At the top center of Picasso's painting, which depicts the terror of aerial bombing during the Spanish Civil War, a light bulb surrounded by a lampshade emits sharp, cone-shaped beams of light. In the painting, the lamp is surrounded by distorted bodies, and it ambiguously exists both as an ordinary electric light source and as a bomb at the moment of detonation.

The Spanish word BOMBA refers to this ambiguity, alluding both to the bomb and to the light bulb (in Spanish, bombilla eléctrica is a diminutive of bomba). Drawing from the pivotal moment in Kunstnernes Hus' exhibition history, Elgin's intervention will reflect on the complex legacy of modernity and modernism, the technological and artistic innovations of these eras, and the continuation of war in the present day.

How does one cope with the sudden possibility of everything collapsing? Eli Mai Huang Nesse (b. 1992, Sogndal) explores the potential for shortcuts and how we can prevent accidents—ways to maintain hope, a sense of control, and safety. Currently, Eli is collecting stories from people who have been trapped by landslides, visiting roads closed due to landslide risk, and venturing into the core of mountains to film tunnel workers. Eli holds an MFA from the Oslo National Academy of the Arts (2022) and a BFA from the Royal Institute of Art in Stockholm (2018). Her works have been shown at venues such as the Autumn Exhibition at Kunstnernes Hus, ABF-huset (SE), Galleri Christinegaard, Bergen International Film Festival, and Anafi International Film Festival.

Huang Nesse's exhibition launches a new series at Kunstnernes Hus, Underskogen, which focuses on emerging artists. Underskogen refers not only to the age of the artists but also to the artist-driven scene the initiative connects to, as well as to the fundamental principles of sustainability behind the project. Underskogen is supported by the Bergesenstiftelsen and Talent Norge.