HYLAND
Haaken is known for exhibiting such celebrated painters
as Denmark's Kenneth Blom. At Gallerie Brandstrup dis-
covering new talents is emphasized, while at Gallerie Riis,
the spot-light is on contemporary Nordic artists, along
with such long-revered marquee "classics" as Tony Smith
and Walker Evans.
Old versus the New. Spatially that battle does exist
in Oslo. There's Tjuvholmen, the sparkling, glamorous
and perhaps futuristic model for further development
that could be compared to today's Dubai—designer
labels, very pricey real estate, and an energetic, even
breathtaking spirit that's spurred by soaring ambitions.
But Oslo also has a calmer retreat, a far older, more
meditative, Left Bank-energized haunt that boasts a
wide spectrum of enticing galleries, cafes, and even a
few cobble-stoned passageways.
In the shadows of Oslo's City Hall, flanking the medieval
Akershus Fortress guarding the harbor, and in the center
of the city close to the Museum of Contemporary Art,
and a section of the Nasjionalmuseet: Arkitekur, is
Kvadraturen. The oldest part of the city dating back to the
17th century, this area was built by the Danish-Norwegian
King Christian IV after a devastating fire in 1624 gutted
the city—and it is now experiencing a renaissance.
Spurring this dynamic revival, several art galleries are
daringly abandoning older, more proven formats in favor
of showcasing decidedly experimental works—typically
by artists from a multitude of cultural backgrounds who
are willing to boldly address such issues as gay rights,
the struggles faced by immigrants in Norway, and the
equally complex realities faced by Palestinian artists living
in Israel. As one gallery curator says, "it's art with layers
