Marianne Hurum shows a new series of paintings on an existing wall architecture in the foyer. Hurum has previously explored painting's various borderlands by experimenting with different presentation modes and mounting devices, by stretching and manipulating blind frames, and through photograms. Paintings on display at Kunstnernes Hus are full of life; make-up heavy eyes wink at the viewer and a tube-like figuration winds its way across the surface like a Möbius strip without beginning and end.

Eknæs' sculptural voyages of discovery in various materials are attached on the other side to solid ground, on the sandstone columns. If Hurum's paintings can be seen as playing with the idea of a kind of fictional sculpture, we find both painterly and minimal hard-edge qualities in Eknæs' freehand brushed metal plates and soft inflatable floating mattresses that are strung around the stone on the way up the foyer's supporting architectural components. The form has its home in an urban world where architecture is complemented by product aesthetics and graphic design. Eknæs' titles emphasize the indeterminate function of the works, or perhaps indicate a potential in future, possible areas of application.