The exhibition takes us back to 1968 and to Salo Jæger's major breakthrough exhibition that took place at Kunstnernes Hus this year, an exhibition that created waves in the Norwegian art community with its experimental and bold design language. The year represented an international turning point politically and artistically. Not least, Kunstnernes Hus, under Morten Krogh's leadership, underwent major upheavals through its focus on experimental exhibitions in line with contemporary radical international tendencies. The selected works represent a section of and a retrospective of the exhibition as it was originally presented, in addition to the concrete moving element in the exhibition. We get an insight into an innovative artistry which, together with artists such as Jacob Weidemann, Johs. Rian and Gunnar S. Gundersen, helped make abstract painting recognized in Norway. Not least, Salo Jæger's experimental approach to painting in the 60s appears fresh and topical on today's art scene.

The exhibition consists of 14 paintings in large sizes and with an energetic and colorful visual language. The paintings are characterized by a spontaneous and dynamic play of form and color with powerful brushstrokes. Rectangular color fields in red, green and orange continue to interact with the white canvas. Large sketchy lines can resemble calligraphic signs and the uncontrolled is constantly balanced with the strictly controlled. The exhibition also presents a model showing an element of the large shovel sculptures shown in 1968, and from which the paintings were inspired. These were large kinetic sculptures consisting of cubes of aluminum and colored plastic that formed crystalline geometric shapes in the room with the help of spotlights and fans. The play of colors propagated on the walls and ceiling and enveloped the viewer. An expanded recognition of the possibilities of color informed by the development of technology inspired Salo Jæger. Both in Europe and the USA, artists worked with the symbiosis of technology and art, but the most important thing for the artist was to make the colors extend into the room; and through the sculptures and paintings create a color universe without gravity (Even Ebbestad Johnsrud, Aftenposten, 1968).

Irma Salo Jæger's desire to transcend genres and create synergies between painting, text and technology, as well as her interest in the expanded role of art in relation to social thinking, urban planning and the public space, gives a picture of an innovative and independent artistry with strong relevance in day.

Irma Salo Jæger (b. 1928) has her art education from the Statens Håndverks- og Kunstindustriskole (1954–1957) and Statens Kunstakademi (1958–1961). She also holds a master's degree in art history at the University of Helsinki in 1953. Alongside her long-term involvement in art politics, she has been a professor at the Norwegian Academy of Fine Arts and festival exhibitor in Bergen in 1989. Jæger's work has been exhibited and purchased at a number of Norwegian and foreign institutions. She has created several public decorations, including for Rikshospitalet and the University of Agder. In 2010, Jæger was appointed a knight of the 1st class of the Order of St. Olav for her contribution to Norwegian visual arts.

A big thank you to Sparebankstiftelsen DNB NOR, Haugar Vestfold Art Museum, the National Museum of Art, Bredtveit Prison, the Norwegian Sports Academy in Oslo, Norsk Elektro Optikk AS, Svein og Serine Golf and Irma Salo Jæger for lending works.