Nordenfjeldske Kunstindustrimuseum is a national museum of decorative arts and design, located in Trondheim, Norway. The museum has a responsibiliy to collect, manage and exhibit arts and crafts, and industrial design.
Opening hours main season (Aug 21.- May31.):
- Tuesday-Saturday: 10-15
- Thursday: 12-20
- Sunday: 12-16
- Monday: closed
Opening hours summer season (June 1.- Aug 20.):
- Monday-Saturday: 10-16
- Sunday: 12-16
- Adults: NOK 80
- Concessions: NOK 60
- Students: NOK 60
- Children from 7 yrs: NOK 40
- Family: NOK 150
- Discounts for groups of 10 or more
- Free admission for art-, art history- and architect students, students of education, members of ICOM and members of artist’s organizations.
- Events Thursday nights are free of admission unless otherwise stated.
Visit ut / Contact:
Ongoing summer exhibition
June 13 – August 23 2015
Paper Dialogues is an artistic collaboration between Xiaoguang Qiao from China and Karen Bit Vejle from Scandinavia. They have each created large-scale paper cuts where they interpret their own culture and history in order to present it to eachother and to the audience. And the common motif: The dragon. The Chinese and the Nordic dragon meet in Paper Dialogues. Read more on the projects own webside.
Tour in English every Wednesday at 1 pm!
The lower ground floor displays show a cross section of the historical and the modern collections. With furniture and silver works from the 16th century as a starting point, visitors can take a walk through the history of crafts and industrial design, the most recent exhibit being 1980’s interior design by Memphis. There are classics from all over Europe to take in along the way. Modern arts and crafts are also represented: with jewellery, glassware, ceramics, and recent textiles.
Jens Thiis, director of the museum from 1895, was radical in his approach and was the driving force for making a collection of modern arts and crafts from the turn of the century. His particular interest in Art Nouveau is the reason the museum has a room designed in its entirety by Belgian architect Henry van de Velde in 1908. Henry van de Velde (1863-1957) was a pioneer, making a break with old styles. The office interior houses several of his iconic furniture pieces. The writing desk is an excellent example of his use of curved lines to soften the masculine character of the furniture. The room is today, after a restoration based on van de Velde’s original drawings, a Gesamtkunstwerk, i.e. a complete art work in the spirit of the designer.
Danish architect Finn Juhl (1912-1989) was commissioned in 1950 by the museum to create an office interior which would work in a dialogue with Henry van de Velde’s interior. The result was a room which is authentic for the Scandinavian Design period, and the items displayed in this interior represent the best of Scandinavian design at the time. Like van de Velde’s interior, this interior also is the result of an understanding of a whole, with a composition based on «directions and surfaces playing off each other” – adjusted to the movements of the human body.
In the beginning of the 20th century, artists were in search of the authentic Norwegian. Artists like Gerhard Munthe was inspired by folk tales, folk music and Norse mythology. At the same time, traditions of weaving were rediscovered. Nordenfjeldske Kunstindustrimuseum had its own weaving school between 1898 – 1909. Gerhard Munthe’s designs formed the artistic base for the school, where women transformed the motifs into tapestries.
As of summer 2015 the larger part our Hannah Ryggen collection will be on loan, to be displayed at large retrospective exhibitions at the National Museum of Art, Architecture and Design in Oslo, and Moderna Museet in Malmö, Sweden. The Gerhard Munthe display has been created in place of the museum’s permanent Hannah Ryggen display.
Director of the museum from 1895, Jens Thiis, had an international outlook, and initiated a Japanese collection at the time when Japanese influence in Western art was at its most prevalent. Thiis would bring back, from Parisian galleries in particular, important and characteristic items from a period spanning several millennia. The collection has since been extended by considerable donations from the Apold collection in 1984, as well as more recent purchases. Visitors to the Japanese collection will see pots dating from the Jomon period (12 000–300 B.C.), and ceramics sprung out from the 20th century mingei movement, of which Shoji Hamada and Kitaoji Rosanjin are notable artists. The latest addition to this collection is a 19th century Samurai armour. The collection is the largest of its kind in Norway, and only a part of it is on permanent display.
Along with the tapestries of Synnøve Anker Aurdal (1908-2000), a number of the museum’s recent purchases from Norway and abroad are on display. Contemporary pieces are also exhibited in the stairways and corridors of the museum.
The display of vessels from the collection demonstrates examples of Oriental influence on our European traditions, along with the more familiar types of vessels: for wine, beer, coffee, tea, and hot chocolate. Some are exquisitely ornamental, others more demure. The vessels span from a perfect marriage of form and function, to the useless, merely hinting at its original function.