household appendages such as scissors, thimbles, watches, keys, smelling salts, and household seals.

karoline@mimosa.studio
@karolinebakkenlund

©Karoline Bakken Lund