A ground-breaking exhibition that positions fascinating historical objects from the world of medicine alongside contemporary artworks by Edvard Munch at MUNCH, Oslo. The exhibition, curated by Allison Morehead and designed by Nissen Richards Studio is called Lifeblood – or ‘Livsblod’ in Norwegian – and considers Munch’s relationship with medicine throughout his lifetime, featuring a chronological approach with different themes coming into focus in each section.

Two different visual languages define the exhibition. First, the straightforward thematic language of the show’s content, expressed in the chronology of the exhibition and through the orthogonal lines of the gallery itself, representing the harsher environment of the hospital experience. As a counterpoint, a curved language runs through the exhibition’s central showcases and furniture, acting as a companion to guide the visitor.

The bespoke furniture and benches, prototyped and thoroughly tested for suitability and comfort, are made from stained ply. Six varieties of seating were designed to position the body in different ways, from classic benches and benches with arm or back supports to full-length, ergonomic seats, which hint ambiguously at both relaxation and medical examination and were inspired by images taken at a sanatorium.

The exhibition took accessibility into account at all stages, with specific approaches including freestanding vitrines, so that wheelchair users can sit easily beneath and look down at the content as well as turning room for all wheelchair-users between showcases. There is also a range of different heights of seating throughout. Eye levels were considered from an inclusivity standpoint for all paintings and exhibits, as well as for wall-mounted vitrine objects, as were font sizes for the hierarchy of information on all panels and labels.

“The response from MUNCH staff, the press, and the broader public has been overwhelming and extremely moving” Curator Allison Morehead commented. “People have said that they can feel their body in a new way, or that they somehow feel newly in their bodies. I have heard people speaking to each other in the exhibition – semi-publicly, in other words – of their own health experiences. They have said that the exhibition feels somehow both very large and important but also intimate, comfortable, and not overwhelming. One of my favourite comments is that despite the subject, the exhibition feels surprisingly life affirming.”

In an added tribute to the success of the collaboration with Nissen Richards Studio, Allison Morehead added, “I cannot imagine that another firm would have taken up and explored the curatorial concept with such care and attention to detail.”