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Katja Ebbel

@katjaebbel

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Freelance artist, stage and costume designer living in Oslo/Brussels. Sharing moments from everyday work diversity

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Det er bare å beklage altså, men heksene har trollbundet publikum i hele høst og det har ført til stor rift om billettene. HEKS spiller frem til 24. okt, men det nærmer seg altså helt utsolgt! Hvilket er fullt forståelig, for denne forestillingen er djevelsk god!

Foto Hanne Nygaard by @katjaebbel

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2 days ago

Denne helgen er siste mulighet til å se Katja Ebbels "Fragments Here Be Monsters" i hagen ved Administrasjonsbygget på Dikemark. Veggene satt ut i naturen er starten på et prosjekt hvor Katja Ebbel i samarbeid med Dikemarkfestivalen ønsker å sette fokus på gjenbruk av scenografi. Veggene man nå ser på Dikemark har allerede vært brukt til publikum -suksessen "A little Night music" av Sondheim på Nathionaltheatret i 2025. I de kommende årene har vi som mål å transformere scenografier fra norske institusjonsteatre til nye rom på Dikemark. Håndverkere har brukt timer på å skape disse arbeidene og vi ønsker å gi de asyl for lange eller korte perioder på Dikemark. taken in Dikemarkfestivalen by @katjaebbel

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a month ago

Møt kostymedesigner og scenograf Katja Ebbel, som er hjernen og øyet bak de fantastiske kreasjonene i «Den stundesløse»💖👁️

I denne nye versjonen av Ludvig Holbergs komedie har Katja skapt et visuelt univers som både er vakkert og forstyrrende, og som på moderne og smart vis spiller på lag med Holbergs humor og samfunnssatire!

Og det er faktisk Katjas eget øye som er fotografert og trykket på stoffet👀

Tusen takk til @operaen_ for stoffprint!🫶

Gå ikke glipp av nyårets store «må se»-forestilling «Den stundesløse», som har premiere 28. januar!🌟 taken in Nationaltheatret by @katjaebbel

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9 months ago

Den Stundesløse - @nationaltheatret
Premiere i morgen!

Regi @christian.lollike

Med @olavwaastad @henriettemaro @eivinnilsen @jenny.mueni @jacobojensen @andreabhovig @tonemostraum @andersmordal @vetlamauri @kim.haugen.52

Dramatisert av Christian Lollicke og @andersdjurslev
Komponist @matthiassigurdsson
Scenografi & kostymedesign @katjaebbel
Lysdesign @oscarudbye
Maskør @r.terje
Dramaturg @njalmj
Oversatt av @kristofergronskag by @katjaebbel

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9 months ago

THE WASTELAND
Room 8: Here be Monsters
Here Be Monsters has already travelled far — previously exhibited in Brussels and Aurillac, France. The concept revolves around actual cartographic material with mythical content: in the Middle Ages, the undiscovered, blank areas on maps were defined by a fear of the unknown — what lies beyond our awareness. Out there —there are monsters. The unknown and undefined were described as dangerous, frightening, and monstrous. But within this also lies a trace of the fantastic — a space of possibility where something extraordinary, something boundary-breaking, might occur. Made of hypothermia blankets and tape, it is a patchwork in search of the inner and outer monster.
Here be Monsters was made in collaboration with Mattis Appelqvist & the Forest Lighthouse (Brussels, Belgium). taken in Kulturarena Dikemark by @katjaebbel

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a year ago

THE WASTELAND
Room 12: The Moors
These fabrics were created @riksteatret in 2023 for the production Wuthering Heights. Prepared in collaboration with the workshops, they are the result of a three-hour process I undertook alone in the studio—an immediate, visceral response to the dark and untamed landscapes of Brontë’s world. The storms that rage over the moors, the turbulent inner lives of its inhabitants, the wild shadows lurking within their souls—love intertwined with dependence, kindness twisted into brutality and hatred — all of this was woven into the very fabric of the backdrop. In this context, these fabrics embody one of the installations darkest spaces — harboring the obscure and indefinable, just beyond the edge of perception; an immersive realm of latent wildness. by @katjaebbel

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a year ago

THE WASTELAND
Room 11: Terra Incognita
Several silver barnacles—crafted from recycled insulation material—have taken root on the wall, transforming the space into a submerged seabed, a forgotten sunken world. These soft, metallic organisms hover between the artificial and the organic, the humble and the precious— industrial debris reborn as delicate life-forms. Here, we question the notion of “value”. Insulation material are inexpensive, yet their shimmering silver surface suggests something far richer. In the quiet of these underwater ruins, we ask—what do we treasure, and why? taken in Kulturarena Dikemark by @katjaebbel

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a year ago

THE WASTELAND
Room 9: The Loom
Woven stripes mimic design, control, symmetry—yet the piles beside them collapse into disorder. In this space, entropy & structure coexist as two extremes of a spectrum. The material originally comes from Amadeus @kilden, which premiered in 2023. The material has since been in storage and briefly passed through @detnorsketeatret, with the hope that it might find new uses. Here, it is woven into picture frames that speak to the thin membrane separating one space from another—a mathematical materialization of surface. The discarded plastic material holds a kind of beauty, if one only looks closely. taken in Kulturarena Dikemark by @katjaebbel

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a year ago

THE WASTELAND
Room 10: The Blinds
When I first visited this place, my attention was immediately drawn to an old canopy outside. When we leave a place and do not return — when seasons cycle, years drift by, and time seems to pause —the things left behind begin to change. They decay, dissolve, crumble to dust, and drift freely. But can they also transform at a deeper level — from inert matter into a form of inner life? Will they follow nature’s logic? Will they grow? A slow metamorphosis unfolds — complexity arising from repetition, beauty emerging from neglect. Here, decay is not death; it is re-patterning. taken in Kulturarena Dikemark by @katjaebbel

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a year ago

THE WASTELAND
Room 7: Blueprint for a possible future
Using old sewing patterns as a base, these collages break and rewrite the instructions for shaping a dress. These tailoring templates — passed down from my English grandmother — were once strict maps of domesticity. Now, they are reimagined into surreal blueprints, shifting into a playground of possibility. Through my reworking, entirely new instructions emerge — ones that require careful reading to be understood, to reveal the form’s potential. Here, freedom isn’t found in rejecting structure, but in bending it —rewriting inherited rules to allow space for the unexpected. These outlines give rise to unfamiliar silhouettes, abstracted versions of the patterns my grandmother once lived by. In this way, I hope to open new perspectives on narrow frameworks — to let them dissolve and be replaced by looser, more fluid forms. by @katjaebbel

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a year ago

THE WASTELAND
Room 6: Elytra
A blackened beetle rests in a dark room—burned, fossilized, yet faintly pulsing. This is the first inhabitant of the wasteland, a harbinger of survival. Death or hibernation? Is this the end, or the deep sleep before awakening? This being belongs here, unmistakably. Like all the fragments scattered through the wasteland, it is both a trace of what once was and a suggestion of what might still become. The beetle is made by @sigveastruplien by @katjaebbel

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a year ago

THE WASTELAND
Room 5: The Desert, Time materialised
This is a space where meaning drifts, and time has settled into the stillness of trees. A curtain made of cork—wood transformed into textile—hangs with improbable lightness. It is at once heavy and delicate, natural and abstract. This cork costume and backdrop were originally created for the performance Requiem in 2021, inspired by Anna Akhmatova’s poetry cycle, at Rogaland teater, initiated by @helgaguren, created in collaboration with @erlendsamnoen, and produced by @rogalandteater. The costume was sewn by the brilliant costume department based on my design. Now transformed into a live performance for the installation The Wasteland. by @katjaebbel

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a year ago