Benedicte Aubert Ringnes’ “ARNOLD” positions the body as both icon and image-system—where bodybuilding, classical sculpture, and digital collage collapse into a single visual language of control and distortion. Presented at Gallery A, Oslo, the exhibition reworks Arnold Schwarzenegger not as celebrity, but as cultural framework: a figure through which masculinity, symmetry, and spectacle are continuously reframed under post-digital conditions. Drawing on pop art lineage, experimental film, and Photoshop-based construction, Ringnes produces works that resist resolution in favour of layered instability. The result is a sharply contemporary inquiry into how images construct power, and how power is sustained through repetition, editing, and visual myth.
pop art
Anthony Lister, the celebrated Australian painter and installation artist known for his provocative blend of high and lowbrow culture, is set to unveil his latest body of work in a highly anticipated exhibition in Sydney. Lister’s artistry transcends conventional boundaries, drawing inspiration from street art, expressionism, and contemporary youth culture. His work has garnered international acclaim, with solo exhibitions across Australia, the United States, Europe, and the UK.
In Oslo, words rarely stay still. They drift through conversations in hotel lounges, echo across studio floors, and dissolve into the city’s informal rhythm of cafés, apartments and late-night exchanges. It is within this restless linguistic atmosphere that the practice of Unni Askeland takes shape—less as a fixed position than as an ongoing dialogue with the city itself.
Her presence within Norwegian contemporary culture has long been defined by this interplay between speech, image and persona. In Askeland’s orbit, language becomes performative material: sharp, improvisational, and often deliberately unpolished, reflecting a broader Oslo sensibility where art is inseparable from lived social intensity.
To speak of her work, then, is to speak of Oslo as much as of painting.
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