Propaganda!

Sit down, have a seat. This is how Fogia and its Bollo chair strategically positioned themselves in the front row of culture.

The launch of a new interpretation of Briskeby’s iconic song “Propaganda”, created as a collaboration between Briskeby and Stig Brenner, became the centrepiece of an experience connecting product, artists and gallery in a way that created an authentic, community-driven brand moment.

The title could hardly have been more fitting. The song opens with the line “This is propaganda…” giving the project an additional layer of meaning. It became both a musical reference for those familiar with the song and a self-aware comment on advertising itself. The project was, quite literally, promoting the BOLLO chair, but turned that act of promotion into part of the concept.

Rather than placing the product around culture, the idea was to place it inside a cultural experience.

Acclaimed music photographer Stian Andersen joined forces with Kurated by’s Kjetil Wold to create a brand-meets-art exhibition at Galleri Fineart in central Oslo. Together, they developed a visual interpretation of the song through a series of photographs, readymades and graphic merchandise.

The Bollo chair became part of the exhibition rather than a conventional product display. During the opening night and throughout the following four weeks, visitors were invited to experience the artwork, discuss the concept and encounter the chair in a context that felt natural rather than imposed.

The result was a cultural moment where music, art, product and real-life experience came together. Instead of competing for attention, the brand became part of the conversation, creating a more credible and valuable form of exposure.

The exhibition drew inspiration from the aesthetics of political campaigns, mass media and popular culture, exploring how messages are constructed, distributed and accepted as truth.

The visual identity extended the project’s central theme through a bold and reductive design language inspired by protest graphics, propaganda posters and editorial typography. Strong colour contrasts, direct messaging and deliberately confrontational compositions created a visual system that reflected the persuasive power of propaganda itself.

By translating a song into a spatial and visual experience, Propaganda became both an exhibition and a commentary on the forces that shape public opinion and collective memory.