A groundbreaking exhibition in Oslo has transformed an artist's private residence into an immersive showcase for what curators are calling a "new Norwegian design movement." The Zeitgeist 2.0 exhibition, part of the annual Designers' Saturday festival, presented both vintage and contemporary Nordic design pieces within the authentic domestic setting of artist Paul Hellsegg's home and studio.
Curators Kirsten Visdal and Per Olav Sølvberg organized the interactive show to display classic designs alongside works by emerging talents in a genuine living environment. The exhibition's title, known as Tidsånden 2.0 in Norwegian, represents what the curators describe as a shift away from rational, modernist principles toward a greater focus on tactility and emotional connections with everyday objects.
"After years of modernism, we are now witnessing a new movement; one in which memory, heritage and personality gain prominence," Visdal explained. "People are drawn back to beauty, color and ornamentation, which is reflected in both public and private spaces." She emphasized that creating a home is a patient process that needs to be built layer upon layer, contrasting with today's impatient, ready-made culture.
The venue choice proved crucial to the exhibition's concept. Hellsegg's apartment and studio, located in Oslo's Cort Adelers gate neighborhood, was selected to make visitors feel like participants rather than mere spectators. "We wanted to bring design back into a real environment – not a gallery, but a lived-in space," Sølvberg told reporters. "The space also includes his atelier, which inspired much of the concept. It gave us a sense of artistic freedom and authenticity – an environment where creativity is literally part of the walls."
The curators carefully integrated pieces from Norwegian and Nordic brands into the existing interior, allowing them to dialogue with Hellsegg's expressive abstract paintings and functional sculptures. This approach created a casual and inclusive atmosphere that preserved the home's original character. "The idea was not to erase the soul of the home, but to let design dialogue with it," Sölvberg noted. "We repainted, re-lit and adjusted the layout slightly – but kept the spirit intact."
The exhibition featured objects with strong narrative qualities from established brands including Kasthall, Northern, Varier, and Fogia, alongside works from younger studios such as Nedre Foss, Andersen & Voll, and Pettersen Hein. Notable pieces included a dining table and chairs by Jenkins & Uhnger, a cabinet by Färg & Blanche, lighting fixtures from Northern, and a coffee table from Fora Form.
Special attention was paid to pieces that demonstrated quality design, craftsmanship, and connections to Norwegian heritage. The Anemon rug, designed by Gunilla Lagerhem Ullberg for Kasthall, exemplified this approach as a modern piece based on an archival pattern. It was displayed alongside playful, handcrafted textile vases by Kristine Five Melvær and a steel storage unit designed by emerging designer Jonas Stokke for Eskoleia.
Other carefully selected pieces highlighted Norway's heritage of innovation and craftsmanship, including the sculptural Ekstrem chair designed by Terje Ekstrøm in 1984, the minimalist Less sofa from LK Hjelle, and various crafted objects from Nedre Foss. Design duo Pettersen Hein contributed their distinctive concrete vases, while Varier showcased its classic kneeling chair and Flokk provided office seating for the apartment's workspace.
The domestic setting created an unusually relaxed atmosphere where visitors were actively encouraged to sit down, linger, and engage with both the objects on display and fellow visitors. According to the curators, many attendees commented that "it felt like being inside a conversation between art, design and life," while others shared childhood memories triggered by familiar objects such as wool rugs and wooden chairs.
This innovative exhibition format represents an extension of Sølvberg and Visdal's professional practice as curators who focus on spaces rooted in everyday experiences. The pair has suggested that the "Hos Paul" concept may evolve into a recurring series, with different domestic spaces used to showcase contemporary art and design. Visdal's previous projects include a notable exhibition of Norwegian furniture, objects, and sculptures that was installed in a former smoking room at the Musée d'Orsay in Paris, demonstrating her expertise in creating unique exhibition contexts.
