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This article explores the relationship between center and periphery within Norwegian art at the turn of the century. It focuses on the Holmenkollen tourist hotel in Christiania (present-day Oslo) and the artists and architects involved in its construction. It shows how the relationship between the center/periphery is one of dynamic encounter and one where the relations of power are much more flexible than the traditional notion of the center dictating the terms. Moreover, it highlights how Norwegian artists through their work and writing reflected on their role as belonging to a peripheral art nation and illustrates how they found ways to make this peripheral identity a well of artistic creativity and the base for an artistic pride. [ABSTRACT FROM AUTHOR]

The article offers information on Little Norway stave church, that was a living museum of a Norwegian village located in Blue Mounds, Wisconsin. It reports that the Little Norway consisted of a fully restored farm dating to the mid-19th century. It enjoyed a place of honor there as the gallery for displays of Norwegian and Norwegian American art and high culture.

This article presents the Norwegian applied theatre project called P:UNKT, which suggests a meeting point, a crossroads and encounters. The aim of the project was to stimulate integration and cultural diversity, with the outreach nature of P:UNKT resulting in new ways of interaction and collaboration across groups and institutions. I conducted research on the project from 2010 to 2012 and three years later, in 2016. I claim that the project enabled ethnic Norwegians and immigrants to create unique storytelling theatre together that transcended the conventional preconceptions of us and them, resulting in the emergence of a new 'we'. This type of social and applied theatre run by a professional, state-funded theatre is not common in Norway. The findings of my research are therefore of relevance to local communities, theatre companies and politicians. The P:UNKT project is an example of the active role that applied theatre can play in shaping Norwegian identity construction in the twenty-first century. [ABSTRACT FROM AUTHOR]

In Norway, a number of independent feature films have been produced in the last fifteen years that received no government support and are distributed digitally. I argue that new digital tools have made it possible to create a new Norwegian film culture, outside or on the margins of ordinary film culture. These new, mostly B-films challenge the concept of art cinema, 'quality' film production and Norwegian cultural values, and have become a vibrant complement to mainstream film culture. [ABSTRACT FROM AUTHOR]

The article offers information on Norwegian artist Kitty Kielland. Topics include examines that article addresses important aspects of Kielland artistic practice, life choices, radical writings, and political activism from the perspective of feminist art history; and reports that several female artists who achieved professional status came from artist families or had strong connections to male artists.