Lene Berg

[8] Berg's work is often characterized by a hybrid format, mixing genres, using different forms of media, narrative structures and artistic techniques, to investigate historical and political topics.

A common theme in many of her projects is how a particular notion of truth is contingent, and how reality might be considered differently through the inclusion of additional stories, or an alternative perspective.

[10][11] In the film The Man in the Background Berg investigates the fate and role of Michael Josselson, director of the Congress for Cultural Freedom, in the Cold War era.

In 1966, the New York Times revealed that the Congress for Cultural Freedom had received funding from the CIA, and thus it was exposed that the Josselsons had lied to everyone around them for nearly two decades.

[12][13] Stalin by Picasso consists of a book[14] and a film, as well as an outdoor banner, depicting the eponymous portrait, that Berg intended to hang on the facade of Folketeateret at Youngstorget in Oslo.

The drawing was commissioned by Louis Aragon, the editor of the French communist party's weekly magazine Les Lettres Françaises.

The tree characters enact three gendered stereotypes, as encapsulated in the title; dirty man, young boy and loose (i.e. promiscuous) woman.

Based around an idea of so-called objective or neutral video recordings, the film scrutinizes the usage of images in media and judicial cases as proof of guilt, innocence, lies and truth.

[18] In 2013 Berg was part of the official Norwegian representation at the 55th International Art Exhibition, la Biennale di Venezia alongside Edvard Munch.

The project's subsequent film, GOMP: Tales of Surveillance in Norway 1948-1989, uses documentary and fictional elements to frame a piece of Norwegian and Cold War history seen through the eyes of the individuals involved on both sides.

[22] Berg uses photographs, court material and her partner's accounts to reconstruct the events that began when the couple first noticed signs of gentrification in their neighbourhood in Harlem.

For the Festival Exhibition Berg produced video, audio and installation works using material remnants, newspaper articles and personal memories she has of her father.

The starting point is a short film entitled "The Day Rises“which follows the process of Berg memorising the scene of the crime before her father’s arrest, despite the fact that she had not been present.

The different medial representations and viewpoints through which Arnljot Berg appears, show the difficulty of enduring the incongruence of a person who is at once a loving father and a convicted murderer.