View of “Eva LeWitt,” 2018. Photo: Christian Tunge.

View of “Eva LeWitt,” 2018. Photo: Christian Tunge.

Eva LeWitt


View of “Eva LeWitt,” 2018. Photo: Christian Tunge.

Commissioned in 1918 but completed only in 1950, Oslo’s stately city hall, or rådhus, showcases several decades of Norway’s achievements in art and crafts, alongside local natural resources such as the resplendent Fauske marble. Hailing from the Arctic Nordland, the stone is dubbed “Norwegian rose” for its predominantly pinkish hue, but it can also be found in variations of glacial white, warmed by creamy emerald undertones, edged in lilac. This same marble was used throughout the rådhus’s adjacent facilities, including the former welfare office, built in 1937 on what is today Tordenskiolds gate—home to the gallery VI, VII.

For her first solo exhibition in this space, American sculptor Eva LeWitt found inspiration in the way the sunlight streamed in through the window front and pooled within the patterns of the Fauske marble. Over the past few years, LeWitt has developed a

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