The Armed Forces’ Veterans Centre in Bæreia

The opening in 1959 of the Armed Forces’ Veterans Centre in Bæreia came about through the efforts of committed group of volunteers. The aim was to provide a facility where wounded war veterans could rest, participate in leisure activities and enjoy each other’s company. Many Norwegian artists donated artworks to the centre. Now Hedevig Anker has given new life to selected works from the centre’s original collection.

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  • Bæreia veteransenter. Photographer: PABAS arkitekter
  • Horisonter, Hedevig Anker. Photographer: Hedevig Anker
  • Horisonter, Hedevig Anker. Photographer: Hedevig Anker
  • Bilde-7-Large_11, tv: Lek, Reidar Aulie. th: Uten tittel, Håkon Stenstadvold. Photographer: Hedevig Anker
  • Kvinne med fruktfat, Tor Hoff. Photographer: Hedevig Anker
  • Komposisjon, Knut Rumohr. Photographer: Hedevig Anker
  • Bilde-5-Large_11, tv: Uten tittel. Håkon Stenstadvold. th: Abstrakt, Gudrun Kongelf. Photographer: Hedevig Anker
  • Fangen, Ørnulf Bast. Photographer: Hedevig Anker
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About the project

About the project

The centre, which was taken over by the Norwegian Armed Forces in 2008, resembles a peaceful hotel. Located in forested surroundings close to Kongsvinger, the centre remains Norway’s only recreational facility for veterans and their families. The veterans who come here have served in wars and other combat situations. Other visitors to the centre include widows of veterans from World War II.

One of the war veterans, Fritz Lund, had many connections in the Norwegian art world. He organized a significant donation to the centre with original prints, paintings and sculptures – in all 70 works by 45 Norwegian artists. The centre’s collection has grown ever since and today comprises 136 works. Many of these are works by key artists of the postwar generation, including Henrik Sørensen, Reidar Aulie, Sigurd Winge, Knut Rumohr, Jacob Weidemann and Ørnulf Bast. Because the collection was not planned or coordinated, but instead is made up of works gifted directly by the artists, it also represents an interesting cross-section of post-war Norwegian art. In particular, it embodies the tension between figurative and abstract representation that characterized the post-war period.

Many of the works given to the centre in its early years had been put into storage to make way for newer additions to the centre’s art collection. In 2014, the opening of a new wing that included a lobby, guest rooms and an auditorium provided an opportunity to take some artworks out of storage. This was done partly in order to evoke some of the spirit of the period when the centre was founded.

Hedevig Anker wanted to give new relevance to the works taken out of storage. This was achieved primarily by reframing the works in modern museum-style frames and locating them in much-used areas of the new building. Anker also created an assemblage of 12 images titled Horisonter [Horizons]. The 12 images, which are details taken from artworks in the centre’s collection, have been assembled in a single large frame to create a single new image. Some of the details have been reduced, while others have been enlarged. The assemblage also forms a kind of puzzle, as all the details come from artworks that are on display elsewhere at the centre. The project also included the publication of a catalogue featuring a selection of the artworks from the original collection. The catalogue text was co-authored by Hedevig Anker and the art historian Hans-Jakob Brun.



Date completed


Project manager

Stine Arnet Høyem, KORO


Marianne Zamecznik

Art Committee

Espen Viksjø, PABAS arkitekter og rådgivende ingeniører
Arnstein Hestnes, Mottakerrepresentant
Eli Skyberg, Forsvarsbygg




Ikke tilgjengelig for publikum


Art scheme for new government-owned buildings



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