2023 - 2024:
Post Doc: 
The Ocean-Lands: Mud Within the Earth System, under Katherine Richardson at ‘Queen Margrethe’s and Vigdís Finnbogadóttir´s Interdisciplinary Research Centre on Ocean, Climate, and Society’ (ROCS) / The GLOBE Institute / Danish Natural History Museum / Center for Macroecology, Evolution and Climate.

2022 - 2024:

Research project 2022-2024 More Mud for Art Hub under Nordic Alliance of Artists’ Residencies on Climate Action [NAARCA] including working with institutions in Iceland (Skaftfell), Sweden (Baltic Art Center), Denmark (Art Hub), Svalbard, Scotland, Finland and Greenland on research, production, exhibitions and seminars.

2022 - 2024:

GRASS Fellow, GRASS Fellow Programme Uppsala University / Campus Gotland and Baltic Art Center


The New Mud is a research project in the cluster Digital Matters, Digital Materialities, with Maibritt Borgen at the Institute for Art, Writing and Research, Royal Danish Art Academy for Fine Arts.

Left: Screenshot Kangerlusssuaq, 2021

Above: A. Frozen Mud, Greenland, 2021
B. Missing Atmospheric Ice Crystal, 2021

Lunar Concrete - Regolith Extraction in Outer Space and 3D printing on the Moon and in Mud on Earth is a one-year artistic development project at the Royale Danish Art Academy for Fine Arts. It is developed by Karen Harsbo (Ceramic Lab) and Rikke Luther (Institute for Art, Writing and Research) and is aiming at practically exploring and unfolding the notion of the material lunar regolith, through 3D print and earth minerals, in form of interdisciplinary artistic research.


3D printed Lunar-concrete are linked to Si-Fi, military, political, technological developments, the ‘New Industrial Space Industry’ and the historical background for concrete in space started with 40g of the lunar regolith in 1986.

Map 8: Concrete: The Economy of Volcanos and Outer Space, print on tiles


We are in oxygen low water. Its still battered by waves from the 2008-financial crisis. In our time, democracy is aggressively interrogated from many different perspectives, which in turn determine the contexts of artistic action and research. From one side, the concept of ‘Carbon Democracy’ maps democracy’s entwined relationship to the economies of material extraction, power, and the planetary fact of ‘climate collapse’ [Mitchell, Carbon Democracy]. From another, the concept of ‘Post-Democracy’ [Crouch] maps out the highs and lows of democratic agency. Here, the peaks of democratic engagement in the 20th century are being levelled down by an era of rising economic and political inequality – a process that occurs both within nation states and between the nation states of the ‘developed’, and ‘developing’, worlds. In parallel, the political power of democracy is increasingly decentralised and weakened, only for that power to be re-centralised in the private boardrooms of post-national corporations. And, while this process has occurred, our climate has been warming.


Space is full of stories. And there are many ‘spaces’. Those images of coherence by which we navigate our lives, are rooted in the perspectives of particular places, social relations, history and time [Massey, For Space].The spaces of landscape, housing and urban life, and the materials we extract to support that version of life, are crisscrossed with human power relations.


We look on a concrete building, and on its material surfaces and interior spaces, and we are met by the 20th century ‘extraction economy’ that gave us the concrete architectures of democracy. Or perhaps we see the environmental destruction concrete entailed. Or perhaps we see humankind’s deep space future, a late 21st concrete modernism built on the moon or passing asteroids, as envisaged by advocates of ‘The New Space Industrial Age’.


The confluence, and divergencies, of these stories of habitation have affected how we think of planetary space, environmental change, and emergent climate chaos. The technological possibility of 3D printing lunar concrete, holds out the possibility of stabilising, and then exporting, current modes of political economy into a space future, by envisaging the earth as merely a set of exhaustible economic assets. Outer space here takes on the dynamics of the earthly UN Global Commons – ‘free’ spaces that are largely beyond the democracy of nation states and the effective regulatory grasp of international law.


Technological and military organisation have long been extensions of the existing power of the monarch and state into new territories, material and human support for the search for private profit. Meanwhile, back at the planetary level, the progressive associations of concrete Modernism have run into the wall: progress is now encircled by increasingly ‘unseasonal’ weather patterns, and undermined by the daily media outpouring of post-democratic political sentiment. Concrete culture now echoes the mid 20th century observations of Karl Polanyi. But when capitalism faces off against democracy today, it chooses what Colin Crouch dubbed ‘post-democracy’, before stretching itself out across future space.


Stills from recorded material for the film Concrete: The Great Transformation, mainly recorded under Lunar Concrete, 2019:

Skærmbillede 2019-11-27 kl. 12.02.42

  1. Aion A mine, (Emma Kunz), Sweitzerland, 2019
  2. Lime mining, Aalborg Portland, Aalborg, Denmark, 2017
  3. Sandmining in Roldskov, Denmark, 2020
  4. Rebuilding the harbour front, 2018
  5. Land Building, North Harbour, Copenhagen, Denmark, 2017

  6. 3D printing of concrete, Italy, 2019

  7. Simulit Rhegolith mining, Germany, 2019
  8. ESA´s 3D prinit, Holland, 2019

  9. On-line information movie about mining on the moon, 2019

10. Chinese harbour, Trieste, Italy, 2019

11. Oslo, Norway, 2017

12. Nagagin Capsule Tower (1979), Tokyo, Japan, 2019

13. Hashima, first undersea coal mining and higest dence place on the planet in the 1960´ties, Japan, 2019

14-15. More concrete, Japan, 2019

16. Sea turtle, Japan, 2019

17. Peace Center (1954), Hiroshima, Japan, 2019

18. Kyoto Congress Center, Japan, 2019


Ceramic tests with simulatet rhegolith, 2019

Supported by the Danish Ministry of Culture