In the years 1935–1946, Hannah Ryggen positioned herself as a critical and anti-fascistic voice on the Norwegian art scene with her political tapestries. Anti-fascism becomes a framework in which artistic and political strategies are synthesized into a symbiosis of form and content. Within this symbiosis, iconographic devices such as satire, caricature, the grotesque, the uncanny, redescriptions, inversions and double exposures are essential.

Keywords

Caricature

Iconography

Modernism

Satire

Scatology

Tapestry