Marte Aas is a Norwegian photographer, filmmaker and installation artist. She studied at the School of Photography at the University of Gothenburg and the National Academy of Fine Art in Oslo. Her work has been presented at national and international institutions and festivals, including Kunsthall Trondheim, Fotografisk Center in Copenhagen, Henie Onstad Art Centre, the European Media Art Festival, Seoul International New Media Festival, Anthology Film Archives in New York, Scandinavia House in New York, the National Museum in Oslo and Kiasma in Helsinki. Aas recently presented two solo exhibitions: Inside the World, Exteriors at Buskerud Kunstsenter (2024) and It Cannot Be Contained at Atelier Nord, Oslo (2023).

It Cannot Be Contained received support from Fond for lyd og bilde, Arts Council Norway (Kulturrådet) and Billedkunstnernes Vederlagsfond.

Sigurd Bronger is a Norwegian artist and jewellery designer. He trained as a goldsmith at Oslo Vocational School (1974–1975), before moving to the Netherlands, where he specialised in metalwork and clockmaking techniques at MTS Vakschool Schoonhoven (1975–1980). After completing his studies, he worked for three years as an engraver at Koninklijke Stempelfabriek Posthumus in Amsterdam. Bronger has exhibited extensively in Norway and internationally throughout his career, and his work is held in a number of private collections.

Thyra Dragseth is a Norwegian artist working across video, photography and text. She holds a BFA (2016–2019) and an MFA (2023–2025) from the Oslo National Academy of the Arts, and previously studied at Oslo Fotokunstskole (2014–2016). After completing her studies, Dragseth undertook an Erasmus internship in Lisbon, where she worked as an assistant to Australian artist and filmmaker James Newitt. Dragseth has exhibited her work at several galleries and art institutions, including MELK Gallery (2024), Pachinko (2024), KÖSK (2023) and Agder Kunstsenter (2022).

The works presented at Kunstnernes Hus were produced with support from Arts Council Norway (Kulturrådet), Fond for lyd og bilde, Norsk Fotografisk Fond and Billedkunstnernes Vederlagsfond. The film Loving Perception also received support from Agder County Council.

Agnes Guttormsgaard is a Norwegian textile artist. She studied at the National Academy of Art and Craft in Oslo and the Teacher Training College for Art and Design in Notodden. She has had an active career and participated annually in the Annual Exhibition of Norwegian Crafts (Kunsthåndverkernes årsutstilling) from 1978 to 1991.

Vebjørn Guttormsgaard Møllberg is a Norwegian textile and video artist. He holds an MFA from the Royal Danish Academy of Fine Arts and a BFA from the Tromsø Academy of Contemporary Art, and has also studied at the Nordland Art and Film School. In recent years, Guttormsgaard Møllberg has exhibited his work at a number of institutions across Norway, including KODE in Bergen. Since beginning his collaboration with his mother, Agnes Guttormsgaard, in 2016, tapestry has become an increasingly important part of his artistic practice.

Marianne Heier is a Norwegian artist whose practice primarily encompasses performance, installation and interventions. She studied at the Accademia di Belle Arti di Brera in Milan, Italy, and subsequently completed the artistic research fellowship programme at the Oslo National Academy of the Arts. Heier was selected for the National Annual Exhibition (Høstutstillingen) at Kunstnernes Hus in 1999 and has since exhibited and collaborated with a wide range of art institutions in Norway, as well as presenting numerous exhibitions and projects internationally.

Supported by KORO – LOK and UKS.

In May 1974, artists from across Norway and from different artistic disciplines gathered at Folkets Hus to form Kunstneraksjon-74. Visual artists, writers, composers, craftspeople, filmmakers and choreographers came together to establish a common framework for their different artistic practices and working conditions. The movement formulated three central demands: fair remuneration for the use of artists' work, increased public use of art, and a guaranteed minimum income for professional artists whose income from their work was insufficient.

Support Structures presents interviews with key figures involved in the movement: an interview with former economist Aina Helgesen and Victor Lind, conducted by Lotte Konow Lund, and an interview with ceramic artist Yngvild Fagerheim in conversation with Sarah Lookofsky. Archival material from Eva Lange's archive (selected in collaboration with Andrea Lange), the National Museum and the National Library of Norway will also be included.

Thanks to Lotte Konow Lund and Andrea Lange for their contributions to the research on Kunstneraksjon-74.

Fabiola Burgos Labra is a Chilean artist working primarily with textiles and found, precarious materials. She creates artworks that privilege the ephemeral over the permanent and challenge the constructed boundary between nature and culture. She studied art at PUCV in Valparaíso and completed an MFA at PUC in Santiago de Chile. In September 2025, she began a one-year research project at the Royal Academy of Fine Arts Antwerp, within the Art & Ecology research group. The project seeks to revalue and humanise the relationship between weavers and materials, offering ways to challenge the division between time and production in industrialised societies.

With support from the Royal Academy of Fine Arts Antwerp and KIOSK, Belgium.

Éva Mag (b. 1979, Transylvania) is a Swedish artist working across sculpture, installation and performance. Mag holds a BFA and an MFA from the Royal Institute of Art in Stockholm and has also studied at Fotoskolan STHLM. Mag has presented numerous major solo and group exhibitions in the Nordic countries and internationally.

Park McArthur is an American artist working with sculpture, text, installation and institutional interventions. She holds an MFA from the University of Miami (2009) and studied at the Whitney Museum of American Art's Independent Study Program (2011–2012). Her artistic practice explores care, dependency, access and the structures that shape how bodies move through society. Working with everyday materials, signs, buildings and institutional systems, she makes visible the conditions that support some bodies while limiting others.

Eline Mugaas is a Norwegian artist whose practice primarily encompasses photography, collage and sculpture. She studied at The Cooper Union for the Advancement of Science and Art in New York City. Mugaas has exhibited at numerous institutions in Norway, including Astrup Fearnley Museet, the National Museum, Bergen Kunsthall, Kunsthall Oslo, Munchmuseet i bevegelse, Trondheim Kunstmuseum, Kristiansand Kunsthall, Lillehammer Art Museum, Sørlandet Art Museum and Haugar Art Museum. Her work has also been shown internationally, including at MoMA, Malmö Konsthall, Kunsthalle Zürich, White Columns in New York, the Carpenter Center for the Visual Arts at Harvard University, Skissernas Museum in Lund, the Museum of Contemporary Art in Novi Sad and Norrköping Art Museum.

With project support from Arts Council Norway (Kulturrådet).

Ketil Nergaard is a Norwegian visual artist and critic who has also worked for many years as an exhibition technician at the National Museum in Oslo. His roles across different areas of the art world are reflected in his practice and his interest in the relationships between different art forms.

The works presented in the exhibition were produced with support from Velferden Sokndals Scene for Samtidskunst. His artistic practice is also supported by BKH Billedkunstnernes Hjelpefond.

Nettopp Nettverk is an artist collective consisting of Kjetil Berge (b. 1957), Ella Aandal (b. 2000) and Sigrid Høyforsslett Bjørbæk (1980-2026). These three artists from different generations have each explored textiles and found materials in their artistic practices. With a shared interest in materials and collective processes, they reflect on traces of time within textile materials and how textiles can be understood as an extension of the body, of language, or as a form of protection. In 2024, they came together as Nettopp Nettverk to create a monumental textile work for the façade of Kunstnernes Hus.

Peter Opsvik (1939–2024) was a Norwegian industrial designer, artist and jazz saxophonist. He studied at the Bergen National Academy of the Arts (1959–1963), followed by the National Academy of the Arts in Oslo (1963–1964). After completing his studies, he worked as a designer for Tandberg Radiofabrikk, while also undertaking commissions for Stokke and Bruksbo Tegnekontor. In 1970, he studied ergonomics under Ulrich Burandt at the Folkwangschule für Gestaltung in Essen, laying the foundation for his subsequent design philosophy. Opsvik also worked with graphic art and painting, making his debut at Vestlandsutstillingen in 1966, followed by the National Annual Exhibition (Høstutstillingen) in 1967.

With contributions from Flokk and Stokke.

Kaare Ruud is a Norwegian artist working sculpturally with everyday objects. He holds an MFA from the Oslo National Academy of the Arts and a BFA from the Art Academy in Bergen. Ruud has exhibited at a number of galleries in Oslo, including STANDARD (2021), QB Gallery (2021/2022), Løvens Hule (2019) and Hulias (2020). He also participated in Vestlandsutstillingen in 2020 and was selected for the National Annual Exhibition (Høstutstillingen) at Kunstnernes Hus in 2017.

Tove Storch is a Danish visual artist and sculptor. Storch studied at the Academy of Fine Arts Vienna and Berlin-Weißensee before completing her degree at the Royal Danish Academy of Fine Arts in Copenhagen in 2007. She is the recipient of the Eckersberg Medal, the Carl Nielsen and Anne Marie Carl-Nielsen Talent Award, and a three-year working grant from the Danish Arts Foundation. Her works are held in a number of public collections, including Louisiana Museum of Modern Art, Malmö Art Museum and The Phillips Collection in Washington, D.C. Storch has also created several public commissions, including The Ship on Enghavevej in Copenhagen.

Curators: Sarah Lookofsky, initiated by Ida Kierulf

Planning support: Chris Robin Haug, Miriam Elise Arstad (intern)

Exhibition production: Øyvind Aspen, Sara-Lovise Ask Ewertson, Marthin Espeland

Communications & Audience: Helen Sæther, Leonie Merkl, Yanina Zaichanka

Public Engagement: Annika Simonsson, Nina Sundbeck-Arnäs Kaasa, Mathilde Velvin

Accessibility: Mathilde Velvin

Ketil Nergaard, Garbage Man, 2022. Oak shavings planed from the floor in Ilya Kabakov's The Man Who Never Threw Anything Away (1988 – 1995 – 2022), The National Museum, 2022. Steel wire, painted wood panel. Reproduced with permission from the artist and the Central Bank, Oslo. Photo by Lea Stuedahl.