Incubators of Creativity

The List’s Art Editor, Agnieszka Foltyn, recently wrote a feature about the accessibility of art (2018 Volume 4, October-December). Agnieszka, known to many of us as ‘Mishi’, explores the diverse set of skills and experiences involved in the participation of art and its observers. With Trondheim Open kunstbiennale having just wrapped, we revisit a longer version of her article, with three previously unpublished interviews with three artists working in Trondheim. 

Incubators of Creativity by Agnieszka Foltyn

(featured image: Magdaléna Manderlová, by Kristoffer Lislegaard)

Art is accessible. Not because it sheds its complexities to the lowest common denominator, but that it uses imagination and response as its main components of relation and understanding. It promotes dialogue, a challenging of your response to what you are experiencing. It makes you ask “Why do I feel this way? What is it that I see?”

There are many moments in a work of art that can speak to a viewer. It can be the texture, the discipline, the subject, the context or the material. It can be the company or an emotional state. It can be a political issue. It can be a colour. All of these moments of relation serve to make connections, to bridge experiences, history, and geography. The spaces in which art is shown or can be experienced are spaces of social negotiation. They bridge different levels of expertise, age, social and economic status, and interest. They build community. Art spaces are not limited to productive output. They are spaces for time and experience. They foster a deeper understanding of the world around us, and one that can be shared with others.

They symbolise an area in which critical thinking and an openness to understanding form the essential expectation of the experience of art. When coming to an opening, for example, there is the expectation of discussion about the artwork on hand and the multiple and varied experiences it generates. Places for art are places of nuanced and sustained debate about the world around us. They address politics of belonging and co-existence.

Exchange is the foundational element of the artistic community. It is through moments of meeting that artists and art lovers, unexpected visitors and guests, join a common discussion in which art is the mediator of experience. These moments serve as spaces of critical dialogue, where provocative stances can be discussed within a situation that is open to a variety of perspectives. These discussions allow viewers to negotiate the permutations and changes to our realities.

Art employs a diverse skill set in its experience. As a viewer, you move around the space. You sense its boundaries, the work, the light, the sound, and others who might also be there. You respond to the experience and think, trying to understand your reaction. You employ cognitive and analytical skills. You respond not only mentally but also emotionally and physically. And you employ social skills, speaking about your time and navigating around the others in the space with you. Places for art are places of knowledge production. They give the public the ability to develop skills to generate further knowledge.

There are many different types of spaces dedicated to artistic practice. Some traditional spaces include museums such as the Trondheim Kunstmuseum and the Nordenfjeldske Kunstindustrimseum, and art galleries such as Trøndelag Senter for Samtidskunst, galleri blunk, Kunsthall Trondheim, RAKE visningsrom, Dropsfabrikken, Galleri KiT, Babel visningsrom for kunst, and Trondhjems Kunstforening. There are commercial art galleries such as Galleri Ismene and Galleri SG. There are also festivals dedicated to culture and artistic production such as Kulturnatt Trondheim and Trondheim Open. And there are non-traditional spaces in which art fuses into the existing fabric of the site for a specific period of time. What all of these places have in common is that they engage people. People from completely different backgrounds can come together to share an experience of art. People who have an experience with art have thoughts about what they have experienced and take those thoughts with them into the future. 

It is the physical presence and gathering of people within an art space that brings to life the role of the institution as a space for critical discourse. It is a place to make sense of the world and a place to share that with others. Places for art are places for the development of shared values. They promote public discourse. They allow us to penetrate each other’s communities. They connect across disciplines, experience, social, political, and geographical boundaries. They are sites of struggle and of renewal. They build community. 

Increasingly, spaces for art house activities that have lost their place in contemporary society. They provide opportunities outside of the curriculum for children to learn about culture. They are spaces for leisure and relaxation. They are meeting places for common interests and goals. They are spaces for disagreement. They are spaces for the development of skills through workshops and classes. They even serve as spaces for other recreational activities, such as yoga in a sculpture room. Artistic institutions increasingly host independent forms of production from outside of the traditional institutional artistic sphere such as screenings, political meetings, and performances. 

The format in which art is shown varies greatly. It can be an exhibition, a presentation or a talk. It can be a hands-on workshop, a guerilla intervention or a public performance. Presentations of art have some expectation of viewing. Exhibitions host vernissages (openings) and often finissages (closings), talks and seminars, and other types of public programming to invite the public to experience art. 

These gatherings are the root of the artistic community. 

The artistic community has many layers. It has production communities through artist studio collectives. It has working communities through other positions and jobs. It has artists working independently. And it has times in which different combinations of facets of this community gather to share, to talk, and to celebrate the moment in which a work is opened to the public. These meetings through spaces for art allow us the opportunity to come together. These are moments for social negotiation, conversations about life and art, and a re-solidification of a common interest. It is where multiple perspectives, experiences, and lives can meet for the purpose of exchange. They transcend the monetary value of experience. Moments of leisure are proven to be incubators of creative thought. Sharing our experience allows us to categorize our thoughts and challenges us to know what we really mean by communicating it to the world. It no wonder that we often find solutions during casual meetings with friends or periods of rest. 

Because much of artistic production is done independently or through small collectives, exhibitions and events form the social aspect of the job itself. As most people go to collective work places, spaces for art function as meeting places for artists who often work alone or in closed workshops. They form a large part of the social aspect of artistic production. Places of dissemination are gatherings of transdisciplinary skills sets. It’s where artists, administrators, curators, directors, organizers, technicians, labourers, teachers, and other visitors meet. 

Art is a vehicle for feeling. It allows us to empathise across borders. It can motivate us from thinking into doing. In gatherings of such a diverse crowd of skill sets and abilities, there are possibilities for countless new collaborations. It is through discussions that we learn about each other. As the best ideas tend to come from conversations, spaces for art are perfect for just that.

Artist Interviews

Yanir Shani, by Lena Katrine Sokki


I’m a photographer and artist from Tel Aviv, Israel. My artistic process is dedicated to exploring the possibilities of photographic abstraction. By manipulating traditional methods of production in photography during the printing process in the darkroom, I create large-scale analog images that deal with distraction, disappearance, and obscure landscapes. I started taking pictures in my early twenties, mostly of day-to-day life from places I have traveled or lived. I came to Norway to see it for myself. This is what I like to do. I like to go to new places and look at things. It’s a very serious business – to look at things, really look. Upon graduating, I was fortunate to receive a studio space at Lademoen Kunstnerversteder, and now share a space with two other artists in the studio collective. I feel that sharing a studio with other artists is very beneficial for me. Although my studio space is not too big I am very pleased. I love the building and the neighbourhood and all the workshops this place offers. I also enjoy being around other artists and creators. The best ideas come mostly from talking to other people over a coffee or a beer. It’s important to create in a positive and supportive environment. It makes art better, and life better.

To make my art I need a camera, a darkroom, chemicals, inspiration, and discipline. Making art and providing for yourself is probably one of the hardest career choices someone could make. Most artists work in different jobs in order to make a living, which doesn’t leave a lot of time for creation. That is the place where discipline comes in. That and true love for what you do. 

Helene Kjær Bremseth. self portrait


Originally from an industrial city called Grenland in Telemark, I have spent the last nine years living in Trondheim working as an architect and an artist. I see myself as an object finder or definer. For me ‘Object’ means something defined, and my task is to use time and energy on objects of interest both to me and the public. My practice is open and linked to the everyday world around me. It is very important to have time to look at what I find and to work further with it. This is what I use my studio for: to look, think, glue, bend, cut, carve, and move.

I just moved into a new architecture studio collective in Nyhavna. It has an office, a kitchen, a meeting room part, and a workshop part. I will get my own corner there. They will put up some walls for me so I can have my little studio inside the workshop. It’s not optimal, but I am so happy to have a place to work in. For my practice, it is essential to have four basic things: time, space, tools, and people. I only know that I want to continue making things. In Trondheim, I have people I like to work with, both within art and architecture. I am lucky that I now have a studio or this pursuing would not have been much pursuing at all.

Magdaléna Manderlová, by Kristoffer Lislegaard


I am an artist and a musician. I currently work in the field of sound art. It is based on field work, meaning that I spend a lot of time outside – listening, moving, looking around, and collecting sounds and field recordings. 

Looking at my career as a recent graduate, I would like to apply for larger exhibitions, festivals and projects. That requires a well-equipped studio. I need a small, fairly soundproof room for my practice. I would be very happy to share a larger space with more artists/musicians. My production process is a lot about experimenting and testing out different technologies, building small electronics, wiring, and I need a space to accommodate my needs and working conditions.

The sound art and music technology scene is lively and open in Norway and there are many funding possibilities that are so rare elsewhere. In Trondheim, I have created a great network, started a few bands, and fell in love. I feel like there is a space for me here. 

Speaking on Art

Introducing: Trondheim Open Biennial 2018
The French novelist George Sand once said that “the artist’s vocation is sending light into the human heart”. For this to happen, art must be seen, experienced and, when possible, find its way into personal collections to be treasured. Trondheim Open aims to facilitate those exact opportunities in Trøndelag.

Words – Jennifer Wold
Photos – Kristine Wathne

The art community, for many, is shrouded in mystique. Museums and galleries are the vessels through which most people experience art. Seldom does the public engage with artists in their private creative spaces, but when given the chance it is an enlightening experience into their world and their work.

Since 2011 Trondheim Open has been bringing the Trøndelag community into studio spaces for workshops and viewings, giving greater visibility to projects big and small across various venues. This year’s biennial event is different from past incarnations as it has expanded from a three-day event to ten days of art across the city and region. 

The opportunity to grow as much as they have this year is due largely to exceptional support from the Norwegian Cultural Fund, Trondheim Municipality, Trøndelag county council, The Relief Fund for Visual Artists (BKH) and The Fritt Ord Foundation. “We were able to apply for funding and stipends to support the artists creating installations for the event. This is important to us because this is their work,”  emphasises project leader Thea Meinert. 

Thea and festival coordinator Randi Heitmann Hjort are proud to be seeing how this ambitious programme is coming together. How ambitious is it? “We have four major studio collectives and 14 individual studios participating this year, in addition to many artist-initiated projects which will be presented through the festival,” says Thea proudly. 

Randi quickly estimates the number of artists participating at over 100, welcoming not only their peers but the local public to join in on the exhibitions, workshops, discussions and events surrounding this year’s them of dissemination and art language. She is keen on the start of the event as it will plant the theme in people’s minds to carry forward throughout the ten days. 

“The panel debate at the opening is going to introduce the theme of Dissemination,” reveals Randi. “We’ll discuss art language and how we talk and communicate about art, even when people do not realise they are doing so.” 

Torhid Aukan

Trøndelag’s Centre for Contemporary Art (TSSK) is hosting the festival opening and is sure to be an exciting evening. The full programme is available at soon.

Trondheim Open’s headquarters during the festival is at Kjøpmannsgata 36-38, otherwise known as Kjøpmannsgata Ung Kunst (k.u.k. for short) or Kjøpmannsgata Youth Art Centre. It is the building which the renowned artist Kjell Erik Killi Olsen purchased and is renovating as a way to give back to his home city in the form of brand-new art house. During Trondheim Open it will be filled with exhibitions, presentations of art projects, an art fair, and more. It is sure to be a beautiful edition to the city and one that both women are openly excited about. As for their excitement for the festival, they point out there is a whole team of people building it, and it’s clear there is a lot of passion and determination going into this project.

Anne Mari Hagerup

The diversity inside this festival is not only evident in the locations being used, but in the exhibitions and events themselves. “There is something for everyone to enjoy. We even have the art critics coming because their voices are important too,” Randi acknowledges, knowing that the critics often are left out, and that shouldn’t be so. They add value to the community as a voice of observation which provides more than opinion. They often bring to the art world constructive criticism, history telling, and contextualisation of artists and their work.

Although no one on the team can pick a favourite out of the programme, there are a few events which can highlight some of the range and what can be expected. Artists Arnfinn Killingtveit & Øyvind Brandtsegg are producing an installation called Metaverk which is all about sound. Metaverk is a project by TEKS – Trondheim Electronic Arts and is explained as “An exhibition which consists of several separate audible entities, each with its characteristics and expressions. The sum of these creates a holistic and dynamic sound environment; a kind of abstract sonic fauna whose expression is influenced by all that is around it.” It requires one to participate passively and actively. It is free to attend and will open on during the festival on 1 November, remaining open until 11 November.

Gregus Petter Sutton

At Cinemateket there will be a dinner and film showing by Kantinekino, that will be screening PAARA – A movie by Goutam Ghosh and Jason Havneraas. In their words this is about “A ninety-year-old, absent-minded magician looking back on his life, unable to distinguish between memories of magic and memories of reality.” 

Kantinekino is a screening programme by artists Lena Katrine Sokki and Tobias Liljedahl, which focuses on showing work by young, unestablished artists, accompanying every screening with a meal chosen by the invited artist. There are only 30 seats available, and the tickets which cover the screening and dinner are 200 NOK. Be sure to book your spot early.

There is an exciting space hidden in Kjøpmannsgata Ung Kunst centre. It is a vaulted cellar, and this was chosen for the exhibition curated by punktet visningsrom. Former and current art history students from NTNU wanted a practical way to use their education to promote talented local, young artists. They knew that they had to keep it manageable and sustainable, and from that the idea to use different locations as hosts venues came to be. In their words “the point of the project focuses on how each exhibition hall participates in shaping the individual artistic expression and thus becomes a point of intersection between theory and practice, contemporary and past, art and place.” The beautiful cellar space should bring a distinct and memorable atmosphere.

With an entire programme filled with gems like these and most days starting at 11:00 and ending at 23:00, there is plenty of time for all interested to participate and support local arts. Trondheim Open, the artists and studios are waiting to welcome you into the vibrant art community of Trøndelag. 

The List Magazine
Gregus Petter Sutton
27 October – 04 November

A Village in the City: The Svartlamon Story

In our most recent volume of the magazine, we explored our city’s enigmatic neighbourhood – Svartlamon. We know this neighbourhood carries a lot of beauty, creativity and some of the city’s most fantastic people and we wanted to share it with you. We invite you to take a look at the neighbourhood through both the words of our writer Zane Datave and also through lens of our photographer Claudia Vargas and then go visit yourself. 


Idyllic little streets, gardens and greenhouses made of old window frames, cats, kids and even chickens, all combine in a colourful collage that creates a one-of-a-kind community called Svartlamon. But what is Svartlamon and what is it that attracts people to move to this neighbourhood?

Katherine Standal

Kathrine Standal is the head of Boligstiftelsen, Svartlamon’s housing foundation, and knows Svartlamon from its many sides. “What is Svartlamon? It’s the people who live here, not the houses,” says Kathrine. “In order to live here, you need to be willing to live with your neighbours. It has many advantages, but can be challenging too,” she says.

 Svartlamon is a village within a city, and people know their neighbours much better here than in other parts of town. It is a family-friendly area in a very genuine sense. Most people know each other’s kids, and after a certain age, they just roam freely. “I think that children growing up here are really happy because they have a lot of grown-ups and children that see them and take part in their lives,” adds Kathrine.

There is an openness, an acceptance that people are diverse and want to live in a diversity of ways. Here it’s easier to get the feeling of ownership and to see it in practice, as residents are free to influence and change their environment, both socially and physically. It all started at the end of the 90s, following the protests of the people and the involvement of well-known artists, the area was not allowed to become a private property and a special ‘urban ecological experimental area’ was created. 

Bright and colourful graffiti adorn many spots in Svartlamon as a free art exhibition for all.

 Kathrine says that a vital part of Svartlamon is that it gives an alternative to standard neighbourhoods and shows that there are different ways of organising and developing a community, and homes.

“The housing market in Norway is excessive, and people don’t actually need the big spaces they have. Even though it is important to have a good house, as it gets cold in winters,” says Ranja Bojer, a long time Svartlamon resident. “It is also important to show that one can build their own house and do so inexpensively. That is something people should know about.”

The houses, all distinct and with loads of charm, show off the handiwork of the residents and friends who come together to build, maintain and live in them. Photo – Wil Lee-Wright

 This is something which is part of the culture of Svartlamon and often draws people to it as it is a very tangible representation of a different way of creating community. A great illustration of that is the Eksperimentboligeror Experimental Housing, sitting in a row of six and made mainly from recycled materials, which have recently been added to the neighbourhood (pictured on opposite page, top right).


Guro Sletnes

Guro Sletnes, another resident (pictured opposite), who has two kids and lives in a dreamy house made of recycled materials, and painted pink, agrees to that. She likes the fact that the kids will have a different perspective because they live in diversity and with examples of a wide array of possible life choices.

 She and her family moved in a year ago, and they have been building their house for two years. Even though they had their friends from Svartlamon before as they spent a lot of time here, she says that “It is a big difference to live in the community. Here I have so many friends and people I know just next to me.”  Guro speaks on the generosity of her neighbours not only with time but things like bringing dinner by or flowers because they have an abundance to share. “That’s something you don’t get when you live on the ‘outside’. It’s a new life, and I was really longing for that. Whatever you need, you will always get help”.


It is a common ground, a common view on things, what unites people here. It also applies to the preservation of the area’s buildings instead of building new constructions.  The house where Guro and her family live in is made with old materials and only a little new. Guro, herself, always wanted to live in one of the old apartments in Svartlamon, because she was and is fascinated by the history of the old buildings. She wants people to know that it is possible to create a homes which is sustainable and ecologically-friendly: “They are built to live in, not to sell.” 

 “That gives freedom to choose other activities. One can choose to volunteer, or develop their hobbies, or to have more free time for family and friends instead,” adds Guro. She also explains that it is important to understand that there exists the opportunity to choose differently, to choose your living style, not to have it decided for you and to have to pay the price for it. It is about choosing a so called ‘lower standard’– old and worn, with shared bathrooms and smaller spaces, and a responsibility to take care of property you legally don’t own in exchange for this freedom. The exchange is for the freedom of choice, and not for the possibility to consume more. It is quite the opposite, and many of the residents aim to consume less, and be conscious about their choices. 

Alise Plavina and Bjørn Inge Melås finishing their Friday’s work on their future home, Selbukassa.

 Alise Plavina and Bjørn Inge Melås are finishing Friday’ s work on the home they will move into with their families. What is their attraction to Svartlamon?  Alise says that her interest in Svartlamon is not so much linked to what the area may ‘protect’ her from (real estate market, higher rents etc.), but rather what it facilitates or allows to happen. For example the house they are building – they are in the process of rebuilding ‘Selbukassa‘, the nickname of an old log house from the 1920s which they, along with others, moved from Selbu to Svartlamon to create four apartments in. Bjørn Inge mentions that these log houses in older times were built to be easily moved or expanded. The fact that an old log house is getting a second life in Svartlamon is not surprising as it fits right in with the spirit of reuse and repurposing.

Another reason for interest in Svartlamon, according to Alise, is the high density of individuals engaging proactively in the everyday practices of the community. This proactiveness can be seen in political and environmental activism, solving practical everyday issues together, maintaining the buildings, gardening, sharing ideas and generally being very open with each other.

An array of resident groups have been established to handle the community needs through volunteering. There are many levels of involvement to suit one’s abilities. It is done with the hope that the collective values and interests will overlap assuring that the community will be renewed and recreated continuously.

How then, in such an open atmosphere, is a balance between public and private interests established? In Svartlamon, are there are many possibilities to talk to the neighbours without inviting them into one’s personal space?

 There is a concept which was invented by American sociologist Roy Oldenburg, the so-called “third place”.   The idea of the “third place” is that which is neither home, nor workplace, but is in between those. Svartlamon has many examples of this third place. The common spaces such as the gardens, the book cafe, the pub and green spaces play an essential role in the community’s life, vitality and democracy. It gives the residents community and privacy.

Tom Hansen at Ivar Matlaus bokkafé.

 One of those third spaces is the legendary Ivar Matlaus bokkafé. Tom Hansen, who is one of the people behind it says that “while living in Svartlamon, I am never short of anything, be it coffee or sugar or a hug! It’s always within an arm’s reach. I am often just out walking and get invited for a coffee.”


Hansen enjoys sharing the duty of running and keeping the bookstore open, which occasionally hosts concerts and discussions, and presenting his choice of favourite books from the store. Which range from occultism to arts. The books are carefully selected – some are bought from book markets, secondhand bookshops or ordered online, some are selected from donations, a diverse mix just like the homes and the residents.

There is no leadership structure to the cafe. It’s the collective work of 15 – 20 people. The store has been here since 1997 when the area was rescued. On a sunny day, it isn’t unusual to see a couch outside, or people sitting on the grass in front of the store. “It’s like a small town here,” says Tom.

Ramp is one of Svartlamons most icon places.

 In the newly opened gallery ZNEDI, in her workshop, a ceramic artist Katarzyna Chrzanovska can be found. Together with Ole Nordsveen, who redesigns old silverware, coins and other materials in jewellery, they opened this space. Before that, she had her studio at RAKE, an artist studio collective, in Svartlamon for more than four years.

 “I found this place really soon after I came to Norway, and it became my work and free time space, even though I don’t live here,” Katarzyna says. “I spend most of my free time here, we have been meeting others at the studio, and been involved Svartlamon Dagen and studio open days. I really feel like a part of it, and I don’t want to be in any other place. People are really warm here and open to each other, and active inside the community. They care about the environment, both social and natural,”  She speaks about how people just come and ask if you need help. “People also know each other’s faces which feels good. You know instantly that you are in a good place.”

Ranja Bojer, writer, DJ and longtime Svartlamon resident.

 Ranja Bojer is a writer and a DJ and has been living in Svartlamon from before it was rescued. “It just seemed a perfect place to live. Not just because of the cheap rent, but more because of the environment, a place where we could belong.

Ranja was a member of the board of the housing foundation for four years, so for her, it is time for a break in being highly active in the diverse community activities. “It goes in waves, what you are able and want to contribute to the community. But it is essential to have the possibility to be active and have an influence on your closest surroundings.”

 Residents understand how it looks from the outside and to those unfamiliar to the neighbourhood. Ranja is a DJ and sometimes returns home late at night. She’s had questions from taxi drivers saying, oh, you live here? It must be dangerous! For her, it is precisely the opposite. “It’s the safest place!” she says. Though she explains that with visuals one sees in the neighbourhood such as graffiti, alternatively dressed people, and not so stereotypical houses, it can be misunderstood.

“Svartlamon is an organically experimental area, which means we can try out new things here, and we can learn from these experiences. We want people to know about it,” says Ranja. To those who know it is no surprise to hear that anyone is welcome to come and walk the streets and talk to people.  “It’s great if people come and walk around, look around and take pictures,” says Tom.

Katherine Standal by the “wall of cast-off” materials which have some of the most intriguing textures, colours and previous lives put into new use.
The wall of “cast off things” stands adjacent to Strandveien 37.

 For those people who are curious about getting to know Svartlamon for themselves, Kathrine recommends attending Svartlamondagen, which is a one-day festival, usually organised on the last Saturday of May. Ranja mentions that a crucial role of this one-day festival is that it shows what is happening in Svartlamon and breaks some possible prejudices about the area. The whole community is involved in the preparation of it, and the neighbourhood is filled with concerts, activities for kids, food, open workshops and joy.

 However, if you want to get to know Svartlamon sooner than May, on 30 November, Svartlamon is celebrating its 20 year anniversary. Save the date to attend what is sure to be an exciting event. Of course, in true Svartlamon spirit, the programme as yet to be announced, but it’s well worth the wait!

Trønder Bunad

Seaming Together A Region: The Trønder Bunad

Words by Jennifer Wold

Photo: Linda Kathrine Hogstad

Fun fact: The first 17th of May parade was started right here in Trondheim. It took place in Ilevollen in 1827 with a little over 1000 participants.

The word bunad most frequently conjures up images of women and men seen in their national dress at confirmations, parades and events on the 17th of May. The lively colours of embroidered hems, men’s vests tucked under darker jackets and gleaming silver are hard to miss.

It doesn’t take more than a glance to see that they are beautiful and come in many styles. But from the exterior one may never guess, unless one knows, just how complex each is or how much work goes into them. The concept of bunads is much like one’s hands; we all have them, although each a bit different. But when you really look into each individual bunad you realise they are more like fingerprints; unique to the wearer in every way. They are custom fit and, at Husfliden, completely hand-sewn. Each region is responsible for producing their particular bunad. You will not find a bunad from Oppland made here, as much as you would not find a Trønder bunad made there.

Photo: Linda Kathrine Hogstad

In Trøndelag way back in 1920, Ragna Rytter, Kaspara Kyllingstad and Ingebord Krokstad set out to create a unified Trønderbunad. They never found a full bunad, but they used drawings and paintings done by Dreyer in 1775 to gain a better understanding of the materials and styles they would need. They gathered samples of embroidery, linen shirts, trousers and skirts, and the fabrics common to the area of the time and those inherited over the years. These pieces of local folk costumes were the starting points. Traditions in wool, weaving and embroidery were carefully considered.

Three years after starting their project they collected enough to start sewing the first Trønderbunad. It wasn’t until the 1960s that the Rococo and Trøndelag-wide inspired garment we know today emerged.

One of the biggest trademarks of the women’s bunad is the rose pattern damask brocade bodice. The layers are carefully pressed, pinned and stitched by the hands of skilled artisans. They are trained in their craft and when watching their nimble fingers create delicate inner seams with a peek of brocade or taking a close look at the cuff of a shirt to see tiny pleats and smaller, fine embroidery quietly reveals this is more than making a garment. The construction of this bodice is nothing short of spectacular and all hand sewn, be it the panels of the peplum or the cording into the contrasting wool edging. Many of the embroidered pieces are done by the hands of local women who add their expertise and talents to every bunad.

Photo: Linda Kathrine Hogstad

In quick passing one might never see the details on the white undershirt or white linen headscarf. Stitch placement is carefully counted to form the intricate patterns that one could mistake for being woven. Particularly on the Skautet, or head scarf, the border is intricately done to create an open lacework. In contrast to the tight and fine stitches gracing the

Photo: Linda Kathrine Hogstad

crisp linen shirts, bold and richly dyed wool make up the embroidery that embosses the black silk bonnets, waist purses and shawl. Patterns from Kosberg, Selbu and Singsås grace the bonnets. Gauldal, Soknedal and Tidal are on show on the waist purses.


Men’s bunads are no less intricate than their female counterparts. Just on the inside of the jacket you can see a perfectly spaced whip stitch, a strip of soft leather supporting the buttons and button holes both strengthened and embellished by stitches wrapping tight the edges of the fine wool. The waistcoat is bold with woven details in contrasting colours and gleaming buttons bearing the Trøndersk rose. At the neck, a silk scarf with bright colours shows off its damask pattern.

Photo: Linda Kathrine Hogstad

One might think that black knickers would be a rather simple garment, but again the same details of fine stitching lead down to hand-knit wool socks deftly held up by woven garters. Even the knitted hat has a tradition all its own. The young should only be seen in all red, the young man in a red hat with a black cuff and the married man in a black hat with a red cuff. Also, these hats should only be combined with a dark outer jacket. Every piece is carefully considered to give a dapper and polished air.

In contrast to the rich wools, silks and fine linen is the shining polish of crisp silver. Adorning the collars, waist coasts, bodices, ears and purses are locally made symbols of Trøndelag. Engraving and styles speak more to north or south, as do the rings, the spoked wheel effect and the intricate clasps. The slightest movement causes a little tinkle as the delicate components touch. In the sun, they glimmer and sparkle to make their presence known. Often these are handed down, but whether a family heirloom or a newer piece, these pieces of jewellery are closely looked after.

Photo: Linda Kathrine Hogstad

Whether you are a curious visitor or transplant to Norway, or as Norwegian as the day is long, find the time to closely examine these perfect examples of what it truly means to be ‘Made in Trøndelag”.

The List Wants You!

Our small team here at The List is very proud to be representing our community in the capacity we do. It is our ongoing mission to provide engaging, relevant content and have a wide variety of voices to talk about the region. We want to represent a true flavour of what there is to be found here to do, be involved in and what is coming for our future. We are always amazed at all the things there are to learn, and after three years we know we have so much more to cover!

But, how do we make sure we have a lot of viewpoints and voices to accurately represent this vibrant and diverse community? How do we cover so many different things with such a small team? You! Our readers and fans. We rely on a strong base of contributors who share their opinions, passions, stories, photography, art, illustrations and other talents to fill the pages of each issue you see on the streets. We have some professionals, but we are so happy to be able to say that many of our contributors are our readers, students, and people who are all about reaching out to people. No professional qualifications needed, but passion, good quality work, willingness to learn and desire are.

Have you ever thought it would be fun to write for a magazine? Are you heavily involved in something we haven’t covered and should? If you consider yourself someone who has their finger on the pulse of things and wants to get the word out, by all means, let us know!

What about if you are not a writer? Have you ever read an article in the past, and doodled the story on a napkin wishing you could have done an illustration for it? Or thought of a great photo you would have taken? Or are you just curious about how we do what we do, but are not sure how you could be involved? Come and talk to us either in person or by email. From arts and culture to science and technology, we have space for all to join in.

Check out our issues from the past on ISSUU to get a full flavour of how diverse we are!

Feel free to email our Project Manager, Jennifer, at if you want to get involved.

Have a great weekend! And if you need something to do, check out our Listings Section!



Looking for something to do this weekend? Then check out Avant Garden’s Bastard Festival; it starts tomorrow and runs through the weekend.

This annual, performing arts festival seeks to surprise and prod its audience – and take a

You Look Like You // Photo by Efrat Mazor Goldberg


good, hard look at our global society in the process. The program for this year’s festival features dance, theatre, film, and every combination of them. Not to mention the artist talks, workshops, seminars, and other social events.

Each fall, The Bastard Festival presents some of the very best contemporary performing arts projects from the Norwegian and international independent art scene. We decided to talk with some of the festival organizers to find out more about some of the performances and find out which ones shouldn’t be missed.

Piece for Person and Ghetto Blaster // Photo by Sarah Walker

The first suggestion was Piece for Person and Ghetto Blaster: a dissection of human behaviour in regards to the complexities of intervention. The performance stems from an interaction the artist had with a man throwing stones at a duck. Branded as “stand-up choreography” this piece mixes dance and humorous text that is sure to appease.

Another to look forward to is (re)remember study – Trondheim. In this, the performance artists asks Trondheim locals to talk them around the city and take them to places with particularly fond memories associated with it. The walks are documented through various mediums; then in a live composition the stories are re-remembered and interpreted through the artistic meditations of the performers.

Bastard Festival offers something unique to the city of Trondheim, and while the artistic side of it may seem daunting, or perhaps too avant garde, to some, the experience is fantastic no matter your sensibilities.

MERCURIAL GEORGE SHOW / Photo by Jocelyn Michel

The stage is set at venues all across town: Teaterhuset Avant Garden, Trøndelag Teater, Olavshallen, Verkstedhallen, Trondhjems kunstforening, a storefront venue and festival bar, Moskus.


If you want to find out more about Bastard Festivalen you will find all the info on Avant Garden’s website, in our magazine and recent blog post where we interviewed theatre boss Per Ananiassen.


Stay up to date on what’s going on and what to do in Trondheim:

An Interview with Per Ananiassen, Theatre Boss of Avant Garden

Photo: Arne Hauge

Boss-man Wil Lee-Wright caught up with Avant Garden’s Per Ananiassen to talk about the venue’s planned change and the performing arts they showcase.

Avant Garden is planning to move to Rosendal Theatre. Why and when did you decide to change location?

The current location used to be a print shop for the city’s second newspaper, Arbeideravisa, the workers’ paper which went bankrupt in 1990. Within 5 years of being in this venue, we realised that it was too small and so we started to look for a bigger venue in 1998.

 So Avant garden has been looking for a new location for the better part of twenty years?! You are now able to move because you have managed to double the theatre’s budget in the last three years, the majority of which comes from subsidies from the ministry for culture and by the region (Sør Trøndelag Fylkeskommune and Trondheim Kommune). Is was the increased funding specifically for the new location or because of your increasing importance to the culture scene in Trondheim?

It was both reasons. I think the Department of Culture in Oslo has started to acknowledge the need of the programming theatres to consolidate and to become stronger. To have stronger artistic proposals and departments, and also that we need infrastructure. After all, we represent the national infrastructure for independent performing arts in Norway. Self financing only makes up about 17% of our budget. Funding makes it easier for us to plan and also to build the organisation.

Tell us more about the history of Rosendal – you must be very excited to have not only found a venue which suits Avant Garden’s practical needs, but one which has a history and name behind it.

It was a cinema built in 1921 by an American company. At that time, Trondheim was very small. Rosendal would have been well outside of town. There were cinemas in Trondheim but they were owned by the municipalities and it was illegal to have private cinemas.

They called it Rosendal Teatro, not kino, because it was regarded to be a little bit more upmarket. I am actually proposing that we change our name when we move there. ‘Avant Garden’ can be seen a little bit pretentious because it is relating to the historical avant garde in the arts. I sympathise with the avant garde movement because it was about making art accessible everywhere, and we are working with artists which have this kind of approach. Avant garde kind of means that you have been to some kind of promised land and you come back and tell. It is kind of old elite thinking in the arts. This was not necessarily intended by all artists in the historical avant garde movement, this is the way people regard it today: elitist.

We don’t want to be that. Avant Garden does not want to be part of the pop culture necessarily, but we use a lot of pop culture methods and media strategies. If you go to Rosendal, everyone knows what it is, where it is. It feels more accessible. We will still be what we are but we will be more than what we are.

The audience size will grow from 66 today to over 200 (and 100 in the smaller space). How important is it to fill the space and how will you accommodate the more marginal artists who do not require larger audiences?

There is some narrow art out there, people who are really taking big chances, experimenting with the new, something we have never seen before. Even I have problems understanding what they are doing, and I have been working in this business for a long time! I know that people have to have possibilities to show their art before they can develop. This is something we have to communicate to the audience too.

Avant Garden has a reputation for being quite cutting edge and for pushing the boundaries. So what will we be seeing at this year’s Bastard festival?

Anne Liv young; the way she is connected with the audience, which can be really hardcore and it’s really hard to be there. And Heine Avdal and Yukiko Sinozaki who are in our programme almost every year, who are super nice and super inviting. They are treating the audience with kindness and respect. In our time, that is also cutting edge! The bullies are ruining the world so some kind of inviting attitude and kindness and respect, can also be cutting edge. It is very much context which decides what is cutting edge.

In all the Bastard Festival programmes I have been responsible for over the years, I have never looked for the politically explicit expressions or projects. There is a lot of discourse going on, but what I am interested in the is the political potentiality in performing arts. Performing art per se is a political expression, because it always points at the nature of itself, namely the coming together of experiencing something together. Creating some kind of common platform and point of references so we can talk about something together. Today that is as important as ever before. Since this media revolution we have been though, we may have a lot to talk about but we talk about the headlines, but we do not talk about the depth of things. It is difficult to get out of the echo chamber.

We are building walls and we don’t allow any cracks to exist in the wall, and we are trying to cover up any cracks which do exist. I want this art festival to be one of the cracks in the wall. To paraphrase the film maker Morten Torvik, every wall has a crack and this is where spirit can come in.

Are other performances therefore more intense for the newcomer to the scene?

No not necessarily. Another highlight is we are opening the festival with Mia Habib’s A Song To…, a Norwegian choreographer from Haugusand. In this production she is choreographing 40 people; 16 professional dancers and 24 more (regular people). All of them are going to be naked on stage. If you want to be part of that you can, if you are willing to take your clothes off in front of the audience!

Are you asking me?! Well… can people still get involved?

You will have to check the status of how many people are signed up.

Also, on Saturday there is an Australian performer called Nicola Gunn with Piece for Person and Ghetto Blaster. She has made a production which is beautiful, fantastically well performed production. She tells a story while she is doing very intricate movements, very choreographed dance moves, and that the same time she is telling a story which raises some ethical questions. What is interesting is thane one hand it is very experimental piece but on the other hand it is a very relatable story. The complexity comes from the movement she is doing combined with the story.

For me, this is what Bastard festival is about. It is a chance too create a another way of reflecting. What you see is not always what you get in theatre. It is a visual art but it is only a tool for conveying something what is happening under the surface.


Stay up to date on what’s going on and what to do in Trondheim:

#24: Pstereo

From serious music lovers, hipsters, and those between the ages of 18 to 50, Pstereo is the big happening in Trondheim this summer. The festival provides both a rare meeting spot for the 30 to 40 somethings with babysitters, and spaces for those who follow closely what is happening on all the separate stages. Musically, its variety gives something for everyone through a blend of fresh indie and rock while throwing in some nostalgia for the “grown-ups”. In its eleven years of existence, Pstereo has had a lot of amazing acts. I’m most looking forward to seeing shoegaze legends Slowdive (UK), Swedish rapper Silvana Iman, and melodic indie pop masters Beach Fossils (US). The ever energetic and exciting Cymbals Eat Guitars (US) will make a most welcome return to the festival. And you certainly don’t wanna miss the local rising stars Pom Poko, who look set for a UK breakthrough this year!

Words by Vegard Enlid, Journalist at Adresseavisen

Photos by Wil Lee-Wright

#93:A Glass of Sunshine

You know the feeling of complete bliss after a sunny day? Well, in Trondheim you will never be guaranteed sunshine, but you can have the Sellanraa lemonade which is basically the same thing. It has the perfect ratio of sweet and sassy; it is refreshingly cold and served with a mint leaf completing that summer vibe.

Words by Siri Solheim-Kristiansen, Coordinator for Red Cross

Starmus IV, Day Five: No more facts or reports needed.

So I am going to be really honest: I think my brain is about to revolt. My brain is just so overstimulated at this point. My problem is that this is a mental sprint and a marathon at once, and I hadn’t seen that coming. I don’t think I would ask Starmus to be less than it is despite the overload.

Let´s go to where I started off the day because for me it was a brilliant start and ended with the other session I loved. It´s an interesting thing to sit and hear a premier scientist say no more facts and no more reports are needed to change the tide of those who stand in opposition to climate change…or really any science. Frankly, the same can be said for how we argue politics and religion at current. It isn’t to say she was saying stop publishing, more to stop using reports and studies to bash people over the head as a way to get them to see the light. Or, if not bashing them, assuming their brains are empty of these fact, like a bowl, and then trying to being helpful, pouring facts in like cereal for them to snack on. The thing is, apparently, is there is already cereal in the bowl and we just didn´t recognize it because it doesn’t look like what we think it should. Short and sweet: Stop with the frontal assault.

Katharine Hayhoe´s talk is one I have been waiting for. Having committed the sin of being a liberal pourer of facts into the atmosphere of various social medias (and friend’s heads), I feel like I was combating the issue of ignorance and flat out refusal to learn more. It´s not that people aren´t learning. They are. It just is a different set of facts, figures, or if the same, changed by belief. But how could those beliefs be so different from my own? Because of one thing that I didn’t consider; they are not denying science, they are denying based off of paying a price for changing which they don’t want to pay. It´s about perceived cost; financial, emotional, loss of community and so forth. Another person’s values changing their perception I have always understood, but not in the context that the cost influencing their ability to stand behind that which is true, rational and general consensus.. This isn’t to say that I don’t recognize the politicians saying one thing while knowing better, because of agendas from those paying into their PACs and the like. That has never been an unclear motive for their actions. It´s more the average person I didn’t think of it in that context.

Photo: Kai T. Dragland / NTNU

The idea we need to give value propositions instead of looking as though we are “costing them” something, and assuage fears with what they will gain seemed so logical when explained by Katherine. I don’t if anyone else found themselves thinking “duh!”, but I certainly was. Her proposals of how to laterally communicate were exactly what I have been looking. They are learnable ideas for those who I know mean well but, like myself, are contributing to the overall communication breakdown between believers and deniers. I thanked her most wholeheartedly for the talk. I cannot wait to look up more of her talks online.

There was a rather abrupt change in direction to how little we know of the oceans and how much we know about space with Nancy Knowlton´s talk. It did make me realize that for someone who loves the ocean as much as I do, I don’t think about what is happening to it as much as a I should.  And then it changed directions once more with Emmanuelle Charpentier´s talk on CRISPR. Admittedly this is the point I couldn’t focus and ended up having some conversations with others about how they felt the festival was going.

Photo: Julie Gloppe Solem / NTNU

The attendees are more than thrilled with this whole week´s programming and how amazed they are by the breadth of information, disciplines and all out fun they are having. A few of the staff members from different areas had nice things to say about working with such a diverse group of volunteers and organizations to make this happen. The potential for Starmus from here, as it´s still growing, is completely understood and there are going to be some really sharp minds working on making it an even better experience.

The panel that ended the day was marvelous. A truly fascinating and fantastic conversation. Outreach and education to encourage a more well rounded and deep fundamental understanding of science from a young age is something we cannot talk about enough. Moreover, the idea that we need to critically think about how we allow skeptics and deniers to have equal weight because of “playing fair” in journalism was something I was overjoyed to hear Alex Witze say out loud. Her unapologetic knock-that-off was refreshing and something that is worth repeating everywhere by all of us. We don’t need to give those peddling a bunch of bull their 15 minutes of fame because they think that  freedom of speech or political correctness should dictate it to be so. Applause for her statement was thunderous.

Photo: Thor Nielsen / NTNU

I enjoyed the way the panel discussed using play more, using things that can be taken apart and put back together to encourage curiosity, and as a mean to teach critical thinking without shoving it down as a lecture. Having been a child of the pre-internet age and one who had parents who did not allow cable tv or super commercial toys, I am grateful now for the art supplies, microscopes, real tools, heaps of books and time allowed to be spent dissecting the world. I can enthusiastically and emphatically say the recipe they concocted was entirely the right one, and a childhood all children should get to live.


I did find myself wanting to shout out one thing at the end. When David Eicher, the moderator, asked what the six panelist would tell a 10 year old girl to keep her engaged in STEM subjects no one, despite their rich and encouraging messages, said the one thing I desperately wanted to hear. This applies to both girls and boys looking at going into career fields that are seen as gender biased. The statement is this: Whatever is or isn’t between your legs indicating your physical birth gender, does not affect the quality of, intelligence of, or integrity of what is between your ears.

I have to say though, especially in a world that often says study that which will earn you the most, May-Britt Moser saying follow your passion made me really happy. Norwegians know better than anyone else that following your passion, making that passion what you do and then doing it to its utmost potential is a way to create a well-rounded successful life. And that, ladies and gentlemen, is one of the best lessons we can give the small humans heading into their futures.

Photo: Thor Nielsen / NTNU