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At the unveiling of the Peace Frieze on November 16, a group will perform the "Peace Power" exercise, a health-preserving practice developed by Grand Master Fan Xiulan, a Chinese doctor of medical qigong. This exercise was originally created in the 2000s at the request of several Nobel Peace Prize laureates and is rooted in ancestral knowledge passed down to Fan Xiulan. In Norway, Anne-Marie Giørtz, the primary instructor of this practice, will lead and perform the Peace Power exercise with the group.
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In celebration of the Oslo 2024 Jubilee and the Nobel Peace Prize award, visual artist Gitte Sætre has created a 15-meter peace frieze—a sweeping horizon line that visualizes what a culture of peace could look like. The work draws on conversations with diverse representatives from civil society and will be installed outdoors at Olav Vs Square, positioned between City Hall and the Nobel Peace Center, leading up to the Peace Prize ceremony. This peace frieze takes inspiration from the frescoes of the Oslo City Hall, where the Fresco Brothers' clear vision of a harmonious society resonated widely. The 2024 peace frieze reflects the rich history of vitalism and socialist murals while incorporating new dimensions of contemporary life, making it more than just a painting. What constitutes true, creative craftsmanship in building a culture of peace? The project invites us to talk more about peace and how we can bring more of it into our lives. How is a culture of peace built? Located between Oslo City Hall and the Nobel Peace Center, the mural aligns with the vision of the Peace Prize and Oslo’s role as a Mayors for Peace city, a city of human rights, and a signatory of the UN nuclear weapons ban. Gitte Sætre has posed the question of what Alf Rolfsen’s “Occupation Frieze” in Oslo City Hall might look like today. Inspired by his work and his concept of "room images," which seek to forge a profound connection between the viewer and the artwork, Sætre invites the public into an immersive experience, part of a cosmic order. The viewer becomes a central figure in the composition, not merely a passive observer. Rolfsen believed in the power of art through human expression, symbolized by the hand, where art serves as a means to explore fundamental questions of creation and belonging. His works were designed to be experienced in stages, inviting a meditative approach. The 2024 peace frieze seeks to capture this focus on spontaneity, vitality, and immediate joy over perfection. Gitte Sætre (b. 1975) is a renowned visual artist whose practice is both diverse and deeply engaged with social and political issues. Sætre’s approach is marked by a strong belief in art’s potential to inspire social change and collective reflection. She has been dedicated to this project since co-organizing the War Theatre *Trident Juncture* at the National Theatre in Bergen in 2017. This art project was created in collaboration with: The Anti-War Initiative, WILPF Norway, Norwegian Peace Council, Nobel Peace Center, Oslo School of the Arts, Oslo Agency for Cultural Affairs, The Commission for Good Solutions, and other voices from civil society. Supported by: The Ministry of Foreign Affairs and Oslo Municipality. Mesén serves as advisory producer. |
Conversation between Gitte Sætre, the artist behind the Peace Frieze, and Vibeke Christensen, producer at Mesén
Vibeke Christensen:You have created a 15-meter-long Peace Frieze to be displayed at Olav V’s Square for the Nobel Peace Prize ceremony in Oslo 2024. Could you tell us how the project came about and what you hope to achieve with this work?
Gitte Sætre: Yes, the Peace Frieze is the result of conversations I've had with various members of civil society about how we can build a culture of peace. I wanted to visualize these thoughts through a monumental work placed outdoors, between Oslo City Hall and the Nobel Peace Center, leading up to the peace prize ceremony itself. This artwork is not merely an aesthetic installation; it's an invitation for reflection and dialogue. The question I’ve explored throughout the process is: How do we truly build a culture of peace today?
Vibeke Christensen:The title of your project, "Fredskultur" (Culture of Peace), is striking and multi-layered. Where does it come from?
Gitte Sætre:"Fredskultur" is inspired by the UN and UNESCO, where Ingeborg Breines, a prominent Norwegian figure in peace work, has been especially active. She has worked to show that a culture of peace is about more than the absence of war. It's about building societies that value solidarity, collaboration, and a nonviolent approach in every aspect of life. This idea deeply resonated with me, and the title became a natural fit for this project, which seeks, through art, to both visualize and practice these values.
Vibeke Christensen:You draw connections back to the work of the Oslo City Hall "Fresco Brothers," especially Alf Rolfsen’s pieces, which have inspired you. How have these historical references influenced your Peace Frieze?
Gitte Sætre: Absolutely, the work of the "Fresco Brothers," particularly Alf Rolfsen's "Occupation Frieze," has been a significant inspiration. They created clear, visual images of society that resonated with their time. I've asked myself: What would Rolfsen’s frieze look like today? In this Peace Frieze, I've reflected on this tradition but also attempted to incorporate multiple dimensions of contemporary life. I’m working with Rolfsen’s concept of "rombilder"—the art of creating a deep connection between the artwork and the viewer, inviting them in as active participants in a broader order, encouraging independent thought rather than war or terror aesthetics.
Vibeke Christensen: Fresco painting is a technique with long traditions, but it's become less common today. What has driven you to work with this technique, and what does it mean to you in a modern context?
Gitte Sætre: For me, fresco painting is a monumental form with a unique potential for conveying complex messages. It's a technique that requires dedication, but it also allows for the creation of enduring, large works that engage the viewer in ways smaller formats do not. In the 2024 Peace Frieze, I’ve tried to unite this traditional technique with a contemporary content where the work goes beyond representation—it explores deeper layers of meaning, emotion, and concepts related to a culture of peace.
Vibeke Christensen: You've named your project "Freskosøstrene" (The Fresco Sisters) and mentioned that you’re continuing the legacy of the "Fresco Brothers" but with a feminist and performative approach. Could you explain what you mean by that?
Gitte Sætre: "The Fresco Sisters" pick up where the "Fresco Brothers" left off but bring in new perspectives, including female experiences and voices that didn’t have space in the public sphere of the 1930s. We introduce dimensions like ecosystems and marginalized groups, and the project seeks to challenge traditional narratives about who builds society. Our work is about visualizing hope, community, and the potential for peace, while also confronting hatred, xenophobia, and polarization.
Vibeke Christensen:It seems that this project is about much more than just art. How do you see the role of art in society today, and where do you place your work in a larger context?
Gitte Sætre:I see art's role today as being an active participant in societal discourse, not just decoration. I want my works to function as think tanks, where different perspectives come together, and new ideas can emerge. "The Fresco Sisters" is a political project that highlights some invisible forces in society—the volunteers, the undocumented, the artists, and those working without pay to preserve democracy.
Vibeke Christensen: It sounds like the Peace Frieze also has a deep political foundation. How does this work connect to the vision of the Peace Prize and Oslo's role as a "Mayors for Peace" city?
Gitte Sætre:The Peace Frieze is placed between the Nobel Peace Center and Oslo City Hall, two symbolic institutions committed to peace. Oslo is a "Mayors for Peace" city and has signed the UN Treaty on the Prohibition of Nuclear Weapons. I want the frieze to be a visual expression of this commitment. It’s a reminder that peace is not just an international goal but something built locally, in our daily lives and interactions. And I dream of Norway establishing a Ministry of Peace by 2030.
Vibeke Christensen:You speak of creating works that are "more than representational." Can you elaborate on what you mean by this and how this vision is reflected in the Peace Frieze?
Gitte Sætre: A "more than representational" work goes beyond merely depicting reality. It invites the viewer to reflect more deeply on what they’re seeing and to contemplate their surroundings and place in the world. It includes moods and emotions—things that are challenging to measure or illustrate but are essential aspects of our lives.
Vibeke Christensen:Can you explain how Act 5: CULTURE OF PEACE fits into the larger context of your project and how this act builds on the previous four?
Gitte Sætre: What I'm doing now on Olav V’s Square is the last in a series of five acts. Each one explores different aspects of security policy and what it means for us as a society to define security. Every act has been an investigation, thematically addressing security, citizenship, and War/Peace in new ways. The series began with Act 1 at the National Stage in Bergen in 2017, which focused on NATO. Act 2 was a Peace Festival at USF Verftet in Bergen; Act 3 was an art exhibition in a gallery; and Act 4 was a performative theater piece titled "The Commission for Good Solutions." Act 5 questions the very definition of peace, not to find one simple understanding, but to inspire reflection on what a lasting and sustainable peace demands of us both as individuals and as a society. All the acts are described here on my website, and I recommend watching the film from the National Stage—the seven women have a lot of wisdom to share.
In "The Commission for Good Solutions," I gathered seven women to share their visions for the future through New Year’s speeches. This act staged a utopian future, a retrospective from 2052, where we opened dialogues about the planet's future and the good life. Some confronted human vulnerability in the face of state power and the demands of nationalism on the individual.
These previous acts have collectively created a multifaceted discussion about what security, safety, and community mean to us and how these concepts are challenged and evolve. This laid the groundwork for now exploring the concept of peace—not just as the absence of war but as an active state we are responsible for shaping.
Vibeke Christensen:What do you hope the audience takes away after seeing the Peace Frieze?
Gitte Sætre: I hope the audience is inspired to reflect on what a culture of peace might look like in their own lives. Peace is more than the absence of war—it’s about justice, community, and a deep respect for human dignity. I want the work to remind us of our shared responsibility to build a better future, and I hope it can contribute to a broader conversation about how we can achieve this together.
Vibeke Christensen: This is a question I could have started with. You’ve been working with the themes of war and peace for over twenty years. Why have these constructs fascinated you for so long as an artist?
Gitte: War and peace represent something fundamental to me, something that goes deeper than just states of being between nations. They reflect human nature itself and the complex structures of our society. Through art, I have tried to explore how war evokes our most intense, and often dark, sides—how it sharpens collective actions and ideological convictions, and how it forces individuals to fight for their own dignity.
War makes it nearly impossible to discuss human rights, because it breaks down the very values on which those rights are built. It creates structures where inequality is not only tolerated but becomes almost necessary, and economies are shaped to sustain a continuous buildup of defense. This comes at the expense of essential needs like education, health, and cultural development. There’s an inherent injustice in how war builds economies while simultaneously creating and sustaining deep inequalities. We need Peace!
I want to inspire reflection on peace, not as a passive state but as something we must actively build—in our political spaces, in our communities, in our economy, and in the small, everyday choices we make. For me, art is a tool to open up conversations about what it takes to build lasting peace and perhaps offer a new perspective on how we see our own role in creating the society we want to live in. War has been a recurring theme in art throughout history, both as a reflection of society’s darkest moments and as an exploration of humanity’s deeper nature. From early civilizations’ frescoes and reliefs, documenting heroic battles and royal triumphs, to modern artworks condemning the brutality of war, conflict has been portrayed in ways that challenge, process, and question societal values. War as an artistic theme is compelling because it reveals humanity’s capacity for both greatness and cruelty. For many artists, war serves as a mirror reflecting both individual and societal morals and choices. It exposes how power, fear, and hope can shape our actions and understanding of right and wrong. Art that conveys the consequences of war can also serve as a powerful reminder of human vulnerability and the losses that war brings, while appealing to empathy and peace.
In light of Naomi Klein’s observations on the potential exploitation of war memories, it becomes clear how important it is to approach this theme carefully. Klein describes how, in the aftermath of the October 7 attacks, Israel quickly integrated the event into a national “memory culture” that, through art, technology, and architecture, transforms collective trauma into experiences that others can learn from. This can serve a noble purpose, but there is a risk that such remembrance is used to justify boundless violence and reinforce narratives of “good versus evil” in which Israel is seen as blameless and deserving of unconditional support. Observing how such narratives can sustain and intensify conflicts highlights the need to be critical of how war and trauma are portrayed and used, even in art. It also shows how art can foster understanding or become a tool for polarization, depending on how it is interpreted and employed.
Gitte Sætre: Yes, the Peace Frieze is the result of conversations I've had with various members of civil society about how we can build a culture of peace. I wanted to visualize these thoughts through a monumental work placed outdoors, between Oslo City Hall and the Nobel Peace Center, leading up to the peace prize ceremony itself. This artwork is not merely an aesthetic installation; it's an invitation for reflection and dialogue. The question I’ve explored throughout the process is: How do we truly build a culture of peace today?
Vibeke Christensen:The title of your project, "Fredskultur" (Culture of Peace), is striking and multi-layered. Where does it come from?
Gitte Sætre:"Fredskultur" is inspired by the UN and UNESCO, where Ingeborg Breines, a prominent Norwegian figure in peace work, has been especially active. She has worked to show that a culture of peace is about more than the absence of war. It's about building societies that value solidarity, collaboration, and a nonviolent approach in every aspect of life. This idea deeply resonated with me, and the title became a natural fit for this project, which seeks, through art, to both visualize and practice these values.
Vibeke Christensen:You draw connections back to the work of the Oslo City Hall "Fresco Brothers," especially Alf Rolfsen’s pieces, which have inspired you. How have these historical references influenced your Peace Frieze?
Gitte Sætre: Absolutely, the work of the "Fresco Brothers," particularly Alf Rolfsen's "Occupation Frieze," has been a significant inspiration. They created clear, visual images of society that resonated with their time. I've asked myself: What would Rolfsen’s frieze look like today? In this Peace Frieze, I've reflected on this tradition but also attempted to incorporate multiple dimensions of contemporary life. I’m working with Rolfsen’s concept of "rombilder"—the art of creating a deep connection between the artwork and the viewer, inviting them in as active participants in a broader order, encouraging independent thought rather than war or terror aesthetics.
Vibeke Christensen: Fresco painting is a technique with long traditions, but it's become less common today. What has driven you to work with this technique, and what does it mean to you in a modern context?
Gitte Sætre: For me, fresco painting is a monumental form with a unique potential for conveying complex messages. It's a technique that requires dedication, but it also allows for the creation of enduring, large works that engage the viewer in ways smaller formats do not. In the 2024 Peace Frieze, I’ve tried to unite this traditional technique with a contemporary content where the work goes beyond representation—it explores deeper layers of meaning, emotion, and concepts related to a culture of peace.
Vibeke Christensen: You've named your project "Freskosøstrene" (The Fresco Sisters) and mentioned that you’re continuing the legacy of the "Fresco Brothers" but with a feminist and performative approach. Could you explain what you mean by that?
Gitte Sætre: "The Fresco Sisters" pick up where the "Fresco Brothers" left off but bring in new perspectives, including female experiences and voices that didn’t have space in the public sphere of the 1930s. We introduce dimensions like ecosystems and marginalized groups, and the project seeks to challenge traditional narratives about who builds society. Our work is about visualizing hope, community, and the potential for peace, while also confronting hatred, xenophobia, and polarization.
Vibeke Christensen:It seems that this project is about much more than just art. How do you see the role of art in society today, and where do you place your work in a larger context?
Gitte Sætre:I see art's role today as being an active participant in societal discourse, not just decoration. I want my works to function as think tanks, where different perspectives come together, and new ideas can emerge. "The Fresco Sisters" is a political project that highlights some invisible forces in society—the volunteers, the undocumented, the artists, and those working without pay to preserve democracy.
Vibeke Christensen: It sounds like the Peace Frieze also has a deep political foundation. How does this work connect to the vision of the Peace Prize and Oslo's role as a "Mayors for Peace" city?
Gitte Sætre:The Peace Frieze is placed between the Nobel Peace Center and Oslo City Hall, two symbolic institutions committed to peace. Oslo is a "Mayors for Peace" city and has signed the UN Treaty on the Prohibition of Nuclear Weapons. I want the frieze to be a visual expression of this commitment. It’s a reminder that peace is not just an international goal but something built locally, in our daily lives and interactions. And I dream of Norway establishing a Ministry of Peace by 2030.
Vibeke Christensen:You speak of creating works that are "more than representational." Can you elaborate on what you mean by this and how this vision is reflected in the Peace Frieze?
Gitte Sætre: A "more than representational" work goes beyond merely depicting reality. It invites the viewer to reflect more deeply on what they’re seeing and to contemplate their surroundings and place in the world. It includes moods and emotions—things that are challenging to measure or illustrate but are essential aspects of our lives.
Vibeke Christensen:Can you explain how Act 5: CULTURE OF PEACE fits into the larger context of your project and how this act builds on the previous four?
Gitte Sætre: What I'm doing now on Olav V’s Square is the last in a series of five acts. Each one explores different aspects of security policy and what it means for us as a society to define security. Every act has been an investigation, thematically addressing security, citizenship, and War/Peace in new ways. The series began with Act 1 at the National Stage in Bergen in 2017, which focused on NATO. Act 2 was a Peace Festival at USF Verftet in Bergen; Act 3 was an art exhibition in a gallery; and Act 4 was a performative theater piece titled "The Commission for Good Solutions." Act 5 questions the very definition of peace, not to find one simple understanding, but to inspire reflection on what a lasting and sustainable peace demands of us both as individuals and as a society. All the acts are described here on my website, and I recommend watching the film from the National Stage—the seven women have a lot of wisdom to share.
In "The Commission for Good Solutions," I gathered seven women to share their visions for the future through New Year’s speeches. This act staged a utopian future, a retrospective from 2052, where we opened dialogues about the planet's future and the good life. Some confronted human vulnerability in the face of state power and the demands of nationalism on the individual.
These previous acts have collectively created a multifaceted discussion about what security, safety, and community mean to us and how these concepts are challenged and evolve. This laid the groundwork for now exploring the concept of peace—not just as the absence of war but as an active state we are responsible for shaping.
Vibeke Christensen:What do you hope the audience takes away after seeing the Peace Frieze?
Gitte Sætre: I hope the audience is inspired to reflect on what a culture of peace might look like in their own lives. Peace is more than the absence of war—it’s about justice, community, and a deep respect for human dignity. I want the work to remind us of our shared responsibility to build a better future, and I hope it can contribute to a broader conversation about how we can achieve this together.
Vibeke Christensen: This is a question I could have started with. You’ve been working with the themes of war and peace for over twenty years. Why have these constructs fascinated you for so long as an artist?
Gitte: War and peace represent something fundamental to me, something that goes deeper than just states of being between nations. They reflect human nature itself and the complex structures of our society. Through art, I have tried to explore how war evokes our most intense, and often dark, sides—how it sharpens collective actions and ideological convictions, and how it forces individuals to fight for their own dignity.
War makes it nearly impossible to discuss human rights, because it breaks down the very values on which those rights are built. It creates structures where inequality is not only tolerated but becomes almost necessary, and economies are shaped to sustain a continuous buildup of defense. This comes at the expense of essential needs like education, health, and cultural development. There’s an inherent injustice in how war builds economies while simultaneously creating and sustaining deep inequalities. We need Peace!
I want to inspire reflection on peace, not as a passive state but as something we must actively build—in our political spaces, in our communities, in our economy, and in the small, everyday choices we make. For me, art is a tool to open up conversations about what it takes to build lasting peace and perhaps offer a new perspective on how we see our own role in creating the society we want to live in. War has been a recurring theme in art throughout history, both as a reflection of society’s darkest moments and as an exploration of humanity’s deeper nature. From early civilizations’ frescoes and reliefs, documenting heroic battles and royal triumphs, to modern artworks condemning the brutality of war, conflict has been portrayed in ways that challenge, process, and question societal values. War as an artistic theme is compelling because it reveals humanity’s capacity for both greatness and cruelty. For many artists, war serves as a mirror reflecting both individual and societal morals and choices. It exposes how power, fear, and hope can shape our actions and understanding of right and wrong. Art that conveys the consequences of war can also serve as a powerful reminder of human vulnerability and the losses that war brings, while appealing to empathy and peace.
In light of Naomi Klein’s observations on the potential exploitation of war memories, it becomes clear how important it is to approach this theme carefully. Klein describes how, in the aftermath of the October 7 attacks, Israel quickly integrated the event into a national “memory culture” that, through art, technology, and architecture, transforms collective trauma into experiences that others can learn from. This can serve a noble purpose, but there is a risk that such remembrance is used to justify boundless violence and reinforce narratives of “good versus evil” in which Israel is seen as blameless and deserving of unconditional support. Observing how such narratives can sustain and intensify conflicts highlights the need to be critical of how war and trauma are portrayed and used, even in art. It also shows how art can foster understanding or become a tool for polarization, depending on how it is interpreted and employed.