{"id":27106,"date":"2021-06-14T16:24:09","date_gmt":"2021-06-14T14:24:09","guid":{"rendered":"https:\/\/perspektivet.no\/?post_type=utstillinger&p=27106"},"modified":"2026-03-04T13:24:44","modified_gmt":"2026-03-04T12:24:44","slug":"sara-and-freedom","status":"publish","type":"bc_exhibition","link":"https:\/\/perspektivet.no\/en\/exhibitions\/sara-and-freedom\/","title":{"rendered":"Sara and freedom"},"content":{"rendered":"\n

Sara Fabricius spent several of her early adult years in Troms\u00f8, at a time of transition between tradition and modernity. At 24 years of age, she struck out on her own and moved to Paris to develop as a painter. <\/p>\n\n\n\n

There she became one of many seeking the freedom of anonymity in the big city\u2019s artistic quarters. After spending several years in France and Italy, Sara gave up the dream of becoming a painter and picked up her writing pen using the pseudonym Cora Sandel.<\/p>\n\n\n\n

Like many of her literary characters, Sara Fabricius\/Cora Sandel did not feel comfortable with the era\u2019s narrow view of women and its norms for what was considered fitting. A double standard in human relationships, not least between men and women, is a leitmotif in her writings.<\/p>\n\n\n\n

\n

The use of scenes <\/em>or episodes<\/em> is characteristic for the author Cora Sandel\u2019s narrative style. It is possible to read this \u2018life stream\u2019 of situations that influenced her painter\u2019s gaze. The literary style has inspired the exhibition\u2019s visual language. Through installations and still lifes, it conveys the artist\u2019s reflections on themes about which she was passionate: nature, animal welfare, personal autonomy and interpersonal relationships.<\/p>\n<\/div>\n\n\n\n

So who was Sara Fabricius\/Cora Sandel, the author who hated being intrusive and who claimed to suffer from a \u2018mania for anonymity\u2019? The exhibition Sara and Freedom<\/em> gives no answer, but when confronted with her own statements, we meet a woman who appears temperamental, low-key, well-reflected, witty and sharp.<\/p>\n\n\n\n

\n
\"A<\/a>
Photo: Mari Hildung <\/figcaption><\/figure>\n\n\n\n
\"A<\/a>
Photo: Mari Hildung <\/figcaption><\/figure>\n\n\n\n
\"Two<\/a>
Photo: Mari Hildung <\/figcaption><\/figure>\n\n\n\n
\"Two<\/a>
Photo: Mari Hildung <\/figcaption><\/figure>\n\n\n\n
\"A<\/a>
Photo: Mari Hildung <\/figcaption><\/figure>\n\n\n\n
\"A<\/a>
Photo: Mari Hildung <\/figcaption><\/figure>\n\n\n\n
\"A<\/a>
Photo: Mari Hildung <\/figcaption><\/figure>\n\n\n\n
\"Installation<\/a>
Photo: Mari Hildung <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\n

All the cultural-historical objects in Sara and Freedom<\/em> are from the artist\u2019s own life, and the exhibition is introduced with a biographical cartoon strip by Anneli Furmark<\/a>.<\/p>\n\n\n\n

This is the second <\/strong>of three exhibitions about the author and visual artist Cora Sandel\/Sara Fabricius (1880\u20131974).<\/p>\n<\/div>\n\n\n\n

\n

Exhibition production<\/h2>\n\n\n\n

The exhibition is supported by Samfunnsl\u00f8ftet Sparebanken Nord-Norge og Troms\u00f8 kommune.

The exhibition would not have been possible without a very generous gift from Sara Fabriciu\u00b4s heirs and Janneken \u00d8verland\u00b4s biographical work.

Concept<\/strong>: Astri Fremmerlid
Exhibition manager<\/strong>: Marianne A. Olsen
Exhibition design<\/strong>: Lawrence Malstaf
Installasjoner<\/strong>: Lawrence Malstaf
Biographical drawn strip<\/strong>: Anneli Furmark
Graphic design<\/strong>: Liv Ragnhild Kjellmann
Producers<\/strong>: Mari Hildung & Aslaug Eidsvik<\/p>\n\n\n\n

Production list<\/h3>\n\n\n\n

See the detailed production list<\/a><\/p>\n<\/div>\n\n\n\n

Other exhibitions on Sandel\/Fabricius<\/h2>\n\n\n
\n
\n\t\t
\n \n\n\n\n\t\t
\n\t\t\"\"\n\t<\/figure>\t\n\t
\n\t\t

Artistic Dreams\n\t\t<\/h2>\n\n\t\t\t\t

\n\t\t\tSara Fabricius, under the pseudonym Cora Sandel, is known as one of Norway\u2019s great 20th century authors. When she was young, however, being an author was not her ambition: her dream was to become a painter.\n\t\t<\/p>\n\t\t\n\t<\/div>\n\n<\/a>\n <\/div>\n

\n \n\n\n\n\t\t
\n\t\t\"\"\n\t<\/figure>\t\n\t
\n\t\t

Traces of Sara\n\t\t<\/h2>\n\n\t\t\t\t

\n\t\t\tCan we learn something of a person from the things they leave behind, or are they merely empty objects? Dive into the Sara Fabricius collection and find out for yourself. \n\t\t<\/p>\n\t\t\n\t<\/div>\n\n<\/a>\n <\/div>\n \t<\/div>\n<\/div>\n","protected":false},"featured_media":26511,"template":"","meta":{"_acf_changed":false,"_trash_the_other_posts":false,"editor_notices":[],"footnotes":""},"bc_tax_status":[54],"bc_tax_exhibition":[57],"class_list":["post-27106","bc_exhibition","type-bc_exhibition","status-publish","has-post-thumbnail","hentry","bc_tax_status-active","bc_tax_exhibition-storgata"],"acf":[],"_links":{"self":[{"href":"https:\/\/perspektivet.no\/en\/wp-json\/wp\/v2\/bc_exhibition\/27106","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/perspektivet.no\/en\/wp-json\/wp\/v2\/bc_exhibition"}],"about":[{"href":"https:\/\/perspektivet.no\/en\/wp-json\/wp\/v2\/types\/bc_exhibition"}],"version-history":[{"count":2,"href":"https:\/\/perspektivet.no\/en\/wp-json\/wp\/v2\/bc_exhibition\/27106\/revisions"}],"predecessor-version":[{"id":33239,"href":"https:\/\/perspektivet.no\/en\/wp-json\/wp\/v2\/bc_exhibition\/27106\/revisions\/33239"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/perspektivet.no\/en\/wp-json\/wp\/v2\/media\/26511"}],"wp:attachment":[{"href":"https:\/\/perspektivet.no\/en\/wp-json\/wp\/v2\/media?parent=27106"}],"wp:term":[{"taxonomy":"bc_tax_status","embeddable":true,"href":"https:\/\/perspektivet.no\/en\/wp-json\/wp\/v2\/bc_tax_status?post=27106"},{"taxonomy":"bc_tax_exhibition","embeddable":true,"href":"https:\/\/perspektivet.no\/en\/wp-json\/wp\/v2\/bc_tax_exhibition?post=27106"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}