SELECTED COLLABORATIONS

Between 2018 and 2021, Nadeson collaborated with Koenigsegg Automotive AB on Jörmungandr, Sleipner, and Fenris, presented in Sweden, Geneva, and Paris. Each work positioned the megarcar within Norse myth, reframing it as a ceremonial object and creating a cycle of installations where design and performance intersected with ritual and spectacle.

In Paris, Nadeson collaborated with renowned painter Jon Cattapan to create Endless Absolut  -a digital “skin” for a Koenigsegg, shown in aspeculative mythic caryard through VR to the marque’s inner circle.

At Barth’s Windjammer Museum, Nadeson and Jon Cattapan present Royal Lodge of Fenris No.7019.
The performance-installation reimagines colonial ship dioramas and maritime artefacts.
A reveal-cloth designed by both artists unveils Koenigsegg CCR #7019 as ritual object.
The hypercar is cast as a vessel of transcendence between ceremony and spectacle

Nadeson’s engagement with Koenigsegg Automotive AB began through a direct invitation from the marque, producing early works now held in the private collection of its founder, Christian von Koenigsegg, Sweden. This led to his exhibition at the Geneva International Motor Show 2019.

Within this milieu, Nadeson began a collaboration with Klaus Stephan Reeckmann, conceiving and naming Koenigsegg CCR #7019 FENRIS. This initiated an ongoing body of virtual, gamified artworks responding to Reeckmann’s loyalty and embedded position within the marque’s inner circle, forming a sustained worldbuilding inquiry into elite, closed communities.

On Ngunnawal Country, Nadeson collaborated with knowledge holder Ritchie Allan at Wild Bark Sanctuary.
The project extended Garland into intercultural art and science.
Grounded in Country, it connected First Nations knowledge with ecological restoration.
The collaboration entwined ritual practice, water science, and contemporary art

In Paris, Nadeson worked with Carnatic vocalist Narmatha Ravichandira OAM on Ägwald.
Her live song and spatialised sound activated the immersive installation.
This sonic collaboration carried South Indian traditions into mythic VR space.
It reframed car culture and ritual through embodied voice and ceremony.

With parasitologist Dr Balu Balan (WEHI), Nadeson developed intercultural art–science projects. Their work at Wild Bark Sanctuary explored rivers, wetlands, and microorganisms, linking Indigenous knowledge, colonial histories, and futurist ritual forms to create speculative sanctuaries of ecological and cultural renewal.

In Frauenau, Germany, Nadeson undertook a residency at the historic Poschinger Glassmanufaktur, one of Europe’s oldest glassworks. Working alongside master artisans, he explored smalti, Venetian glass, and experimental casting techniques. The collaboration bridged centuries-old Bavarian craftsmanship with contemporary myth-making, producing glass effigies and ritual forms that tested fragility, endurance, and transformation. These works became part of Nadeson’s broader exploration of materiality.