The installation transforms Mine Nilay Yalcin’s poetic fable about Nylandsbrua (Nylands Bridge) – referred to as “det nye lands bro” (the new land’s bridge) – as a mystical portal guarded by golden sphinxes into an interactive spatial experience. At a time when Grønland faces major construction projects, rising housing prices, and pressure from property developers leading to displacement of local residents and organizations, the work reimagines this historic infrastructure not as an obstacle to urban development, but as Grønlandsport – a sacred gateway and symbolic entrance to Grønland’s diverse cultural universe.
The project was realized through close collaboration between Rafal Hanzl as digital artist and technical implementer, and Jannicke Johansen as photographer and production designer. This interdisciplinary partnership combined Hanzl’s expertise in projection mapping and spatial VFX with Johansen’s cinematic storytelling techniques to create a cohesive immersive environment.
The installation employs projection mapping technology to cast geometrically stylized sphinx guardian – iconic symbol in Oslo’s urban space – in golden light across the museum’s walls, creating an enveloping atmosphere that transforms the entire room into the mythical portal described in Yalcin’s fable. The sphinx figure, featuring human face, rendered in a honeycomb-like pattern, appear to emerge into the warm golden environment, serving as both artistic elements and cultural-historical symbols central to discussions about identity and belonging in Oslo’s urban development.
Audio through headphones accompanies the experience with a recitation of Yalcin’s original poem that was the inspiration for the installation. The technical approach focused on creating an immersive environmental experience rather than traditional screen-based view. The entire room is bathed in warm golden light, with the sphinx projections creating dynamic visual focal points that shift and evolve throughout the viewing experience.
The creative process began with extensive analysis of Mine Nilay Yalcin’s poetic text, which describes Grønland as a magical land protected by sphinx guardians who test the hearts of all who wish to enter. The team worked to translate these literary metaphors into a spatial experience that would resonate with the exhibition’s broader themes of gentrification, power dynamics, and community voice.
Historical research into “det nye lands bro” and its significance as both physical infrastructure and symbolic Grønlandsport within Grønland informed the installation’s conceptual framework. Rather than accepting narratives that view bridges and urban infrastructure as obstacles to progress, the installation proposes alternative futures where such elements serve as cultural connective tissue and meaningful entrance points to diverse neighborhoods. This approach directly engages with contemporary debates about identity, cultural heritage, and belonging in rapidly changing neighborhoods, questioning how considerations for history and community attachment are weighed against development pressures and urban mobility projects.
The collaboration process involved regular consultation with exhibition curators and community stakeholders to ensure the installation would contribute meaningfully to ongoing debates about Grønland’s future. Since the exhibition’s opening in April 2025, the installation has served as a focal point for democratic dialogue about urban development and community participation. The work addresses core themes of the exhibition: how large-scale construction projects and real estate investments affect local communities, how neighborhood changes impact identity and cultural heritage, and which perspectives get heard in public discourse about urban development.
The installation’s approach to narrative archaeology – excavating the mythological dimensions of everyday infrastructure – offers a methodology for reimagining urban planning debates. By positioning the sphinx as guardians of community values and cultural heritage rather than obstacles to progress, and by reimagining “det nye lands bro” as Grønlandsport – a meaningful entrance rather than a barrier to be removed – the work challenges dominant narratives about modernization and improvement, directly engaging withprovocative question: “Must Grønland become new?“
The project invites visitors to examine their own prejudices and preconceptions about what constitutes a “good city” and for whom, encouraging reflection on how different interests and voices influence neighborhood development. This interactive approach to civic engagement demonstrates how multimedia art can create alternative platforms for discussing power dynamics, local democracy, and community belonging in contested urban spaces. The project has attracted attention from architectural preservation advocates, community organizers, and digital arts researchers as an example of how immersive technology can amplify marginalized voices in urban planning processes. The work contributes to growing international dialogue about museums as alternative public platforms for multi-voiced civic engagement, specifically addressing how power relationships and local democracy function in neighborhood development processes where developers, local actors, residents, authorities, and cultural heritage preservation groups often have conflicting visions for the area’s future.
The installation successfully demonstrates the potential of projection mapping as a tool for narrative-driven spatial transformation. Rather than relying on headsets or traditional interfaces, the work creates an immediately accessible immersive environment that invites contemplation and reflection. The technical approach prioritizes accessibility and inclusivity, ensuring that visitors of all ages and technological backgrounds can engage meaningfully with the content. The project establishes a replicable methodology for translating literary works into immersive spatial experiences, with potential applications for other cultural institutions working to address contemporary social issues through artistic interpretation.
“Grønlandsport, sfinxen og «det nye lands bro»” is part of the larger “Kampen om Grønland 2.0” exhibition, which addresses central questions: Who gets heard in debates about Grønland’s future? Which perspectives and narratives dominate public discourse? What makes a good city – and for whom? A comprehensive overview of the entire exhibition concept can be found at Kreativt Forum article.
The installation occupies the exhibition’s first room, serving as an entry portal that invites visitors to consider multiple possible futures for contested urban spaces. This positioning reinforces the work’s conceptual framework while contributing to the exhibition’s overall exploration of who gets to define the city’s future. The exhibition opened with a significant public forum featuring key stakeholders including Riksantikvar Hanna Geiran, city planning officials, and local community leaders, demonstrating the project’s role in catalyzing democratic dialogue about neighborhood change.
Project Partners
Interkulturelt Museum (Oslo Museum)
Exhibition supported by Fritt Ord and Bydel Gamle Oslo
In collaboration with artist Mine Nilay Yalcin and exhibition curators
Duration: April 11 – October 12, 2025
Location: Interkulturelt Museum, Tøyenbekken 5, Oslo
More information about the exhibition can be found at Oslo Museum.