Sometime in 1993 at the Theaterkaféen in Oslo, a popular venue for cultural events, four young men announced their newly formed anarchist artist collective den nye vinen (The New Wine). Soon, the photographer Per Heimly, the writers Ari Behn and Bertrand Besigye, and the student Henning Braathen became something of a rebel group in Norway’s artistic and literary world. Challenging the Norwegian cultural elite, its middleclass values and the so-called Jante-law,1 they promoted themselves as new visionary Bohemians, calling for a much needed cultural renaissance.