Munch Museum 2017Edvard Munch’s Ekely Discover Edvard Munch’s studio as it was during his lifetime. A docu-mentary exhibition with reproducti - ons, photographs and films will

Munch Museum 2017

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The new Munch Museum in Bjørvika will provide optimal conditions for Norway’s conceivably most important contribution to world heritage – the Munch Collection. The Museum’s prominent location in the city’s harbour area is a signal of how important art is for our city.

Illustration: Estudio Herreros

Rina Mariann HansenVice Mayor of Cultural Affairs

DEAR FRIENDS OF THE MUNCH MUSEUM

Photo: © John Trygve Tollefsen

The Munch Museum is getting ready to grow, and ambitions are starting to get bigger than the space. Nonetheless, with great courage, innovative solutions and collaborative projects, the Museum is preparing to chal-lenge and thrill a large audience. It is worth drawing attention to Munchmuseet on the Move, a contemporary art programme in the spirit of the Stenersen Museum, which, without pre-mises, is moving the Museum closer to its new address. This generates anticipation about the content of the new Museum, which is now being constructed in Bjørvika. The whole of Oslo can look forward to seeing what the Munch Museum will be able to achieve under significantly more ideal conditions than at present.

I look forward to continuing our association with Kunsthall Oslo for the dissemination of the Stenersen Museum collection. I cannot wait to hear the voices from Kampen, Gamlebyen and Grønland: oral stories, which Merete Røstad has compiled, and which will be presented in the form of a sound installation. I am excited to see what the Museum will get out of the curatorial collaboration with one of the most interesting literary voices of our time, Karl Ove Knausgård.

Works by Lena Cronqvist and Per Inge Bjørlo will be exhibited along-side works by Edvard Munch. In addition, the highly acclaimed art and literary scholar-cum-video artist, Mieke Bal will be given free rein with the Munch collection.

The Munch Museum promises powerful expressions and powerful impressions. That is quite a promise. For art-lovers, for children and young people in the city, and for visitors. No one ever leaves the Munch Museum unaffected. The same will be true in 2017.

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Photo: © Vegard Kleven

PRESENTING MUNCH IN A NEW LIGHTIt is with great pleasure that we present the Munch Museum’s 2017 programme. The programme not only covers all of the exhi-bitions and activities taking place at the Museum at Tøyen and in Bjørvika, but also all of our other activities and exhibitions elsew-here in Oslo and around the world.

The Munch Museum is the place to visit if you want to be challenged, to learn something new, or if you are looking for an exciting experience on you own or with friends and family. After two years with the +Munch series, we are moving forward by presenting Edvard Munch and ourselves in a new light. I am certain that you will be surprised by all that the Museum has to offer.

We have promised that no one will leave the Munch Museum without having been moved or touched. With this promise in mind, all of us here at the Museum work tirelessly to create interesting and inspiring experiences. All our motivated and competent employees strive to make your visit to the Museum – or to any of our other local or international events – a tremendous and positive experience.

We believe that art is important – both for us as humans, as well as for the development of society. Consequently, we continue to reach out to new audiences, whilst at the same time welcoming established visitors with new and surprising initiatives. Never before has art’s ability to generate reflection and provide new insight been so important. In a society where changes are taking place at an ever-increasing pace, the demands on the individual and on society as a whole are enormous. An understanding of people with different backgrounds and orientations – as well as values such as tolerance, freedom of speech, and equal rights for everyone – are cornerstones of the society in which we believe. In art’s uncompromising and naked quest for what it means to be a human being, we can become better acquainted with ourselves, with our own dreams and desires – and not least, with our difficult choices.

We have invited a selection of reflected and leading voices in the world of art, both artists and curators, to use their own perspectives and their own art to present Munch and the Museum in a new light.

I would like to extend my warmest thanks to all who have contributed to the 2017 programme. We are extremely proud that so many partners, sponsors, and members contribute to the important work that the Munch Museum does generating an interest in art in Norway, not to mention enriching the lives of people all over the world with the art of Munch. I would also like to thank my highly professional and dedicated employees, who are always determined to create the very best.

The Munch Museum creates powerful impressions and powerful expressions. Look forward to an insightful, provocative and reflective art year in 2017! I look forward to welcoming you.

Yours sincerely

Stein Olav HenrichsenMuseum Director

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CONTENTS

CONTENTS

Edvard Munch in front of The Sun at Skrubben in Kragerø, 1910. Photo: A.F. Johansen

The Munch Museum’s exhibitions . . . . . . . . . . . . . . . . . . 5

Emma & Edvard – Love in the Time of Loneliness . . . . . . . 8

Looking Sideways A Conversation with Mieke Bal . . . . . . . . . . . . . . . . . . . 10

Towards the Forest – Knausgård on Munch . . . . . . . . . . 12

The great Munch challenge A Conversation with Karl Ove Knausgård . . . . . . . . . . . . 14

Head by Head – Cronqvist | Bjørlo | Munch . . . . . . . . . . 16

From Their Own Bodies A Conversaton with Lena Cronqvist and Per Inge Bjørlo . . . 18

Munchmuseet on the Move . . . . . . . . . . . . . . . . . . . . . 20

What’s Happening in the Museum? . . . . . . . . . . . . . . . . 25

Edvard Munch’s studio at Ekely . . . . . . . . . . . . . . . . . . 26

The Munch Museum’s International Activities . . . . . . . . . 31

Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

– Munch Deserves It A Conversation with the Bergesen Foundation . . . . . . . . 44

Munch in Norway . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Publications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Calendar of Events 2017 . . . . . . . . . . . . . . . . . . . . . . . 56

Visitor Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

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CALENDAR

2017

EXHIBITIONS2017

Munchmuseet on the MoveThe sound of singing rats, physical options in the skate park and stories from Grønland, Kampen and Gam-lebyen form the basis for this year’s contemporary art programme, Munchmuseet on the Move. A num-ber of temporary art projects will take place in the borough of Gamle Oslo, in addition to exhibitions in Kunsthall Oslo that bring the Ste-nersen collection to life in new ways.

6 May–8 October

Towards the Forest– Knausgaard On Munch “I wanted to exhibit unknown pictu-res on the premise that it is possible to experience Munch as if seeing him for the first time as what he was: a painter who never found inner calm, and who never became stale”, says writer Karl Ove Knaus-gård about the exhibition. Experi-ence Edvard Munch through the eyes of Knausgård when he cura-tes a summer exhibition presenting several works that have never been exhibited before.

15 October 2016–8 January

Jorn+Munch Get to know the late works of the painter Edvard Munch and his importance for the Danish artist, Asger Jorn in the last exhibition in the +Munch series. Major chan-ges occurred in Jorn’s art after he visited the Munch exhibition at the National Gallery in Oslo after WWII. Munch’s later work surprised him, and opened up new perspectives in terms of freedom, spon-taneity and directness.

27 May–24 September

Edvard Munch’s Ekely Discover Edvard Munch’s studio as it was during his lifetime. A docu-mentary exhibition with reproducti-ons, photographs and films will be open to the public every weekend. We invite you for an extra glimpse into the universe of Edvard Munch.

28 January–17 April

Emma & Edvard – Love in the Time of LonelinessWhat happens when Edvard Munch’s art is juxtaposed with an extensive video installation for the first time? Through Munch’s pain-tings and curator Mieke Bal’s films you are encouraged to reflect on how we look at each other in social contexts, and what happens when we are denied visual dialogue.

28 October–28 January 2018

Head to Head– Cronqvist | Bjørlo | Munch Per Inge Bjørlo and Lena Cronqvist’s encounter with Edvard Munch invi-tes you to see, and consider how individual vulnerability, loneliness, and transience is something profo-undly common and universal, which has occupied artists at different times across the ages.

Edvard Munch: Elm Forest in Spring, ca. 1923 (detail)

EXHIBITIONSThe Museum’s three major exhibitions in 2017 will provide new and unusual insights into Munch’s art . We have invited Mieke Bal, a prominent international cultural theorist and filmmaker, and the author Karl Ove Knausgård to curate their own exhibitions . The lat-ter will be the summer’s big event, while autumn is devoted to two of the foremost contemporary artists in the Nordic region today – Per Inge Bjørlo and Lena Cronqvist – in interaction with Munch . In 2017, our Munchmuseet on the Move programme consists of two parts: a series of young contemporary art commissions, shown in several spaces the area between the current Munch Museum at Tøyen and the new museum, currently under construction on the waterfront of Bjørvika; and a series of exhibitions connected to the Stenersen Collection of paintings, drawings and prints, cura-ted and organised by Kunsthall Oslo at a new gallery in Dronning Eufemias gate .

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EXHIBITIONS THE MUNCH MUSEUM

Period: 28th January–17th April Venue: The Munch Museum Curator: Mieke Bal Co-curator: Ute K. FalchExhibition Design: SnøhettaFor more information on Mieke Bal and her diverse work, see www.miekebal.org

EMMA & EDVARD – LOVE IN THE TIME OF LONELINESS

Two true masters come face to face when the works of Edvard Munch are juxtaposed against Gustave Flaubert’s groundbreaking novel Madame Bovary. Munch’s pictures are set against video installations, and we are made to reflect upon how we view each other in social situations and question what happens when we are denied visual dialogue.

For the first time, Edvard Munch’s art is presented together with an elaborate video installation. Madame B (2014) was created by Michelle Williams Gamaker and the internationally acclaimed cultural theorist, artist, and curator Mieke Bal, who is also the curator of the exhibition.

The exhibition integrates eight video installations (19 screens) with about 75 of Munch’s works – well-known as well as rarely exhibited paintings and prints – and is divided into seven spaces, each devoted to a relevant aspect of the double theme of social loneliness and the cinematic mode of expression. As this exhibition explores, loneliness is often caused by a denial of communication, signified by the socially clumsy mode of “looking sideways”. Munch’s powerful painting The Wedding of the Bohemian is a prime example of failed communication, the bride isolated in her solitude despite being surro-unded by seven men of different attitudes. The painting is shown in close proximity to the wedding scene of the video installation Madame B, where one can observe the newly wed Emma B., utterly bewildered and essentially bored, circulating among the guests who are busy gossiping about her. Due to the integrative nature of the exhibition and the direct (audio-)visual dialogue between Munch’s art and Flaubert’s text, the visitors themselves are in charge of making up narratives. This will result in unexpected connections and new views of the respective works, as well as – if one permits – of one’s own life and circumstances.

The exhibition will be accompanied by a compelling book by Mieke Bal, in which the author explores the cinematic aspect of Munch’s art by combining contemporary art theory with her own idiosyncratic way of looking at art – directly and closely.

Edvard Munch: Self-portrait with a Bottle of Wine, 1906 (detail)

Edvard Munch: Taken by Surprise, 1907 Edvard Munch: Wedding of the Bohemian, 1925–26

http://www.miekebal.org

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Curator and artist Mieke Bal tackles the themes of capitalism and existential loneliness, but also touches upon the issue of the human gaze.

– Madame Bovary is an important character in the exhibition. Why have you and Michelle Williams Gamaker taken Gustave Flaubert’s novel as your starting point in the video installation?

– This was one of the first novels that really fascinated me when I was younger, and it’s a novel I’ve often returned to. I’m attracted by Emma’s many foolish choices. She destroys herself through infidelity and living beyond her means, and these are issues that are alarmingly topical in today’s global world.

– What does Madame Bovary have to say to the people of today?

– I think it is commendable that Flaubert – before Marx and Freud came up with their ideas – depicted a woman who allows herself to be taken over by capitalism, who seeks acknowledgment through the eyes of a man and who is willing to succumb for the sake of these things.

– Perhaps people today are trying to escape loneliness in the same way. When you see an advertisement for a car, it will often feature a beautiful woman. The buyer knows that the woman doesn’t come with the car. But the idea that any luxury possession – such as a car – can invest us with status and social success is so deeply ingrained within us that we end up living beyond our means. A core element within the exhibition deals with portraying the loneliness that this attitude creates or fosters.

– Where do you place Munch and his art in this scenario? Was he acquainted with Flaubert’s novel?

– We know that Munch was in France when this book was widely known, and he was very familiar with the artistic milieu. So it would surprise me if he didn’t know about Madame Bovary. But this is immaterial. The exhibition isn’t aiming to tell the story of Munch’s or Flaubert’s life and artistic works. What inspire me are the common characteristics in the narratives of the two artists, which in turn inspired the exhibition.

– Which characteristics are you thinking of?

– I’ve long been fascinated by Flaubert’s cinematic way of writing. This was before cinema existed, but Flaubert works so visually in the texts that he almost made the cinema a necessity. The more I become acquainted with Munch’s work, the more cinematic characteristics I find in it – for example, when he paints something hurriedly. There is also the pervasive loneliness that exists in his works, which is an exciting element to explore.

– Where in Munch’s works do you see this loneliness at its most intense?

– Much has to do with the gaze. For example, the way he presents his own eyes looking to the side in some of his early self-portraits is striking. The same goes for the way he paints eyes. Many of the people in his works have no clearly discernible eyes. Among the 75 pictures in the exhibition, only a few look directly out of the canvas at the viewer. Most are looking sideways.

– To me, this exudes an inability or unwillingness to reach out to other people. Whether this interpretation is correct or not isn’t so relevant – I don’t seek concrete answers. What I do is build upon a fiction in the installations where we couple two fictitious persons – Emma and Edvard – who both have problems with the opposite sex. Their loneliness has many levels. We deal with emptiness, fantasies, unease, desperation, and repression.

– What do you think contemporary works can bring to Munch’s art – why not merely explore Munch’s works purely from the perspective of loneliness?

LOOKING SIDEWAYS

Mieke Bal

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– I wish to augment, disrupt, actualise, and draw out the narrative approaches that I’ve detected in Munch. His works are both figurative and abstract. He creates specific situations and movements, but he paints in a non-realistic manner. His use of colour is multi-faceted. If you look at a dress that you think is blue, you’ll find that it also has other colours. The canvas, left bare, also becomes a colour participating in the depiction. The colours also convey moods and emotions. As a modernist, Munch created three-dimensional images that go nowhere. He narrates something whilst at the same time disrupting the story.

– Something similar occurs with the video installation, where the sound of 19 screens overlaps and each soundtrack disturbs the others. You can try to separate and distinguish the individual soundtracks, but rarely manage – just as in a society where many conversations take place in parallel and where it isn’t always possible to distinguish one point of view from another.

– You want the audience to explore their own personal responses. How can you orchestrate this?

– I don’t want to instruct people too much, but I hope that visitors will move on through the installations, conscious of having made a choice – and hopefully they will question why they made the choice they did.

– For example, almost at the beginning of the exhibition is a two-sided video installation. On one side, you see Madame Bovary’s future husband, Charles, and on the other side is Emma. He sees her; she does not see him. He sees her in close-up, even though she is far away. His perspective is really his imagination of her, and through his perspective we in a way become voyeurs. Through her perspective, we take part in the flirtation – the conscious representation of a ‘self’.

– Neither of the gazes is neutral, and those looking at the work must themselves decide which side or story to follow. It is impossible to stand between the two screens and see both at the same time.

Edvard Munch: Self-portrait, 1882

During filming. From the left: Michelle Williams Gamaker, Mieke Bal, Marja Skaffari (Emma), Milja Koppola, and Thomas Germaine (Rodolphe). Photo: © Thijs Vissia

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Period: 6th May–8th October Venue: The Munch MuseumCurator: Karl Ove KnausgårdCo-curator: Kari J. BrandtzægExhibition Design: Snøhetta

Knausgård’s objective sets out to emphasise key sides of Munch’s artistry without being bound by biography or chronology: “I want to exhibit unknown pictures on the premise that it is possible to experience Munch as if seeing him for the first time as what he was: a painter who never found inner calm, and who never became stale.”

The exhibition will include more than 100 paintings and 30 graphic works, many of which are being shown to the public for the first time. Knausgård aims to build up moods and tones that visitors will sense as they move between the halls. This exhibition begins in the outer world, in a room filled with light and sun and motifs of people in parks and gardens. In the next section, the people gradually disappear from the motifs. Knausgård explains: “The empty landscapes left behind are ambivalent spaces – the loneliness within the deserted landscapes encounters the force and wildness of nature. For Munch, the forest was not only a place where something ended; it was also a place where something began.”

In the exhibition’s third section, we move from the external world to the internal world, into the chaotic and incomplete. The paintings here have cuts and scratches that show how, rather than hiding or covering over rough surfaces, slapdash brushstrokes, and dripping paint, Munch cultivated these aspects within his work.

The exhibition title, Towards the Forest, reminds us of the threatening and latent element within nature. But it also alludes to how nature is depicted in art, something Munch explored through his rough treatment of the surfaces, upon which he created his paintings and prints. In the last section of the exhibition, we leave the inner world and return once again to the outer world. The entire room is crammed with portraits. As Knausgård explains: “Munch’s art deals with relationships – the relationship to other people. This is something I want to show in a simple way. At the same time, Munch was an excellent portrait artist who not only saw who the persons were, but could also capture their essence and convey this – exactly as he was able to do with a landscape or a tree.”

In connection with the exhibition, Knausgård has written a book on Edvard Munch. In the book, he reflects upon Munch’s life and works, as well as addressing more general questions about art and life. The book will be published by the Munch Museum in association with the publishing house Oktober.

Karl Ove Knausgård (b. 1968) achieved international success with his series of books entitled My Struggle 1–6. His debut novel, Out of the World, was awarded the Norwegian Critics’ Prize for Litera-ture. Since then, his many books, articles and essays have achieved widespread acclaim. In 2015, Knausgård was awarded the Die Welt Literature Prize for his work as an author, and in the same year he also won the Wall Street Journal’s Innovator Award for Literature. His most recent series of books relates to the four seasons, the last of which, In the Summer, was published in August 2016.

TOWARDS THE FOREST – KNAUSGÅRD ON MUNCH

Author Karl Ove Knausgård has taken the entire book world by storm. Through his literature, he displays his exceptional ability to delve into the essence of the art and explore its ability to depict that which has no words. In his role as curator of an exhibition at the Munch Museum, Knausgård will explore Edvard Munch’s breadth as an artist as well as both his enthusiasm for creating and his artistic ferocity. The exhibition will use a selection of rarely exhibited Munch works to address the themes of nature and humans, creation and destruction.

Edvard Munch: Rugged Trunk in Snow, 1923 (detail)

Photo: © André Løyning

https://en.wikipedia.org/wiki/Norwegian_Critics_Prize_for_Literature

https://en.wikipedia.org/wiki/Norwegian_Critics_Prize_for_Literature

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– Do you remember your first meeting with Munch’s art?

– I don’t remember when I first saw Munch’s pictures; when you grow up and go to school in Norway they’re everywhere. The Scream is a bit like Peer Gynt or the novel Hunger or the Mercedes-Benz logo: it’s always there. The Sun: always there. Madonna: always there. But I do remember the first time Munch made an impression on me. It happened the first time I saw his original works in the flesh. I was a teenager and paying my first visit to the National Gallery. I liked almost everything I saw there, all of the national romantic paintings; going round the gallery was amazing. But then I entered the Munch room and everything else paled into insignificance. The pictures here were on a completely different level. I’d gazed at and admired the other paintings, but Munch’s paintings had such an absorbing quality and they touched me in a completely different way across the full spectrum of my emotions. Yet at the same time they were so simple. I’d never before experienced such an expres-sive force. Later, I’d experience it again with Dostoyevsky, who is the one who I feel perhaps relates most closely to the Munch I encountered as a teenager.

– What does Munch mean to you today?

– Munch is arguably the only important Norwegian artist in art history. There is of course nothing national about him, but the local element plays a huge role. And there’s something special in the fact that he expressed so uniquely the culture I grew up in and know inside out. It’s as if I intuitively know Munch’s art better than, for example, Van Gogh’s. This familiarity interests me, because art is about getting close to something – it can even get close to distance – and in Munch something autobiographical, something local, something unfamiliar and something universal all exist side by side in all of his pictures. This is true of all artists. But with them, the local aspect can seem unfamiliar to me, and that’s why I experience Munch’s pictures in a special way. Another thing that I’m drawn to is the sketch-like, incomplete elements of his work and the feeling I have that the pictures are still in a state of creation – that connects them to the moment and gives them a timeless air – and that the essential is transient, something incomplete.

– In your work here, you have assumed a different role from that of art historian. How did you find the assignment?

– Curating a Munch exhibition has been an incredible challenge. The fact that I was given the assignment on the basis of being a writer was very liberating – I could attempt to show something within Munch’s work that is important to me, independent of chronology, biography, and other peoples’ perceptions of Munch. For example, there is a widely held belief that Munch painted his most important works during the first half of his life as an artist, before 1910 or thereabouts. And though it is true that all of his iconic paintings do come from that period, he continued to paint almost every day up until his death during World War II. These later paintings are just as powerful, just as rich, and he continued to work on the same issues, albeit in different ways. Would it be possible to show Munch in a way that didn’t look like Munch? That was my

starting point. Other conceptions of Munch focus on the existentially melan-cholic character of his work – which of course does exist! However, Munch also painted other, often idyllic and beautiful paintings, open to the beauty of the world in a different way. Lastly, would it be possible to emphasise the incomplete, sketch-like elements of his work? The objective of the exhibition eventually became quite clear: to highlight all of Munch’s qualities without exhibiting his well-known paintings. These well-known works are iconic: we no longer see them as pictures – we merely recognise them and evaluate them against themselves. I want to exhibit unknown pictures on the premise that it is possible to experience Munch as if seeing him for the first time as what he was: a painter who never found inner calm, and who never became stale.

– How did you select the pictures?

– In my first meeting with the Munch Museum, I had a very loose idea – it was so small that it was almost not even an idea. But it was a movement from the outer to the inner and then out again. Together with curator Kari Brandtzæg I browsed through all the paintings in the museum’s storage rooms and selected heaps of works for the four different groups that make up the exhibition. We must have had up to four hundred works. Then I sat at home and cut out pictures from catalogues, spread them out across the floor until I had around two hundred, and discussed them with Kari. After a few months I’d narrowed them down to a manageable number. The hardest room was room number three – the inner, sketch-like room, where the idea was to align human nature with the nature of the artist – not least because of the sheer volume of works that in one way or another touched on this topic. There was so much intensity that the result lacked tension. But finally things fell into place – at least in relation to the output!

– Are there aspects of the work as a curator that have fascinated you?

– The most unusual thing for me was the length of time required – the exhibi-tion had to be completed one year before the pictures were to be hung on the walls. The best part was seeing the pictures that I’d picked from the storage rooms in the flesh. In every case, the picture was much better in real life, and in every case it was better in unexpected ways. For me, every painting has its own specific magnetism or energy. It’s almost like standing in front of a person you don’t know. And different pictures arouse different feelings. Everything happens without words and is quite impossible to communicate. But if you can say that each picture has different tones and timbres, I’ve tried to get these to play against each other, one by one, so that throughout the entire exhibition space they come together. Everything has been intuitive, and for a writer who is used to using chosen words, it’s been hugely liberating. But it’s also been difficult – you can spend four weeks on the process of combining just four pictures – as all curators probably know. When something didn’t work, Kari stepped in and sorted things out. It’s all about having a good eye for things: something is right, something isn’t right. But what kept me going were the ups and downs that the pictures exude – from life to lifelessness, from serenity to chaos, from human distance to human intimacy.

THE GREAT MUNCH CHALLENGE

Karl Ove Knausgård. Photo: © André Løyning (detail)

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TITTEL TILLEGGSTITTEL

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The exhibition Head by Head shows Edvard Munch’s significance for Lena Cronqvist and Per Bjørlo, two of the Nordic Countries most pivotal artists. Like Munch, Bjørlo and Cronqvist process autobiographical experiences into expressive art in the form of paintings, installations, sculptures, prints, and textiles.

Period: 28th October–28th January 2018Venue: The Munch MuseumCurator: Kari J. BrandtzægExhibition Design: Snøhetta

Since the 1980s, the often-painful existence of man has been the driving force behind Bjørlo’s art, and he himself has said that his work is about keeping alive a “scream within oneself”. Cronqvist made her debut in 1965 and became a pioneer in the way she incorporated her private experiences into her art in order to expose her own pain and sorrow. In this exhibition their works are placed alongside selected works by Edvard Munch. The result is an exhibition that invites us to see, and reflect upon how human vulnerability, loneliness, and decay are deeply universal issues that affect us all: issues, which have preoccupied artists throughout the years.

The exhibition’s title, Head by Head, has been taken from a painting by Munch from 1905. This work depicts a woman’s head nestling against the head of a man. Trustfully, the woman closes her eyes, while the man’s cold gaze stares somewhat detachedly ahead. The imbalance in the expressions of the two heads says much about the complex relationship between human beings, depicting how difficult it can be to achieve mutual trust, security, and affinity. This psychological tension can be seen as a metaphor for the entire exhibition. Bjørlo and Cronqvist explore, and render visible the loneliness, fragility, and sadness that pervade our modern existence.

The exhibition consists of paintings, prints, drawings, sculptures, and a room installation made spe-cifically for the exhibition by Bjørlo. In this installation, we are led into a room full of shattered glass, mirrors and industrially processed objects that resemble birds. The room is very brightly illuminated, intensifying the experience of a tense, disquieting mental state. Upon entering the room, visitors enco-unter Munch’s painting Angst (1894), which, like Bjørlo’s installations, depicts the theme of human loneliness and despair. Another of Munch’s paintings, The Smell of Death (1895) is accompanied by several abstract drawings, which the artist produced during the 1930s, when suffering from an eye infection. Bjørlo has chosen to include these and several other motifs because they pick up on the themes within his own works: angst, sickness, and vulnerability in often taboo-breaking material and highly expressive in form.

The exhibition’s central space serves as an important meeting point between Munch, Bjørlo and Cronqvist. Bjørlo’s abstract sculptures meet Cronqvist’s cast-bronze girl figures who pull faces in jest – or perhaps in earnest. On the end wall hang Cronqvist’s well-known motifs of young girls with their grotesque dolls. The encounter between the works highlights their similarities, in terms of both artistic style and motif, to Munch’s Four Girls in Åsgårdstrand (1903) and Two Girls with Blue Aprons (1904–05).

Lena Cronqvist exhibited frequently in Norway during the 1980s and 90s, but never before has there been an exhibition of such a broad selection of her works. It presents several of her early textiles and paintings from the 1970s, which process complex themes associated with love, motherhood and anxiety in a unique and direct way. At the time, they caused a sensation across the Nordic countries. Several paintings from this period are being lent by public and private collections, including the well-known work, Modern (The Mother, 1975). But in Cronqvist’s section of the exhibition, the themes of death and loss of close family members also relate closely to Munch. The painting Death in the Sickroom (1893) enters into dialogue with several of her paintings like Sjukbädden, Domens dag and Mamma och jag.

The specially produced exhibition catalogue looks at the two artists’ relationship to Munch, addressing the issue of using autobiographical experiences to create art. One central theme focuses on how things that are experienced as unpleasant and private can stir recognition and trigger self-reflection within the viewer.

HEAD BY HEAD – CRONQVIST | BJØRLO | MUNCH

Edvard Munch: Angst, 1894 (detail)

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Two of Scandinavia’s most important artists, Lena Cronqvist and Per Inge Bjørlo, come face to face with Edvard Munch and provide us with an insight into how the vulnerability and loneliness of the individual are something totally universal.

“I do not have enough imagination to paint things that do not involve myself,” says Lena Cronqvist in a low voice. She is standing in her studio on the Swedish island of Koster, where “the light is better than anywhere else.” Around her are paintings, sketches, ceramic figures, large canvases, small canvases, and brushes.

Cronqvist has just lead the way on her bike. Through forest, on a lane, past green fields. To the house where she lives each year from May to October.

She has made coffee – later she invites us for a bicycle ride and a swim – and shows us around the house. She inherited the place from her parents. At that time it was little more than a dilapidated log barn. Together with her late husband, the writer Göran Tunström, she had plans to convert it. She ended up doing this on her own while she was in mourning for her husband in 2000. “It was good to have something to keep me occupied.”

Cronqvist stops in the middle of the house, where she has preserved the barn from 1850, which was here when her parents bought the place. The house, which is built around the barn, is constructed according to Cronqvist’s own vision. Inside the barn stand her bronze figures of girls, making faces – the artist always knew that this place was the destined location for the five girls.

Autobiographical references. It is these bronze figures that can be seen this year at the Munch Museum, along with Cronqvist’s early textile works and colourful paintings, and not least, one of her most famous works, The Mother, in which she has painted herself as a Renaissance Madonna, with her aging mother in her arms like a doll, or perhaps as a child.

“I’d rather not interpret my own art, but all my works are based on myself and reflect what happens to me,” says Cronqvist. Little girls with side

partings or bows in their hair and faces expressing all sorts of other emotions are consistent in her paintings and sculptures. She painted her parents on their deathbeds and, in 1969, when she was pregnant and suffering from a psychosis and had to be hospitalised, she turned it into art: a series of paintings from the St. Jörgen Hospital in Gothenburg. “This series is about how you get treated in a mental hospital,” she says.

Together with Per Inge Bjørlo, she comes face to face with Munch in the exhibition, Head to Head, which reveals the importance of Edvard Munch’s art for these two artists.

An inner space. “The art I create is about things I carry with me. Everything comes from my own body,” says Bjørlo. We have travelled from the island of Koster to Hønefoss, where Bjørlo works in an abandoned, 400 sq. m. military camp. Inside a large hall, lined up on the floor, and in all shapes and sizes, are tons of what he calls “crows”. They are all made of steel, using parts that were originally produced for the oil industry. The Weight of Lungs and the Screech of Crows, a work about death, will be included in the exhibition.

FROM THEIR OWN BODIES

Lena CronqvistLena Cronqvist (b. 1938) grew up in Karlstad, and lives and works in Stockholm and on Koster.

For one year, she attended Konstfack in Stockholm, where her grandfather was once rector. She then chose to transfer to the Royal Academy of the Art in Stockholm.

Cronqvist made her breakthrough in the 1970s. Since then her exhibitions in the Nordic region and abroad have attracted great interest. Her most recent major solo exhibition was in Liljevalchs Konsthall in Stockholm in 2013.

Lena Cronqvist in her old barn. Photo: © Christina Skreiberg

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“I don’t know how long I can keep going. It’s hard, both physically and mentally,” he says, referring to his works, some of which are huge. Outside are large containers full of works created over the past 20–30 years. Next to him is the work Lungs, a two-metre-high stainless steel construction. Inside the room stands Five Burned: two-metre-high copper-coloured steel plates. Both works will be included in the exhibition. Around him are shelf after shelf of rubber, glass, reflective pieces, and steel structures. These are Bjørlo’s favourite materials, which he has consciously collected over several years, because they trigger something in him.

“They are materials I feel a kinship with. They release something in me,” he says. He has visited many factories to find them. Along the way, he has received help from “generous people who have trusted me.”

“I want to pay homage to everyday heroes: people who may not always be seen and appreciated. It makes a lot of sense not having to perform and be better than everyone else.”

Fragile. When Bjørlo talks about art, he often puts his hands to his head. Or stretches them out in front of him, gently, as if he is holding something fragile. This is reflected in Bjørlo’s art: the head or skull, and fragility. As a young boy he suffered a fracture of the skull during a football match, and spent weeks in a coma, followed by a long spell in hospital and a care centre.

“It affected me. But also strengthened me. Much of my art has refer-ences to that period,” he says. “I will not spend a lot of time explaining my works. But all of them contain references to things I carry inside myself.”

The encounter with Munch. Bjørlo’s first encounter with Munch was at the age of 19, when he saw Rasmus Meyer’s Munch collection in Bergen.

“It was a wonderful experience to travel to Bergen and to go to an art museum. The quality and strength of Munch’s oeuvre made an impression. I have great respect for his life’s work and ideas,” he says.

At the age of 18, when Cronqvist had just decided to become an artist, she went to Oslo to see a Munch exhibition at the National Gallery.

“It was an eye-opening experience. Something completely different from anything I had ever seen,” says the artist. “Is it really possible to paint such powerful images?, I thought. Munch has always been there, but that first encounter was an amazing experience,” she says. At the time, she was particularly taken with The Sick Child and The Day After. “Munch has been a vital source of inspiration. One of the greatest.”

The day after my visit to Hønefoss, I receive an SMS from Bjørlo, thank-ing me for my visit, at the same time emphasising: “The Western world is perishing in elegance, and artists must not forget the waste products that come from being human. Munch revealed a beautiful truth about this.”

Per Inge Bjørlo in his studio outside Hønefoss. Photo: © Christina Skreiberg

Per Inge Bjørlo Per Inge Bjørlo (b. 1952) grew up in Spjelkavik, and lives and works in Hønefoss.

Bjørlo is regarded as one of Norway’s most important living artists.

He studied at the Bergen School of Arts and Crafts and the National Art Academy.

Bjørlo made his breakthrough in 1984 at the Henie Onstad Art Centre. He represented Norway at the Sao Paulo Biennale in 1985 and the Venice Biennale in 1988. Since then he has exhibited to wide acclaim at home and abroad.

In 2011 he won the Critics’ Award for his solo exhibition at the Henie Onstad Art Centre.

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MUNCHMUSEET ON THE MOVE

The sound of singing rats, dance performances in the skate park and stories from Grønland, Kampen and Gamlebyen are some of the things you can experience as part of the contemporary art programme Munchmuseet on the Move.

Discover a variety of temporary art projects taking place in the borough of Old Oslo The art projects in 2017 will be presented in various temporary spaces in collaboration with different cultural institutions from the area through which the Munch Museum is moving on its way from Tøyen to Bjørvika.

In addition, exhibitions in Kunsthall Oslo will present Rolf E. Stenersen’s modernist art collection in new ways. The programme unites the Munch Museum and Stenersen collection’s work with contemporary art, leading up to the opening of the new museum in Bjørvika in 2020.

Photo: © Munch Museum (Rena Li)


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THE CONTEMPORARY ART PROGRAMME IN 2017

From Butter to Margarine– An interdisciplinary theatre performance

Grønland in the 1870s: in Miss Mathea Schøyen’s dairy shop, milk and gossip are exchanged across the counter. Up the hill, Oslo’s Aug. Pellerin Son & Co. Margarine Factory uses industrial techniques to manufacture a replacement for butter. The buildings that housed these activities were divided according to gender, class and mode of production. For each now listed building, theatre director Pernille Lindstad and co-curator Jenny Kinge have devised a cross-disciplinary performance in two acts.

Time: 16–19 FebruaryVenue: 1857 in Tøyenbekken 12 and Whitelight Theatre F in Borggata 9Curators: Jenny Kinge and Natalie Hope O’Donnell

Fall– Contemporary dance with sound/lighting design in the Skate Park

Have you ever experienced a performance that reflects the physical chal-lenges of a skate park? Now, in the Gamlefar concrete bowl in Gamlebyen, you can. Choreographer Martine Hammervold-Austinat, musician Annie Ava Fredheim, lighting designer Silje Grimstad and co-creative dancers Vigdis Langeggen, Kristine Stein Daughter Jensen and Vibeke Sæther invite audiences to this special dance performance.

Time: 30 March–1 April Venue: The Gamlebyen Sport og Fritid (GSF) Skate Park at Dyvekes Bridge, GamlebyenCurator: Natalie Hope O’Donnell

Chamber, Merete Røstad – Oral histories from the city of Oslo

Old Oslo is a fascinating place. Grønland, Kampen and Gamlebyen contain so many stories. The artist and KHiO research fellow Merete Røstad has been cycling around and collecting stories from local historical societies and others. In a purpose-built “chamber” outside the Munch Museum, the narratives will be retold as a sound installation with small sculptures as symbolic links to the stories. The chamber is also used for live readings during the run of the exhibition.

Time: 1 June–27 AugustVenue: Chamber outside the Munch Museum, TøyenCurator: Natalie Hope O’Donnell

Rats, Jana Winderen and nyMusikk– A sound piece based on communication between rats

Bjørvika has an enormous rat population and they communicate with each other in a frequency inaudible to humans. Artist Jana Winderen has created a new work based on the hypothesis that rats sing to each other. Winderen has collaborated with scientists to capture this communication. In colla-boration with nyMusikk, the sound installation will open during the Ultima Festival with a live performance and light show.

Time: September–October. See calendar page 57. Venue: Outoors at the Akerselva estuary in BjørvikaCurators: Anne Hilde Neset (nyMusikk) and Natalie Hope O’Donnell

Chamber, Merete Røstad

From Butter to Margarin, Pernille Lindstad

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EXHIBITION PROGRAMME KUNSTHALL OSLO 2017

The Imaginist Bauhaus9 December–27 February Discover works by the likes of Asger Jorn, Lucio Fontana, Ettore Sottsass and Karel Appel.

Rolf E. Stenersen was very interested in Asger Jorn and the CoBrA movement. But by the time Stenersen began collecting CoBrA artists such as Asger Jorn, Pierre Alechinsky, Karel Appel and Corneille, the group had disbanded, and they were all involved in a new movement – the Internati-

onal Movement for an Imaginist Bauhaus. Jorn was among the founders of the movement in response to the architect Max Bill’s recently started Bauhaus-inspired school in Germany, which Jorn felt excluded “free artists”. The Imaginist group enjoyed a brief, but extremely creative life (1954–57), bringing together an extraordinary bunch of international artists, whose works you will see in this exhibition.

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MUNCHMUSEET ON THE MOVE:• A four-year art project, in the area between Tøyen, Bjørvika and Ekeberg.• It will carry on the presentation of the Stenersen collection in collaboration with the

Kunsthall Oslo. Four annual exhibitions will place the collection in new contexts.

THE ROLF E. STENERSEN COLLECTION:• Donated to Aker Municipality (later Oslo) in 1936

Incorporated into the Munch Museum in 2010• To be located together with the Munch collection in the new museum in

Bjørvika in 2020• Artistic representative of the Munch Museum: Kari J. Brandtzæg

Kunsthall Oslo: Curator.Will Bradley, Elisabeth Byre, Øyvind Mellbye and Kathryn Wilson.

munchmuseet.no / kunsthalloslo.no

Ragna Bley11 March–21 May What would Rolf E. Stenersen have included in his collection today? He was a visionary collector who opted for many young and unknown names. The exhibition shows new paintings by Ragna Bley (b. 1986), one of the foremost painters of her generation. Bley is a graduate of the Art Academy in Oslo and the Royal College of Art in London.

Teddy Røwde10 June–20 August Gerd Ragna “Teddy” Røwde (1911–94) had a very distinctive profile in her time, and is one of the few female artists represented in the Stenersen Collection. The exhibition will present paintings from her early career, created during her travels through Norway, Europe and America during the 1930s and 40s. At this time Røwde’s art featured fascinating filigree work, filled with loads of detail. The exhibition is curated in collaboration with Christina Langaard Kjellevik.

The Lost Museum2 September–5 November The Stenersen collection will be scrutinised from outside, when the renowned curator Charles Esche of Van Abbe Museum in Eindhoven, Netherlands, is a guest. The Lost Museum will look at the Stenersen collection and other collections in Oslo, looking for works and objects, which in different ways came across as problematic in their time. Together they will form an alternative narrative, which will offer new perspectives on how we understand our own history.

When We Dead Awaken25 November–25 February 2018What will happen when contemporary artists are let loose on the Stenersen collection? When We Dead Awaken is also the title of Henrik Ibsen’s last play, which was first performed in 1900. Edvard Munch was convinced that it was he who had inspired Ibsen to write the play, after he had shown Ibsen the painting, Woman (in three stages). Three artists have been invited to work with the collection as a basis for new works.

Photo: © Munch Museum (Rena Li)

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EXPERIENCES FOR CHILDREN

EXPLORE ON YOUR OWNJoin an exciting picture hunt in the exhibition! Look for shapes, colours and other details in the pictures. Can you find all the details and put them in the

right place?

HOLIDAY ACTIVITIESOn certain holidays, we invite children

and families to workshops for inspiration and an opportunity to work creatively using new artistic techniques in the

company of professional practitioners. Some of the workshops are courses that require registration and some are open

courses where you can come and go as you please.

FAMILY SUNDAY WITH WORKSHOP

Treat your children to an unusual family experience. You are invited to Family

Sundays (see calendar p. 56–57), with a free, guided tour and workshop activity.

Here you will see your children’s creativity flourish. We create graphics, painting,

film, collage and lots more. Appropriate for children aged between 7 and 12.

SCHOOLS AND KINDERGARTENS

We welcome any schools and kindergartens wishing to visit the Museum.

Admission is free for students and teachers. For more information

and reservations, contact: [email protected].

The Cultural Satchel enables all 7 formers in Oslo schools to visit the Museum and

attend lectures, guided tours and workshops.

Photo: © Øystein Thorvaldsen and Vegard Kleven

mailto:[email protected]

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GUIDED TOURS AND OTHER ACTIVITIES

WHAT’S HAPPENING IN THE MUSEUM?Guided tours

Would you like to learn more about the current exhibition and works from our collection? A guided tour provides a unique insight into the art on display and the exhibition context, of which it is a part. The tours are led by knowledgeable communicators, who make art alive, interesting and topical. We can also organise private tours both within and outside the museum’s opening hours, catering for all age groups and occasions.

BabyScream

At home with the baby? BabyScream caters for fathers and mothers on leave who are in need of cultural refuelling. The tour is free when pur-chasing a ticket to the Museum. BabyScream 2017: 4.1, 1.2, 1.3, 5.4, 10.5, 7.6, 16.8, 30.8, 6.9, 4.10, 1.11 and 6.12.

Workshops

Want to challenge your creative side? Throughout the year, we offer a variety of inspirational and educational workshops for punters both young and old. Get an introduction to drawing, painting or graphics with family and friends. We can also organise workshops for special occasions.

Late Night

On the last Thursday of each month you are invited to visit the Museum in the evening. The evenings are adapted to the themes of the diffe-rent exhibitions and involve the likes of live music, guided tours, workshops and artist talks. The exhibition is open until 9.00 pm and Stockfleths serves drinks until 10.30 pm.

Lectures and seminars

We organise a series of lectures and seminars, in which we delve into the themes of the exhibitions. Acquire in-depth knowledge of each exhibition via lectures and talks by curators and artists.

The Waterfront Ideas

Follow our Waterfront Ideas debate series, in which various professionals meet to discuss cur-rent societal issues. The Debate series is a col-laborative project between the Munch Museum and Deloitte Norway.

thewaterfront.no

Audio Guides

Would you like to learn more about the artworks you see? The Museum’s audio guides provide you with in-depth insight into an exhibition’s theme.

Film programme

Enjoy some time in the film theatre before visi-ting the exhibition. During the Museum’s opening hours, we screen a varied programme of films about Edvard Munch’s life and works.

Chamber Music Concerts by the Oslo Philharmonic Orchestra

Enjoy one of the Oslo Philharmonic Orchestra’s chamber concerts, performed in the Museum’s festival hall. The concerts are a unique oppor-tunity to combine several artistic experiences on selected Saturdays.

For more information about the various activities, visit munchmuseet.no


Photo: © Munchmuseet

Photo: © Øystein Thorvaldsen

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THE MUNCH MUSEUM

Edvard Munch spent his last years at Ekely in Oslo, where he had his studio. It was here that he painted some of his most iconic works, including Starry Night, The Dance of Life and Vampire in the Forest.

When Munch bought Ekely he was already a highly acclaimed and affluent artist. In what used to be a plant nursery in Skøyen on the outskirts of Oslo, the artist finally found somewhere that provided enough space for him to work and paint. The favourable working conditions on the 45-acre site at Ekely are reflected in the artist’s prolific and highly colourful output of works during his time there.

Munch left several of his paintings hanging outside – all year round –protected only by small shed roofs. The artist loved the idea of a continuous exhibition of his works: they served as a source of inspiration for future work. Munch’s works from this period drew inspiration from the nearby surroundings. He painted the lushness of the natural environment, the changing of the seasons from summer to autumn, winter to spring, fields being ploughed by horses, crops being harvested, the apple orchard and the forest of old Scotch elm trees. The paintings of the winter night and the red barn are among some of Munch’s best known works from this location.

Ekely was Munch’s home until his death. Today, all that remains from the time Munch resided there is the winter studio.

During the summer months you can visit the winter studio at Ekely and experience it as it was during Munch’s time. A documentary exhibition using reproductions, photographs, and films is open to the public each weekend.

We welcome you to take an extra peek into the world of Munch!

EXPERIENCE EDVARD MUNCH’S STUDIO

Times: Every Saturday and Sunday from 27th May to 24th SeptemberVenue: Edvard Munch’s studio at Ekely, Jarlsborgveien 14For more information about guided tours and transport, please visit munchmuseet.no/ekely

Edvard Munch in his winter studio at Ekely, ca. 1930. Photo: Henriksen & Steen

From the exhibition in the winter studio. Photo: © Philip Messmann

The entrance for the winter studio. © Philip Messmann

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Proud sponsor since 1991

Knelende kvinne , akva rell, 1921

Stolt sponsor av Munchmuseet

Munchs cirka 8.000 tegninger er en skatt de færreste kjenner til. En nettbasert, komplett verkskatalog og en praktbok med et bredt utvalg av tegninger vil gjøre denne viktige delen av Munchs kunstnerskap kjent for et stort publikum, og bli et uvurderlig verktøy for forskere over hele verden. Bergesenstiftelsen gjør realiseringen av prosjektet mulig.

Edvard Munch:

Edvard Munch’s approximately 8,000 drawings are a treasure very few are aware of. A complete internet based catalogue raisonné and exclusive book containing a broad selection of drawings will make this important part of Munch’s oeuvre known to a large public and become an invaluable tool for researchers around the world. Bergesenstiftelsen has made it possible to realise the project.

Edvard Munch: At the Grand Cafe, 1889

Proud sponsor of the Munch Museum

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The Munch Museum, Thon Hotels and Color Line cooperate to strengthen interest in Edvard Munch’s art. Book your travel, accomondation and tickets to the museum at Thon Hotels and Color Line.

munchmuseet.no | colorline.com | thonhotels.com

EXPERIENCE EDVARD MUNCH

THE MUNCH MUSEUM’S INTERNATIONAL ACTIVITIESThe Museum’s main international focus in 2017 involves working with two of the most significant museums in the United States: the San Francisco Museum of Modern Art and the Metropolitan Museum of Art in New York . The exhibition will include an astute selection of around fifty of Munch’s most significant paintings in an effort to show why Munch may be regarded as one of the most prominent modern artists . The exhibition is a successor to two other Munch exhibitions, which helped to renew interest in his art in the United States – Munch and Expressionism at the Neue Galerie in New York and Jasper Johns and Edvard Munch. Inspiration and Transformation at the Virginia Museum of Fine Arts: an exhibition which began at the Munch Museum in 2016 . Another of the Museum’s exhibitions, that will also go on tour abroad, is Jorn+Munch, which will transfer to Museum Jorn in Silkeborg in 2017 .

Edvard Munch: Red Virginia Creeper, 1898–1900 (detail)

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THE MUNCH MUSEUM INTERNATIONAL ACTIVITIES

Period: SFMOMA 24th June–23rd September, and MET 30th October–29th January 2018Venue: SFMOMA and MET More information: sfmoma.org and metmuseum.org

San Francisco Museum of Modern Art (SFMOMA) has partnered up with the Metropolitan Museum of Art (MET) and the Munch Museum to show Edvard Munch’s art in the USA. The exhibition Edvard Munch: Between the Clock and the Bed brings together Munch’s most candid and technically daring compositions to reveal a truly singular modern painter.

This focused reappraisal of the Norwegian master uses the artist’s late paintings, specifically the remarkable Self-portrait. Between the Clock and the Bed, 1940–43 – from which the exhibition takes its title – as a lens through which to view his career, one that places him among the seminal figures of modernism in the twentieth century. Widely regarded as Munch’s most candid commentary on his life’s work, this picture serves as the touchstone, and guide, for the selection of approximately 40 pictures in the exhibition that range from the 1880s to the 1940s. He was not only steeped in the art, literature, theatre, and music of that time, but also repeatedly returned to the events of his life and the art he had created in the decades before his retreat to Ekely. Major themes and motifs of Munch’s last paintings can often be traced back to his early work.

The exhibition is curated by Gary Garrels, Elise S. Haas Senior Curator of Painting and Sculpture at SFMOMA; Jon-Ove Steihaug, Senior Curator at the Munch Museum; and Sheena Wagstaff, Leonard A. Lauder Chairman of the Department of Modern and Contemporary Art at the Met. A fully illustrated catalogue will be published by the Met and distributed by Yale University Press

Edvard Munch goes on a mini tour of the USA, and will be shown in San Francisco for the first time in more than sixty years.

EDVARD MUNCH: BETWEEN THE CLOCK AND THE BED SFMOMA AND MET

Edvard Munch: Eye in Eye, 1899–1900

Edvard Munch: Self-portrait. Between the Clock and the Bed, 1940–43. (detail)

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JORN+MUNCH

Period: 11th February–28th MayVenue: Museum Jorn, Silkeborg, DenmarkFor more information visit: http://www.museumjorn.dk/da/

After running at the Munch Museum in autumn 2016, the exhibition will transfer to Museum Jorn in spring 2017.

For the very first time, Jorn+Munch brings together two of the greatest painters in Scandinavia. You will learn more about Edvard Munch’s later paintings, dating from the early 20th century, and about Munch’s significance for the Danish artist, Asger Jorn (1914–73).

Edvard Munch was one of Jorn’s great sources of inspiration. In 1945, following the armistice, the 30-year-old Asger Jorn travelled to Oslo to see a comprehensive Edvard Munch retrospective in the National Gallery. The exhibition mainly featured works from the later period of Munch’s artistic career. Jorn was already familiar with Munch’s earlier art, but his encounter with Munch’s later works surprised, and made a huge impression on the young Danish artist.

In Munch’s later works, Jorn discovered a painter with a direct, spontaneous and intense expression. The expression deeply affected the young artist, who at the time was very much influenced by the spontaneous painting of Surrealism. Jorn was particularly fascinated by Munch’s emphatic use of colour and his direct, liberated way of painting in the works of the early 20th century.

The artistic freedom, which Jorn discovered in Munch, is the principal theme of the exhibition, Jorn+Munch. Munch and Jorn were both interested in the condition of mankind in modern society, and the exhibition reveals how their work is related. Both artists tackled such major issues as life, death, fear and dreams: themes, which are still hugely relevant today.

The curators of the exhibition are Oda Wildhagen Gjessing and Karen Friis Herbsleb from Museum Jorn. Wildhagen Gjessing is also the editor of the exhibition catalogue, published by the Munch Museum to accompany the exhibition.

The exhibition Jorn+Munch is a collaboration between the Munch Museum and Museum Jorn in Silkeborg, Denmark

Edvard Munch: Model by the Wicker Chair, 1919–21

Edvard Munch: Children in the Street, 1910–15 (detail)

Asger Jorn: The Whisper, 1971. © Donation Jorn, Silkeborg

MUSEUM JORN

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Hvitsten, Norway RAMME BILLEDGALLERI Ramme Billedgalleri’s permanent collection20th April–1st December 2019

Edvard Munch: Bathing Man, 1918 (detail)

Haarlem, NetherlandsHET DOLHUYSThe Malleable Self1st December 2016–1st March

Edvard Munch: By the Deathbed, 1896 (detail)

Paris, France MUSEE MARMOTTAN MONET Hodler/Monet/Munch15th September 2016–22nd January

Edvard Munch: New Snow in the Avenue, 1906 (detail)

Brussels, BelgiumCENTRE FOR FINE ARTSThe Power of the Avant-Garde29th September 2016–22nd January

Edvard Munch: Käte Perls, 1913 (detail)

Bonn, GermanyKUNSTMUSEUM BONN The Uncanny Home20th October 2016–29th January

Edvard Munch: Death in the Sickroom, 1893 (detail)

Toronto, CanadaART GALLERY OF ONTARTIO Mystical Landscapes: Masterpieces from Monet, Van Gogh and more22nd October 2016–29th January

Edvard Munch: Starry Night, 1922–24 (detail)

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Richmond, VA, USAVIRGINIA MUSEUM OF FINE ARTSJasper Johns and Edvard Munch: Love, Loss, and the Cycle of Life12th November 2016–20th February

Edvard Munch: Self-portrait. Between the Clock and the Bed, 1940–43 (detail)

Frankfurt am Main, GermanySTÄDEL MUSEUMBattle of the Sexes23rd November 2016–19th March

Edvard Munch: Metabolism, 1898–99 (detail)

Copenhagen, Danmark NATIONAL GALLERY OF DENMARKJapanomania 1875–1918 19th January–23rd April

Edvard Munch: Summer Night. The Voice, 1896 (detail)

Martigny, SwitzerlandFONDATION PIERRE GIANADDAHodler / Monet / Munch3rd February–11th June

Edvard Munch: The Sun, 1912 (detail)

Paris, FranceMUSEE D’ORSAYBeyond Stars. The Mystical Landscape from Monet to Kandinsky14th March–25th June

Edvard Munch: Despair, 1894 (detail)

Turin, Italy CASTELLO DI RIVOLI, MUSEO D’ARTE CONTEMPORANEAColori14th March–23rd July

Edvard Munch: Ingeborg with her Arms Behind her Back, 1912–13 (detail)

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RESEARCHResearch is a cornerstone of the Munch Museum’s exhibiti-ons, dissemination and collection management . The Museum is currently working on several basic research projects rela-ted to our own collection . For example, we are in the process of finalising a comprehensive catalogue project of Munch’s almost eight thousand drawings, and engaged in a project to catalogue Munch’s texts – a large number of which are already available on the Museum’s website as eMunch . One of the Conservation Department’s main tasks is to generate new knowledge about Munch’s materials and painting techniques and to use existing knowledge to develop new treatments .

Photo: © Munch Museum

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RESEARCH

Edvard Munch was at the forefront of Modernism’s experimentation with painting materials and techniques: ‘My pictures seem to need a bit of sunshine, some dirt, and a little rain to bring about the colour harmony’. This uniqueness in Munch’s exploration of painted surfaces can today be translated into several preservation challenges, which are investigated by the Munch Museum’s Conservation Department in partnership with an international network of researchers. Conservation and research are central to the Munch Museum’s role as the international reference for Munch’s art.

The Conservation Department brings together a multi-disciplinary team with knowledge of paintings and paper conservation, scientific research and expert mounting and framing techniques. It facilitates a busy programme of exhibitions and loans and advises on environmental controls, travel, packing, and installation needs. In addition, it studies the collection to better understand Munch’s use of materials and painting techniques as well as the deterioration phenomena that now affect these artworks. All these activities support a programme of preventive and treatment-based conservation measures which seeks to reveal the collection to a worldwide audience and preserve it for future generations.

With the inclusion of the Rolf E. Stenersen Collection in the care of the Munch Museum, the scope of research in conservation has greatly expanded. With a large number of paintings and works on paper added to the Museum’s collection, new conservation challenges begin to emerge which will be investigated. This is an exciting task which further strengthens the Museum’s role as a pivotal organisation for art in Europe as well as its expert custodianship of Munch’s legacy.

Gaining knowledge of Munch’s use of painting materials and techniques is a key objective for the Munch Museum, which is in a unique position to explore this subject as its collection includes 897 paint tubes used by Munch, as well as several original palettes. A database of these materials is being developed, with paint samples being investigated in collaboration with The University of Delaware, The Paul Scherrer Institute in Switzerland as well as research partners in Belgium and Italy. The Munch Tubes Pro-ject will be a significant contribution to the Museum’s efforts to safeguard and add to the knowledge about Munch’s work and the ongoing chemical and physical deterioration of fragile paintings in the collection. This is an essential prerequisite for developing new conservation strategies and a better art historical understanding of the collection.

What are the challenges in preserving the collection?

Cleaning Munch’s paintingsCleaning paintings’ surfaces is a traditional conservation treatment that prevents the accumulation of dust and dirt when displaying artworks to the public. Such treatments are necessary to improve the presentation of the collection and to reduce the risk of damage. The approach to conser-vation at the Munch Museum is based on minimal intervention, but it also reflects the unique nature of the collection, which brings together the work of one single artist, encompassing the multiple periods of his lifetime and documenting his experimentation with various materials and techniques.

Cleaning these paintings is also associated with the concept of the kill-or-cure remedy, where Munch’s handling of his works could be perceived as deliberately having left paintings outdoors so that the elements could play an active part in the creation of his artworks. Although it is documented that Munch painted and stored some of his artworks outdoors, it is unclear which paintings were subjected to this and to what extent. Nevertheless, this has left many paintings in a fragile condition, with tears and holes, sand, seeds, water stains, and bird droppings. Some of these elements are of art historical interest and therefore merit preservation. This sets the treat-ment of Munch’s art apart from most artists’. Cleaning them is a complex and multi-disciplinary task and involves the understanding of the history of each painting as well as their context. Driven by the latest advances in conservation science, the cleaning of the collection is also supported by an independent team of experts that ensures that Munch’s complex painted surfaces are understood and continue to be accessible to the public.

Investigating Munch’s canvases The presence of white powdery crystals on some of Munch’s works painted on cotton canvases is intriguing. These sulphur-based crystals can disrupt the paint layers and are a preservation concern.

No records exist of how Munch prepared his canvases. Some industrial recipes from the 19th century could give possible clues: for example, cotton tents were treated for water resistance and mould growth, whereas stiffen-ing cotton textiles included preparing them with liquid sulphur. However, outdoor pollution during Munch’s lifetime could also be a factor. Munch painted and stored many of his paintings in outdoor studios as industrial pollution in Norway reached high levels at the end of the 19th century. Due to the good availability of wood and water several pulp mills were founded near where Munch lived. These industries used sulphate-based production methods. Also, coal heated houses and the local ferry services (where coal ovens were running up to the 1930s) were potential sources of sulphur pollution. Air and water pollution concerns were reported at the time and, although levels were later reduced, their effects may still be affecting the Museum’s collection today.

The Munch Museum, in partnership with an international team of sci-entific researchers, continues to investigate these phenomena. Not only will this help the Conservation Department understand the causes of dete-rioration to the collection but it will guide the Museum and other Munch collectors in developing new conservation strategies.

STUDYING MUNCH’S COLLECTION

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RESEARCH

Improving the care of the collection Developing optimum storage and display conditions in the Museum is a central task of the Conservation Department as it works to reduce the rate of decay to objects and the necessity for treatment. With the support of UNI Foundation, the Museum has initiated a three-year project to upgrade the storage conditions of its prints and drawings collection. The project bene-fits from the latest advances in paper technology and will replace old acid materials with new conservation-grade archive folders. In preparation for the move to the new Munch Museum in Bjørvika, this initiative will safeguard an important part of the collection and ensure its optimal long-term storage.

Gaining knowledge of Munch’s use of painting materials and techniques is a key objective for the Munch Museum

Painting conservator Terje Syversen consolidating Sleepless Night: Self-portrait in Inner Turmoil. Photo: © Munch Museum

Paper conservator Anne Peel in the storage room. Photo: © Munch Museum

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RESEARCH

Munch’s drawings are a treasure few people know. But now, after three years of research work, you can explore the artist’s unseen universe.

Edvard Munch drew all the time. Almost anywhere: when travelling, at a café, outdoors, at home, in the studio. The drawings are the foundation of Munch’s art. Here we come close to the artist, the man and his environ-ment. He drew everything around him: family, children, friends, workers, citizens, bohemians, mermaids and madonnas. His line was effortless, impulsive and casual.

The vast majority of the abundant drawings has hitherto been unknown to the public: until recently. To celebrate Edvard Munch’s birthday in December 2016, an online direc-tory was launched. Now anyone who wants to can discover Munch’s drawings.

Dream. The work has been an extensive process and lasted a number of years. This was thanks to support from the Bergesen Foundation, which fully financed the project.

“For a long time, I had a dream of being able to work on this project with a team of art historians with expertise in Munch’s drawings,” says Magne Bru-teig, the Munch Museum’s chief curator of prints and drawings. “Because paper is so light-sensitive that it cannot be displayed as often as Munch’s paintings, much of this material has not been shown before,” says Bruteig. When the project is completed, he and his team will have worked for three years. In 2017 a magnificent book with a wide selection of drawings will be published, and the project will finally result in an exhibition in the new Munch Museum.

Comprehensive. Bruteig and his team of professio-nals have worked systematically on drawings that have been kept under very good conditions in climate-con-trolled storerooms in the museum. They took them out one by one, and recorded the facts: the height of each drawing, its width, paper thickness and quality, whet-her it is drawn with pen, crayon or watercolour. Then they looked for titles, signature and dating – something they found on very few.

Efforts to arrive at the year, when each drawing was produced, have been extensive. “Munch often dated his childhood and adolescent drawings, but

rarely afterwards,” says Bruteig. To arrive at the correct, or almost correct, year they looked at compara-

ble work: other drawings, paintings or prints that give an indication of when a work was drawn. They also tried to find out who Munch drew, because this also gives some indication about the period.

“Munch had many regular models, and we know who some of them were, but it has not been an easy task to recognise faces in the drawings. There are still 500 of the around 7,500 drawings with an uncertain dating,” Bruteig says.

“Most drawings are part of the Munch Museum’s collection. About 600 of them are owned by private individuals or by other museums, but they are also part of the cataloguing process, which will provide an overview of Munch’s total drawing output.”

MORE THAN 7,500 MUNCH DRAWINGS MADE AVAILABLE TO THE PUBLIC

Edvard Munch: Fighting Bureaucracy. Self-portrait, 1930s, pen on paper

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Milestone. The drawings are the only important part of Munch’s artistic production, which, until now, has not been available to a wide audience. Completing work on the project is an important milestone, just like the cataloguing of Munch’s graphic works (2001), his paintings (2009) and the online publication of his writings (2010).

In Edvard Munch’s case, it is of particular interest to collate the drawings and sketches, because very many of his later motifs first saw the light of day in this form. In the online catalogue, each work will be represented by illustration and title, together with information about dating, dimensions, technique, registration numbers, inscriptions, scenes and the like.

Voyage of discovery. In recent years there has been consensus internatio-nally that public collections should be as accessible as possible, including on-line, to enhance the accessibility of the art. In the Museum’s online catalogue, all files having a so-called free, non-commercial licence, which means that anyone who wants can download files for non-commercial purposes. In the online catalogue, the public will also find links to other related works, such as drawings, graphics or paintings with similar motifs or from the same period.

Invaluable tool. “Until now, researchers and Munch experts around the world have not had the opportunity to work actively on the drawings, because they have not had access to them unless they visit the Museum. Now they can get a whole oeuvre, which they can research from anywhere. We hope it will lead to increased interest in, and research into this important part of his oeuvre,” says Bruteig. “I also hope the public will enjoy delving into this extensive material.”

SEE ALSO e.Munch.no, a digital collection of Edvard Munch’s texts and correspondence. Original texts from a period of 70 years, some translated into English.

Edvard Munch: Angst, 1896, brush, watercolour and pencil on paper

Edvard Munch: Standing Male Nude, ca. 1920, watercolour and crayon on paper

http://e.munch.no/

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RESEARCH

The Bergesen Foundation has fully funded the Munch Museum’s extensive efforts to catalogue and digitise Munch’s abundant production of sketches and drawings. “This is one of the most wonderful donations we have ever given.”

“It is important to us that our support leads to something that would other-wise be difficult to achieve,” says Ole Jacob Bull, General Manager of the Bergesen Foundation. He has invited us to Villa Bergehus at Skarpsno in Oslo: a venerable old white villa, dating from the early 1800s. A sculpture made by Gustav Vigeland stands in the entrance area, and there is art on the walls. The property was once the offices of the shipowner Sigval Bergesen Junior, who established the Foundation in 1975.

Diversity. Today it is an independent Foundation with a board, which every year gives out funding for cultural and humanitarian purposes. The Foun-dation supports philanthropic projects, which are “not usually dealt with by state funding” and “particularly favours cultural and humanitarian tasks”, according to the statutes. Within this framework, the range is huge: an urban beekeeping project at Bygdøy; health care for people without papers; the Miniøya Children’s Festival; a brand new lifeboat for the National Rescue Association. Last but not least, the Foundation has given a grant to the Munch Museum to the tune of NOK 12 million, earmarked for the effort to catalogue and digitise the 7,500+ drawings, which Edvard Munch created.

“It is a treasure chest, which is important to preserve, especially because Munch’s sketches and drawings formed the basis for his prints and paint-ings,” says Jan-Fredrik Wilhelmsen, Chairman of the Bergesen Foundation.

– MUNCH DESERVES IT

Jan-Fredrik Wilhelmsen, Chairman of the Bergesen FoundationOle Jacob Bull, General Manager of the Bergesen Foundation

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Munch. Awards from the Foundation are mainly given on the basis of an ever-increasing number of applications. But the Foundation also donates them on its own initiative. In 2013, on the occasion of Edvard Munch’s 150th anniversary, the Foundation contacted the Munch Museum, where they agreed to find an objective that was a priority for the Museum. The Foun-dation was informed of the Museum’s strong desire to catalogue and digitise Munch’s drawings and sketches, and to make them available to the public.

“The research that forms the basis of this project will safeguard Munch’s heritage, and help make him more known to the public abroad as well. It will also complete the cataloguing of the Munch collections. It is fully in line with the Foundation’s purpose,” says Bull. “It is hugely important to preserve and show off this cultural treasure. Munch deserves it,” says Wilhelmsen.

A wonderful donation. Many of Munch’s drawings have been exhibited both in special exhibitions and as part of other exhibitions, but until now the vast majority of the drawings have been unknown to both researchers and the general art-loving public.

“This is one of the most wonderful donations we have ever given. It was something the Museum wanted passionately, and we have received enormous gratitude,” says Wilhelmsen, a lawyer and former judge. He has visited the Museum several times during the work process. “The Museum has been so thrilled. We have given them the opportunity to do a job they have been longing to do, but for which they never had the funding,” says Wilhelmsen. The donation of NOK 12 million, which fully financed the pro-ject, is the second-largest donation the Foundation has ever given.

Honorary Award. Over the last fifteen years the Foundation has donated a total of NOK 230 million to various projects. Approximately 60% has been donated to culture, and 40% to humanitarian projects. Every two years they

award the Bergesen Prize, an honorary award given to a person or institution that has done outstanding work in the field of charitable activities. The prize has been awarded to the artist duo Karpe Diem for their outstanding contri-bution to the integration of different youth cultures through their music; and in 2014 it was awarded to Faten Mahdi Al-Hussaini, for her efforts in giving a face and a voice to resistance to recruitment to extremist religious groups.

Benefits many people. The Foundation has supported medical initiatives including a palliative hospital for children and research into the relationship between diet and cancer. They have also supported the creation of an open-air hospital in woodland near the National Hospital in Oslo. “We were the first to support the open-air hospital. Others followed. We like being a ‘midwife’ to such projects – a first mover,” says Wilhelmsen.

He also highlights the Activity Cards for children and young people under the aegis of the Salvation Army. The cards help several children in Oslo to participate in activities that cost money. Then there is ‘Operation Wood’, which helps elderly and disadvantaged people to keep warm during the winter. “The positive effect of such initiatives is huge,” says Wilhelmsen.

Commitment. For the Foundation’s Board of Directors, the work is uplifting and rewarding. “We get a glimpse of what is happening in the worlds of art and culture, and the contribution people make by volunteering throughout the country. It is impressive to see how committed Norwegians are,” says Jan-Fredrik Wilhelmsen, who has been Chairman for the past few years.

“It is said that we Norwegians only think of ourselves. But I don’t think that’s true. There is more life and commitment out there than I was ever aware of,” he concludes.

Edvard Munch: Une Charogne. Illustrations for Charles Baudelaire’s Les Fleurs du Mal, 1896

How often have you followed a debate in Norway, only to come away thinking: “What a waste of time – I didn’t learn anything new, it was just the same old people beating each other over the head with the same old arguments”?

Social debates tend to be dominated by political interests or by special interest groups with strong arguments. The cultural and business sectors often pull out of the debate, or refrain from participating, for whatever reason. It is a relatively rare occurrence that we hear extremely controversial views or groundbreaking, new – and possibly dangerous – ideas. Many debates stick to a well-worn and safe track, with familiar voices spouting familiar arguments.

the Munch Museum and the Deloitte building in Oslo. The events are open to anyone who wishes to attend, and more detailed information is provided under the individual event on www.thewaterfront.no or Facebook/The Waterfront Ideas.

8 February, 24 April, 10 August, 27 September and 15 November 2017

thewaterfront.no #twideasPhoto: © Stian Schioldborg / Magenta Studios

The arrangements are subject to change. For further information: munchmuseet.no WelcomePhoto: © Trygve Indrelid

Chamber Music at the Munch Museum 2017SATURDAY 18/2

Wolfgang Amadeus Mozart:Piano Quartet in G minor, K. 478 Robert Schumann: Piano Quartet in E flat major, op. 47 Eileen Siegel, Violin Henninge Landaas, Viola Kari Ravnan, Cello Alex Taylor, Piano

SATURDAY 4/3

Ludwig van Beethoven:Chamber music with Piano and Wind InstrumentsGonzalo Moreno, Piano Tom Ottar Andreassen, FluteGaetan Schwab, Oboe Fredrik Fors, Clarinet Inger Besserudhagen, HornRoman Reznik, Bassoon

SATURDAY 1/4

Wolfgang Amadeus Mozart: Trio for Piano, Violin and Cello in G major, K. 564 1. Allegro 2. Theme and variations 3. Allegretto Maurice Ravel Trio for Piano, Violin and Cello 1. Modéré 2. Pantoum 3. Passacaille 4. Animé Dagny Bakken, Violin Alex Taylor, PianoKatharina Hager-Saltnes, Cello

SATURDAY 20/5

Franz Schubert:String Quartet No. 14, ‘Death and the Maiden’ Aleksandre Khatiskatsi, Violin Svein Skretting, ViolinBénédicte Royer, ViolaKatharina Hager-Saltnes, Cello

SATURDAY 16/9

Siegfried Strohbach: Fanfare für Rüdiger Igor Stravinsky: L’Histoire du soldat (suite)Leah Meredith, Violin Tuomo Savolainen, Double Bass Fredrik Fors, Clarinet Per Hannisdal, Bassoon Brynjar Kolbergsrud, Cornet Terje Midtgård, Trombone

SATURDAY 7/10

Arnold Schönberg: String Trio, op. 45 Terje Tønnesen, Violin Catherine Bullock, Violin Louisa Tuck, Cello

Wolfgang Amadeus Mozart: String Quintet in E flat major, K. 614 Terje Tønnesen, Violin Elise Båtnes, Violin Catherine Bullock, Viola Henninge Landaas, Viola Louisa Tuck, Cello

SATURDAY 4/11

Johannes Brahms:Clarinet Quintet in B minorPierre Xhonneux, Clarinet Ingeborg Fimreite and Alison Rayner, Violin Catherine Bullock, Viola Louisa Tuck, Cello

SATURDAY 2/12

Jacques Ibert“Trois pièces brèves” I AllegroII AndanteIII Assez lent – Allegro scherzando

Darius Milhaud“La cheminée du roi René”, op. 205 I CortègeII AubadeIII JongleursIV La MalousingladeV Joutes sur l’ArcVI Chasse a ValabreVII Madrigal nocturne

Paul Taffanel“Quintette pour instruments à vent” 22’I Allegro con motoII AndanteIII Vivace

Oslo Philharmonic Wind QuintetFin de siècleHelen Benson, FluteDavid Friedemann Strunck, OboePierre Xhonneux, ClarinetLinn Ringstad, BassoonHongpark Kim, horn

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MUNCH IN NORWAY

FOLLOW IN MUNCH’S FOOTSTEPS – IN NORWAY

1 Åsgårdstrand

A visit to Munch’s house provides you with a close-up experience of Munch the person. The museum is the only one of Munch’s homes that has been fully preserved. Whether taking a guided tour or just strolling around the landscape surrounding the museum and old Åsgårdstrand, visitors will recognise several of Munch’s motifs. These include: The Girls on the Bridge, Melancholy, Four Girls in Åsgårdstrand and more. www.munchshus.no

2 Kragerø

Join the ‘In the Footsteps of Munch’ guided tour and discover where Munch painted masterpieces such as The Sun, History, Galloping Horse and Workers in Snow. Learn about Munch’s home life, and how he lived and worked during this particularly optimistic and productive period of his life. Munch himself described Kragerø as the pearl among all costal towns. www.munchikragerø.no

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Vestby (Hvitsten)

Horten (Åsgårdstrand)

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Illustration: Melkeveien designkontor as

During his long life, Edvard Munch lived and worked in several places in Norway and abroad. In a quest for new inspiration, he constantly moved from place to place. Today, the Munch Sites in Norway total eight towns and villages. If you are interested in learning more about Munch’s life, we recommend a visit to, or a trip around these places. Along the way, you will come face to face with many of the most recognised and impressive subjects, which Munch used in his works.

Edvard Munch: The Sun, 1912–13Edvard Munch’s house in Åsgårdstrand.

http://www.xn--munchikrager-6jb.no/

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MUNCH IN NORWAY

3 Moss

In Moss, you can walk in Munch’s footsteps by following a trail dotted with information posts that describe Munch’s art dating from the period he lived in the town. Several of these information posts are located in places recognisable from the paintings. www.visitoslofjord.no/no/Moss/Edvard-Munch-og-Moss/

5 Løten

Visit the Munch Centre at Edvard Munch’s birthplace. The exhibitions here focus on the young Munch. Listen to the letters penned by Munch to his father and aunt during his visits to Løten; read the correspondence between the members of the Munch family and their friends; and experiment with face painting as Munch himself did.

Also visit the Munch trail with its five information posts located at places associated with Edvard Munch and his family. The trail begins at the Munch Centre and is accessible all year round. www.loten.kommune.no

4 Fredrikstad

Visit six sites with ties to Edvard Munch’s family. The trail begins in Isegran, continues through Blomstertorget to Storgata 26, and then on to Glemmen Church, where Munch’s parents were married. The next stop is Old Glemmen Church, with the family plot where his mother’s ancestors are buried. The trail ends at the piers in Hankø. Each of the sites has an information board where you can read more about the history of the site. www.munchfredrikstad.no

6 Vågå

At Vågå, you can join the Munch trail. The trail consists of three stops. At each of them you can listen to an episode of the radio play, Oldemors portrett. Stand under the sound shower and become better acquainted with Edvard Munch. You can also visit the vicarage, where Munch’s family lived for 80 years. www.munchivaga.no/

Portrait photograph of Karen Bjølstad. Unknown photographer. The Munch Museum archives.

In the footsteps of Munch in Moss. Photo © Lasse Jacobsen

Vågå Vicarage, 2014. Photo: © Roar Strand

The Munch Centre.

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PUBLICATIONS

PUBLICATIONS FROM THE MUNCH MUSEUM 2016–2017

JOHNS+MUNCH

Written by John Ravenal

Virginia Museum of Fine Arts in

cooperation with the Munch

Museum, 2016 This groundbreaking publication is the first to describe precisely how and when Jasper Johns began to explore Edvard Munch’s imagery and ideas. At the same time, it takes a comprehen-sive view of each artist’s career, giving readers a deeper understanding of Johns’s connection to his predecessor. Through new scholarship and copious illustrations, Ravenal makes the persua-sive case that Munch should be considered one of the catalysts for the sea change that occurred in Johns’s art of the early 1980s. Johns+Munch is a rich study exploring the connections, creative processes, and themes shared by two world- renowned artists.

JORN+MUNCH

Texts by Oda Wildhagen Gjessing

(ed.), Stian Grøgaard, Gerd

Presler & Knut Stene-Johansen.

The Munch Museum and

Mercatorfonds, 2016 In 1945 Asger Jorn travelled to Oslo and saw a large-scale exhibition of Edvard Munch’s work. The show was an artistic revelation, and would influence Jorn’s painterly explorations for decades to come.

Jorn’s relationship to Munch is examined in depth in Jorn+Munch. This catalogue gives a fascina-ting presentation of an artistic kinship between the artists in terms of painterly methods, themes and subject matter. There are 190 photos of the artists and their colourful works included in this catalogue, gracefully designed by Snøhetta.

PROFANITIES ON DRY BREAD

Quotes by Edvard Munch

Munch Museum, 2016 “I am getting regular Commissions so it is quite different than living on starvation wages in Nor-way where one is served Profanities as well – Profanities on dry Bread,” Edvard Munch wrote to his beloved aunt Karen from Berlin in 1906. Munch wrote continuously: letters, diaries, literary texts and other notes. In Profanities on dry Bread you will find striking statements about art versus nature, enemies, money and much more.

EMMA AND EDVARD LOOKING SIDEWAYS

Mieke Bal

The Munch Museum and

Mercatorfonds, 2017 The Dutch cultural theorist and art historian Mieke Bal explores the cinematic aspect of Munch’s art by combining contemporary art theory with her own idiosyncratic way of looking at art – directly and closely. Mieke Bal explores Edvard Munch’s modernity by bringing his work into dialogue with the contemporary video work Madame B by Mieke Bal & Michelle Williams Gamaker, which is a modern interpretation of Gustave Flaubert’s ground-breaking novel Madame Bovary (1856).

ON MUNCH

Karl Ove Knausgård

Oktober Publishing in cooperation

with the Munch Museum, 2017 In spring 2017 Karl Ove Knausgård is curating a large Edvard Munch exhibition at the Munch Museum. Knausgård would like to communicate Munch’s width as a painter, his wildness and sense for beauty, his sensibility and creative powers. Knausgård writes about his own per-ception of the places Munch lived and worked, he weaves the artworks into the story and reflects on the life and creation of Edvard Munch.

GUTTORM GUTTORMSGAARD – KNOWN UNKNOWN

Edited by Jon-Ove Steihaug

Pax Forlag in collaboration with

the Munch Museum, 2015 Guttorm Guttormsgaard has been a central figure in the Norwegian art world since the 1960s. His artistic career spans a number of phases, medi-ums and idioms. The catalogue was published in connection with the comprehensive exhibition at the Stenersen Museum in 2015, where this rich and substantial oeuvre was first presented in its full scope. Articles by Jon-Ove Steihaug, Johanna Drucker, Lars Mørch Finborud, Ellef Prestsæther and Espen Søbye.

MAPPLETHORPE+MUNCH

Texts by Jon-Ove Steihaug

and Richard Meyer

Munch Museum and

Mercatorfonds, 2016 At first glance, the art of Edvard Munch and that of the American photographer Robert Mapplet-horpe may not appear to have much in common. However, closer inspection reveals a number of fascinating parallels and points of contact.

OTHER PUBLICATIONS

HIGH SUMMER IN HVITSTEN

Hans-Martin Frydenberg Flaatten

Vestby Municipality, 2016 This book explores who Edvard Munch was when he lived and worked in Hvitsten. He bought Nedre Ramme in 1910 and owned the property until his death in 1944. Inspired by the surroun-dings, he continued to work on the drafts for the monumental paintings for the University Aula in Oslo. Through contemporaneous eyewitness accounts, an intimate portrait is drawn of Munch the man and his everyday life at Nedre Ramme.

Jasper Johns and Edvard MunchE

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Inspiration and Transformation

Profanities on Drybread

quotes by

Munch MuseumMercatorfonds

Munch M

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ercatorfonds

Mapplethorpe+Munch is the fourth exhibition in the exhibition series +Munch organized by the Munch Museum in 2015–16.

At first glance, the art of Edvard Munch and that of Robert Mapplethorpe may not appear to have much in common. However, closer inspection reveals a number of fascinating parallels and points of contact. It is this complex relationship that the exhibition Mapplethorpe+Munch aims to explore.

ISBN 978-82-994452-2-1

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Hvitstens solvarme svaberg og frodige kystlandskap kan gjenkjennes i flere av Munchs sentrale motiver. Gjennom skildringene av menneskets møte med den milde og livgivende naturen kom Hvitsten til å spille en viktig rolle i Munchs kunst i 1900-tallets andre tiår. Landskapet her inspirerte Munch til hovedverket Alma Mater, for Universitetets aula, der den sentrale menneskegruppen med mor og barn framstilles i samspill med det bløte kystlandskapet i indre Oslofjord. Munchs bosted på Hvitsten, Nedre Ramme gård, er godt bevart, og gjenkjennelseseffekten i forhold til malerens bilder er dermed stor. På sin gård holdt Munch mange slags dyr, og samlivet med disse skapningene var et nytt element i hans liv. Hans-Martin Frydenberg Flaatten

HØYSOMMER IEDVARD MUNCH

HVITSTEN

HANS-MARTIN FRYDENBERG FLAATTEN

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HANS KUNSTNERLIV PÅ NEDRE RAMME 1910–44

VESTBY KOMMUNE

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FOR BOOK LOVERS!Publications about Edvard Munch’s life and work

The Munch Museum’s library primarily contains literature about Edvard Munch: books, dissertations, exhibition catalogues and articles, as well as newspaper clippings and documentary photographs. It also contains transcriptions of Munch’s correspondence, diaries and notes, which are being published in the digital archive eMunch.no on an ongoing basis as the transcriptions are completed. The library has contributed to many books and catalogues, and also to a number of film productions. The library, which also contains Munch’s private book collection from Ekely, is open to the public by appointment.

In 2017, for the second time, the Munch Museum will present the Edvard Munch Art Award which honours the work of a young artist

By bestowing the Edvard Munch Art Award upon a young artist, the goal of the Munch Museum is to honour both the historic significance of Edvard Munch and his continued relevance, not only for artists, but for cultural life as a whole. Reflecting his position in international art history and his influence on later generations of artists, the Award will also help to promote the development of excep-tional talent in the field of visual arts. Edvard Munch made his mark as an artist at a young age, and was only 29 years old when he made his breakthrough outside Norway. Works such as The Scream, Vampire and Madonna earned Munch a place on the international art map of the 1890s. Radically challenging, as he did, the idiom and expression of painting and graphics, he helped pave the way for the expressive art of the 20th century. The Jury for the Edvard Munch Art Award 2017 consists of five highly

regarded, international experts in the field of contemporary art. The Jury is headed by the curator and art historian, Alfred Pacquement, former Director of the Centre Pompidou. The other members of the Jury are: Massimiliano Gioni (New Museum, New York), Kathy Halbreich (MoMA, New York), Joanna Mytkowska (Museum of Modern Art, Warsaw) and Simon Sheikh (Goldsmiths, London). The Edvard Munch Art Award 2015 went to the French artist, Camille Henrot. The Award is presented every second year and is worth NOK

500,000. The Award also includes an exhibition in the new Munch Museum. The Edvard Munch Art Award has entered into a collaborative agree-ment with The Queen Sonja Print Award. Together they will support art and young artists. The Award is sponsored by Statoil, the Norwegian Ministry of Foreign Affairs, the Norwegian Consulate General in New York and The Founda-tion Edvard Munch’s Studio.

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Edvard Munch Art Award 2017

HM Queen Sonja presents the EMAA 2015 to Camille Henrot

Smartson.no July 2016, tested models UE65KS9005TXXE 65” and UE55KS9005TXXE 55”

2017

MartineHammervold-

AustinatF A L L

3 0 M A R C H – 1 A P R I L

Merete Røstad

C H A M B E R1 J U N E – 2 7 A U G U S T

T H E I M A G I N I S T B A U H A U S

1 0 D E C E M B E R 2 0 1 6 – 2 7 F E B R U A R Y

R A G N A B L E Y

1 1 M A R C H – 2 1 M A Y

T E D D YR Ø W D E

1 0 J U N E – 2 0 A U G U S T

T H E L O S T M U S E U M

S E P T E M B E R – N O V E M B E R

W H E N W E D E A DA W A K E N

N O V E M B E R – F E B R U A R Y 2 0 1 8

Munchmuseet on the Move — Kunsthall Oslo

Jana Winderen and nyMusikkR A T S

8 S E P T E M B E R – 1 4 O C T O B E R

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Whitelight Theater F and 1857

F R O M B U T T E R T O M A R G A R I N E 1 6 F E B R U A R Y – 1 9 F E B R U A R Y

BECOME A SPONSOR– Through the art of Munch, the Munch Museum enriches the lives of people all over the world . Anyone who wants to participate in the important work of creating an interest in art among children and adults, whilst at the same time creating new values in collaboration with the Museum and its activities, will be warmly welcomed . Connecting with the Munch Museum as a sponsor can be a highly rewarding and inspiring experience .

Stein Olav Henrichsendirector

Smartson.no July 2016, tested models UE65KS9005TXXE 65” and UE55KS9005TXXE 55”

2017

MartineHammervold-

AustinatF A L L

3 0 M A R C H – 1 A P R I L

Merete Røstad

C H A M B E R1 J U N E – 2 7 A U G U S T

T H E I M A G I N I S T B A U H A U S

1 0 D E C E M B E R 2 0 1 6 – 2 7 F E B R U A R Y

R A G N A B L E Y

1 1 M A R C H – 2 1 M A Y

T E D D YR Ø W D E

1 0 J U N E – 2 0 A U G U S T

T H E L O S T M U S E U M

S E P T E M B E R – N O V E M B E R

W H E N W E D E A DA W A K E N

N O V E M B E R – F E B R U A R Y 2 0 1 8

Munchmuseet on the Move — Kunsthall Oslo

Jana Winderen and nyMusikkR A T S

8 S E P T E M B E R – 1 4 O C T O B E R

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Whitelight Theater F and 1857

F R O M B U T T E R T O M A R G A R I N E 1 6 F E B R U A R Y – 1 9 F E B R U A R Y

54


AT THE MUNCH MUSEUM CAFÉ YOU CAN HAVE COFFEE MADE BY

SOME OF NORWAY’S BEST BARISTAS.

TASTE IT TOGETHER WITH A ”SCREAMING” CAKE!

at the Munch Museum

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WELCOME TO THE MUSEUM SHOP We carry a varied and inspiring selection of products, among them reproductions of famous Munch mo-tifs, espresso cups, colouring crayons and drawing material produced especially for the Munch Museum.

In our shop you will find a broad selection of books and exhibition catalogues on Edvard Munch . Members of the Munch Museum’s club are given a 15% discount .

The shop follows the museum’s opening hours and is accessible without an entrance ticket to the exhibition .

Photo: © The Munch Museum

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CALENDAR OF EVENTS

2017EMMA AND EDVARD – LOVE IN THE TIME OF LONELINESS 28.01–17.04

TOWARDS THE FOREST – KNAUSGÅRD ON MUNCH 06.05.–08.10.

HEAD BY HEAD – CRONQVIST | BJØRLO | MUNCH 28.10.–28.01.2018

JANUARY04.01 BabyScream: Guided tour of

Jorn+Munch for parents with babies at 1 PM

05.01 Late Night: Performance, DJ, guided tours. The exhibition Jorn+Munch will be open until 9 PM

09.–24.01 Intermezzo: Due to change of exhibition only a small number of works will be on show

26.01 Members only event: Opening of Emma and Edvard – Love in the Time of Loneliness at 6 PM

28.01 Emma and Edvard – Love in the Time of Loneliness opens to the public

28.01 Curator’s talk with Mieke Bal at 1 PM

FEBRUARY01.02 BabyScream: Guided tour of Emma

and Edvard – Love in the Time of Loneliness for parents with babies at 1 PM

08.02 The Waterfront Ideas – debate at 3 PM

12.02 Family Sunday: Workshop and guided tour of Emma and Edvard – Love in the Time of Loneliness at 12 noon

16.02 Munchmuseet on the Move: From Butter to Margarine – theatre performance at 1857

17.02 Munchmuseet on the Move: From Butter to Margarine – theatre performance at the Whitelight Theatre F

18.02 Chamber Music Concert by the Oslo Philharmonic Orchestra at 2 PM

18.02 Munchmuseet on the Move: From Butter to Margarine – theatre performance at 1857

19.02 Munchmuseet on the Move: From Butter to Margarine – theatre performance at the Whitelight Theatre F

20.–22.02 Winter Holidays: Workshop for children aged 10–14. By registration only. 10 AM

23.02 Late Night: DJ and guided tours. The exhibition Emma and Edvard – Love in the Time of Loneliness will be open until 9 PM

23.02 Members only event: Curator’s guided tour of Emma and Edvard – Love in the Time of Loneliness at 7 PM

MARCH01.03 BabyScream: Guided tour of Emma

and Edvard – Love in the Time of Loneliness for parents with babies at 1 PM


11.03 Munchmuseet on the Move: Exhibition opening Ragna Bley at Oslo Kunsthall

19.03 Family Sunday: Workshop and guided tour of Emma and Edvard – Love in the Time of Loneliness at 12 noon

23.03 Seminar: Modern Sensibilities. By registration only. 6–9 PM

24.03 Seminar: Modern Sensibilities. By registration only. 9 AM–6 PM

25.03 Curator’s talk with Mieke Bal at 12 noon. Films by Mieke Bal shown 2–4 PM

30.03 Late Night: DJ and guided tours. The exhibition Emma and Edvard – Love in the Time of Loneliness will be open until 9 PM

30.–31.03 Munchmuseet on the Move: Fall – dance performance by Martine Hammervold-Austinat at Gamlebyen Sport & Fritid at 7.30 PM

APRIL01.04 Munchmuseet on the Move: Fall

– dance performance by Martine Hammervold-Austinat at Gamlebyen Sport & Fritid at 7.30 PM


05.04 BabyScream: Guided tour of Emma and Edvard – Love in the Time of Loneliness for parents with babies at 1 PM

13.–17.04 Easter Holidays: Drop-in workshop for children and adults. 11 AM–3 PM

18.04–02.05 Intermezzo: Due to change of exhibition only a small number of works will be on show

24.04 The Waterfront Ideas – debate at Deloitte House at 3 PM

MAY04.05 Members only event: Opening of

Towards the Forest – Knausgård on Munch at 6 PM

06.05 Towards the Forest – Knausgård on Munch opens to the public

06.05 Karl Ove Knausgård in conversation with curator Kari J. Brandtzæg at 1 PM

10.05 BabyScream: Guided tour of Towards the Forest – Knausgård on Munch for parents with babies at 1 PM

18.05 Hanami – cherry blossom viewing. The exhibition Towards the Forest – Knausgård on Munch will be open until 9 PM


21.05 Family Sunday: Workshop and guided tour of Towards the Forest – Knausgård on Munch at 12 noon


25.05 Late Night: DJ and film programme. The exhibition Towards the Forest – Knausgård on Munch will be open until 9 PM

25.05 Members only event: Guided tour of Towards the Forest – Knausgård on Munch by curator Kari J. Brandtzæg at 7 PM

27.05 Edvard Munch’s studio at Ekely opens to the public every weekend during the summer season

JUNE01.06 Munchmuseet on the Move:

Chamber by Merete Røstad. Seminar with local historical societies at 5 PM

01.06 Munchmuseet on the Move. Opening of Chamber by Merete Røstad at 7 PM


10.06 Munchmuseet on the Move: Exhibition opening Teddy Røwde at Oslo Kunsthall


AUGUST10.08 The Waterfront Ideas – debate at

Øyafestivalen16.08 BabyScream: Guided tour of Towards

the Forest – Knausgård on Munch for parents with babies at 1 PM

25.08 Munchmuseet on the Move: Chamber by Merete Røstad. Oral histories seminar at 12 noon


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CALENDAR OF EVENTS

The calendar may be subject to change. For updated and complete information about the events:

munchmuseet.no


31.08 Late Night: Launching of Vagant – journal for literature, film, and art – DJ. The exhibition Towards the Forest – Knausgård on Munch will be open until 9 PM

SEPTEMBER02.09 Munchmuseet on the Move:

Exhibition opening Lost Museum at Oslo Kunsthall


08.09 Munchmuseet on the Move: Rats by Jana Winderen and nyMusikk

09.09 Karl Ove Knausgård in conversation with the artist Vanessa Baird at 1 PM

14.09 Culture Night Oslo: The exhibition Towards the Forest – Knausgård on Munch will be open until 10 PM



22.09 Munchmuseet on the Move: Seminar conducted by Jana Winderen


27.09 The Waterfront Ideas – debate at 3 PM

28.09 Late Night – Literature Days: Karl Ove Knausgård in cooperation with The Big O. The exhibition Towards the Forest – Knausgård on Munch will be open until 9 PM

29.–30.09 Literature Days: Karl Ove Knausgård in cooperation with The Big O

OCTOBER02.–04.10 Autumn Holidays: Workshop for

children aged 10–14. By registration only. 10 AM



14.10 Munchmuseet on the Move: Rats by Jana Winderen and nyMusikk, final concert at 4 PM

09.–24.10 Intermezzo: Due to change of exhibition only a small number of works will be on show

26.10 Members only event: Opening of Head by Head – Cronqvist | Bjørlo | Munch at 6 PM

28.10 Head by Head – Cronqvist | Bjørlo | Munch opens to the public

28.10 Curator’s talk. Per Inge Bjørlo, Lena Cronqvist and curator Kari J. Brandtzæg at 1 PM

NOVEMBER01.11 BabyScream: Guided tour of Head by

Head – Cronqvist | Bjørlo | Munch for parents with babies at 1 PM


05.11 Family Sunday: Workshop and guided tour of Head by Head – Cronqvist | Bjørlo | Munch at 12 noon

11.11 Images of Close Relations: Seminar with Finn Skårderud, Gro Vatne Brean, Stig Torsteinson, Ida Brandtzæg, and Kari J. Brandtzæg at 1 PM

15.11 The Waterfront Ideas – debate at Deloitte House at 3 PM

25.11 Munchmuseet on the Move: Exhibition opening When We Dead Awaken at Oslo Kunsthall

30.11 Late Night: DJ, talks, guided tours. The exhibition Head by Head – Cronqvist | Bjørlo | Munch will be open until 9 PM

30.11 Members only event: Curator’s guided tour of Head by Head – Cronqvist | Bjørlo | Munch at 7 PM

DECEMBER02.12 Chamber Music Concert by the Oslo

Philharmonic Orchestra at 2 PM03.12 Family Sunday: Workshop and

guided tour of Head by Head – Cronqvist | Bjørlo | Munch at 12 noon

06.12 BabyScream: Guided tour of Head by Head – Cronqvist | Bjørlo | Munch for parents with babies at 1 PM

12.12 Edvard Munch’s birthday: Free entrance to the Munch Museum

GUIDED TOURS During the periods 1 January–16 April and 17 September–17 December there will be guided tours in Norwegian every Sunday at 1 PM. Between 7 May and 10 September there will be guided tours in Norwegian every Sunday at 2 PM.

Between 7 May and 10 September there will be guided tours in English every Sunday at 1 PM.

There will be no guided tours during the Inter-mezzo periods.

Guided tours for the blind and visually impaired on the following Saturdays at 2 PM: 11 February, 20 May, 16 September and 18 November.

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Det Kongelige Slott

Nationalteatret T

Stortinget T

Jernbanetorget T Grønland T

Tøyen T

MUNCH MUSEUM

TøyenparkenBotanisk hage

Akerselva

VISITOR INFORMATIONOpening Hours Every day: 10–16Last Thursday of every month: 10–21

Periods closed25th–27th January, 3rd–5th May, 25th–27th October

Summer Season6th May–8th October. Every day: 10–17

Religious and Public HolidaysClosed the following dates: 1st January, 1st May, 17th May, 23rd–26th December, 31st December

Ticket PricesAdults: NOK 100 Seniors (67), students and groups of more than 10 persons: NOK 60Free entry for children under the age of 18 Visiting AddressTøyengata 53, 0578 Oslo Telephone: (+47) 23 49 35 00E-mail: [email protected]

For further information:munchmuseet.no


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59

THE MUNCH MUSEUM

Publisher: Stein Olav Henrichsen © Munchmuseet 2017

Written contributions: Jon-Ove Steihaug, Ute Kuhlemann Falck, Kari J. Brandtzæg, Kjersti Horndalsveen Eilertsen, Pedro Gaspar, Marius Aronsen, Christina Skreiberg.

Photos of Edvard Munch’s works: © Munch Museum

Page 5: Edvard Munch: Children in the Street, 1910–15 (detail), Edvard Munch: Self-Portrait, 1882 (detail), Edvard Munch: The Sun, 1910–13 (detail), Ekely, photo © Philip Messmann, 2016 (detail), Edvard Munch: Angst, 1894 (detail).

Design: Melkeveien designkontor ASPrinted by: Trykkeri Rolf Ottesen ASPaper: 190g and 100g Multioffset

All reproduced artworks by Edvard Munch are in the collection of the Munch Museum unless otherwise noted.

The Munch Museum is an independent agency of the City of Oslo.

SPONSORS AND PARTNERS

Partners

1857, Oslo

Art Gallery of Ontario, Toronto

Bjørvika Infrastruktur, Oslo

Cappelen Damm Forlag, Oslo

Castello Di Rivoli, Museo d’Arte Contemporanea, Turin

Center of Fine Arts, Brussels

Color Line, Oslo

Deloitte Norge, Oslo

Edvard Munch videregående skole, Oslo

ERCO, Oslo

Forlaget Oktober, Oslo

Foundation Pierre Gianadda, Martigny

Galleri F15, Moss

Herreros Arquitectos, Madrid

Het Dolhuys, Haarlem

KODE – Kunstmuseene i Bergen

Kunsthall Oslo, Oslo

Kunstmuseum Bonn, Bonn

LPO Arkitekter, Oslo

Melkeveien designkontor as, Oslo

Mercatorfonds, Brussels

Ministry of Culture, Government of the Republic of India, New Delhi

Ministry of Culture, Oslo

Ministry of Foreign Affairs, Oslo

Munch communities: Fredrikstad kommune, Horten kommune, Kragerø kommune, Løten kommune, Moss kommune, Vestby kommune and Vågå kommune

Musée d’Orsay, Paris

Musée Marmottan Monet, Paris

Museum Jorn, Silkeborg

National Gallery of Denmark,

Copenhagen

National Museum of Art, Architecture and Design, Oslo

NODE Berlin Oslo – Graphic Design Studio, Berlin and Oslo

Norwegian Consulate General, New York

nyMusikk, Oslo

Nye og kloke hoder, Oslo

Oslo Philharmonic Orchestra, Oslo

Queen Sonja Print Award

Ramme Billedgalleri, Hvitsten

San Francisco Museum of Modern Art, San Francisco

Scenario Interiørarkitekter, Oslo

Snøhetta, Oslo

Sparebankstiftelsen DNB, Oslo

Städel Museum, Frankfurt am Main

Stiftelsen Edvard Munchs Atelier, Oslo

Stockfleths, Oslo

The Metropolitan Museum of Art, New York

The Paul Scherrer Institute

Thon Hotels, Oslo

Unge Kunstneres Samfund, Oslo

University of Oslo

University of Pisa, Department of Chemistry and Industrial Chemistry

Virginia Museum of Fine Arts, Richmond VA

VisitOslo, Oslo

Whitelight Theater F, Oslo

Winterthur Museum, Conservation Department, Winterthur DE

Øyafestivalen, Oslo

ÅF Advansia Norge, Oslo

Bergesenstiftelsen

Bergesenstiftelsen

Main sponsors:

Sponsor of The Edvard Munch Art Award:

Contributors:

Benefactors:

Sponsor of the Munch Museum's Membership Programme and International Activities:

munchmuseum.no/en/member

MUNCH MUSEUM MEMBEREXPERIENCE EDVARD MUNCH FOR A YEAR• Free priority admission WITH A GUEST

• Invitations to exclusive events for members only

• Free admission to the Louisiana Museum of Modern Art in Denmark and the National Museum in Oslo

• 15% discount in the museum shop

Supported by:

Documents

Munch Museum 2017Edvard Munch’s Ekely Discover Edvard Munch’s studio as it was during his lifetime. A docu-mentary exhibition with reproducti - ons, photographs and films will