If you’ve been on one before, then you will expect a Friends of Kettle’s Yard trip to be something special. Our trip to Oslo was that and much more. Meticulously and considerately researched and planned, we were treated to many key sights, and some unexpected bonuses. The Kettle’s Yard name tends to open doors; so does the imagination and determination of our organisers, Tess Recordon and Lindsay Millington.
The hotel was ideally located, being in the recently reclaimed and developed Bjørvika area, a stone’s throw from the Munch Museum and Oslo Opera House. There were plenty of interesting places to eat in the vicinity and ample information had been provided by Tess and Lindsay so that we could join with others or be a little independent, as wished.
Our first day set the scene brilliantly: a visit to the Deichman Public Library where we met Anne Beate Hovind (amongst other things, project director for art, Bjørvika Utvikling, an organisation responsible for building all public space construction in the neighbourhood). She gave us a fascinating overview of the architectural transformation of the harbour area. Anne Beate is also curator the Future Library Project, a public scheme which aims to collect an original work by a popular writer every year from 2014 to 2114. Margaret Atwood was invited to provide the first book. The selected book is then housed in the very beautiful, sinuous wooden “Silent Room” on the top floor of the Library, and will not be opened until 100 years after its donation. As part of the project, trees are being planted to replace the wood used in the room and for the printed books. We were able to roam round several floors of the Library and to go into the “Silent Room”, a moving experience. Anne also took us onto the sloping roof of Oslo Opera House and pointed out various facets of the Bjørvika neighbourhood.
At the Munch Museum we had an excellent introduction by a member of the museum staff and then were able to wander at will, well prepared by what we had just been told. The Museum owns some two-thirds of Munch’s oeuvre, Munch having bequeathed his works to the City of Oslo on his death in 1944, and his sister, Inger, later donating further examples of his works and personal correspondence. Of course, a version of The Scream was on view. (We visited the building again the next evening for (optional) drinks in the Kranen SkyBar on the top floor, enjoying a lovely sunset, followed by our group dinner in the Bistro Tolvte one floor down, a thoroughly convivial affair.)
For those who wished there was an optional authentic Norwegian experience: a private booking into a floating sauna with the opportunity to be refreshed by a dip in the fjord for those who were brave enough.
We visited Vanessa Baird’s studio on our second morning. Vanessa is a very big name in Norway, and we gathered it was something of a ‘coup’ to be able to visit her studio. Vanessa was born and brought up in Oslo with a Scottish artist mother, she still lives in her childhood home and has been ‘drawing’ almost every day for half a century. Her works largely reflect her everyday family life and are anything but cosy. She will be contributing to Nordic noir, works on paper from Edward Munch to Mamma Andersson at the British Museum (9 October 2025 – 5 March 2026). She gave us a fascinating introduction to her work and joined us for our group dinner in the Bistro Tolvte.
The rest of the day was spent at Kistefos Museum, about 40 miles out of Oslo which gave us an opportunity to enjoy the Norwegian landscape en route. Kistefos is an amazing place, built in the grounds of a wood pulp mill and celebrating its industrial heritage as well as providing two art galleries and some 55 contemporary works, many site-specific, dotted through the forest and by the river. We enjoyed another excellent tour, this one by Live Drønen, the resident curator.
Two more museums the next day: first Astrup Fearnley Museet where they were between temporary exhibitions but we were able to see some work from its permanent collection, including a Vanessa Baird. At the Nasjionalmuseet we were treated to another extended tour, the guide being delighted by our interest in Norwegian art. The Museum houses the collections of the former National Gallery, the Museum of Contemporary Art, and the Norwegian Museum of Decorative Arts and Design, so there was plenty more to see after the tour for those who had the stamina.
The weather was kind to us again for our sightseeing cruise along the Oslofjord when we could enjoy identifying some of the architectural and historic landmarks from a different perspective and spotting traditional Norwegian cabins dotted along the island coastline.
We visited one of these landmarks the following morning: the Rådhuset (City Hall) opened in 1950, and is renowned for hosting the Nobel Peace Prize ceremony. The formal rooms, some on a monumental scale, are decorated with murals, tapestries, carvings and sculptures by Norway’s most eminent artists. Our guide gave us a thorough grounding in Norwegian history, not to mention mythology – altogether an awe-inspiring experience.
The afternoon was spent at Vigeland Museet and Vigelandsparken. We had a tour of the Museum, a neo-classical building providing studio and gallery space as well as an apartment for the sculptor Gustav Vigeland (1869 – 1943) and were then able to cross the road to the Sculpture Park which contains over 190 full-size sculptures in bronze and granite in a formal parkland setting.
Later that day we gathered at the Kunstnernes Hus where the Director, Sara Elsie Lookofsky told us about the activities and opportunities offered there, including exhibitions, artist talks, film screenings, studio space and more. The 138th annual Autumn Exhibition organised by the Association of Norwegian Visual Artists had just opened which offered another perspective on Norwegian art.
Our last morning offered a gentle wind-down. On our way to the airport we were able to spend several hours at the Henie Onstad Art Centre, founded in 1968 by the champion figure skater and film star Sonja Henie and her art collector husband Niels Onstad. We had a tour of the “Merz, Flux, Pop!” exhibition featuring Kurt Schwitters, and a temporary exhibition of vibrant and moving textiles by Małgorzata Mirga-Tas, a Polish-Romani artist, the first Roma artist to exhibit at the Venice Biennale. There was time to roam around the sculpture park, enjoy the fjord-side café and indulge in a little light, but stylish, shopping before being spirited safely to the airport.
A selection of feedback from the trip
The overall highlight was the way you had assembled such highly qualified and knowledgeable managers, curators, artists and guides to introduce us to the buildings, museums, galleries and studios. We felt very privileged in having such first-hand introductions. And how did you possibly manage to bring together such an interesting group of fellow-travellers!
It was organised and paced to perfection, filled with access, knowledge, stimulation and education. The art, architecture and city were all a very engaging delight.
Tess and Lindsay made a formidable team making sure everything went like clockwork. …I really think you thought of everything. Your good humour throughout while juggling transport, guides, meals and a sauna was impressive.
This was a truly exceptional trip, characterised by excellent planning and organisation, varied and fascinating visits, good food, and a thoroughly sociable group, (some being Kettle’s Yard old-timers, some new to the experience), all supported by our calm, super-efficient, caring and cheery organisers. Thank you, Tess and Lindsay – it was really special.
