When the memorial site for the 22 July terror was unveiled earlier this summer, I was disappointed that we ended up with something so flimsy and uninteresting in terms of form. The row of columns at Utøya-kaia is a product of “engineering” rather than “imagineering”. I was therefore happy and excited when I heard that one of our foremost concept artists, Lars Ramberg, had created an alternative monument. In memory of those who survived this pitch-dark day in Norwegian history, not those who died. The monument is presented as part of the separate exhibition “Freedom” at the Bomuldsfabriken Kunsthall in Arendal. Surprisingly enough, this is Lars Ramberg’s first extensive solo exhibition in Norway. Doubts remain Lars Ramberg is a distinctive artist. Over the past twenty years, he has made a name for himself both internationally and here at home. He has participated in both the São Paulo and Venice Biennales. In 2020, he received a lot of attention for his site-specific project “Brainstorm” in the foyer of the Deichman main library in Oslo. For a number of years, he has lived and worked in Berlin, and he has fearlessly thrown himself into the German identity debate with, among other things, his polemical project “Palast des Zweifels” from 2005. On the roof of the former headquarters of the GDR regime, Palast der Republik, he had the word “Zweifel” (German for doubt) installed in eight meter high neon letters. REFERENCE WORK: Lars Ramberg’s project “Palast des Zweifels” from 2005 is still used as a reference, long after the palace is gone. Photo: Lars Ramberg / Bomuldsfabriken At the time, a debate raged about whether this building, which reminded of a painful and difficult part of history, should be allowed to stand or be demolished. It ended with demolition, but it is still said in Germany, with reference to Ramberg’s work, that the doubt remains even though the palace is now gone. A labyrinth of words The first thing that meets us in the exhibition is the 22 July work “495 Loudspeakers II”. An entire room filled to the brim with handmade wooden boxes engraved with words and phrases. As viewers, we move in a labyrinth of statements. LOUDSPEAKERS: The installation “495 Loudspeakers II” is a tribute to freedom of expression and the importance of participation in shaping the values of the future. Photo: VEGARD KLEVEN The wooden boxes refer to a type of makeshift lectern that was used at the so-called Speakers’ Corner in Hyde Park in London. It was originally a place for public executions, where the person condemned to death was given the opportunity to give a “Last Dying Speech”. When public executions were abolished in the late 18th century, Speakers’ Corner was transformed into an arena for free speech. Here, most people could stand on a box and give a speech. The terror on Utøya was an attempt to slaughter and gag a rising generation of strong, young voices on the left. I like that Ramberg here gives the survivors their own lectern, each their own room for expression, and takes seriously the ambition after 22 July of “more democracy and more openness”. Inflamed symbols But this exhibition is not only about 22 July. There are many big implications-rich topics here. In addition to the aforementioned work “Zweifel”, which is documented in the exhibition, the project “Fremdgehen” is also presented, where Ramberg takes issue with the Norwegian authorities’ treatment of the so-called “German girls”. NORWEGIAN JUDICIAL MURDER: The work “Fremdgehen” points to the shameful treatment of girls and women who had a relationship with German soldiers. The art project was first shown in 2004 at Hamburger Bahnhof in Berlin. Photo: VEGARD KLEVEN Another eye-catching work is the installation “Zusammenprall”. Here, Ramberg has recreated the shop “Tønsberg” which was located in Rosa-Luxemburg-Straße in Berlin Mitte. The store belonged to the infamous Thor Steinar clothing chain, which was closely associated with neo-Nazi circles in Berlin, and which marketed itself through Norse symbols, Norwegian flags and Norwegian place names such as Bergen, Larvik, Narvik and Trondheim. In the exhibition, Ramberg has recreated the shop facade with a rough, whitewashed brick wall and a large display window. Here we can see two mannequins standing on a giant Norwegian flag, dressed in rough, sporty, Nordic-inspired clothes. Large paint stains on the window indicate that a demonstration has taken place. CONTROVERSIAL FASHION: “Zusammenprall” investigates the misuse of Norwegian symbols by German right-wing radicals Photo: VEGARD KLEVEN Many people were outraged by this misuse of Norwegian national symbols. Tempers really came to a boil when the store “Brevik” was opened in Chemnitz. The similarity between the Norwegian place name and the name of the 22 July terrorist caused great riots. The name, combined with Norwegian flags and the clear neo-Nazi profile, was experienced as deeply offensive. The store later changed its name to “Tønsberg”. The summer’s most important exhibition Lars Ramberg’s works are meaningful, but they never convey a simple statement. They function as living discussions that the viewer can get involved in. Despite the violent theoretical material that is always behind Ramberg’s work, the visual expression never appears as anemic concept documentation. Ramberg chooses to visualize a central element that stands for the whole. “Freiheit” touches on important, painful historical and contemporary themes. It is undoubtedly the summer’s most important exhibition. news reviews Photo: Bomuldsfabriken Title: “Lars Ramberg: Freiheit” Place: Bomuldsfabriken, Arendal Date: 30 June – 2 October 2022
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