OlssønBarbieri befriends the ‘pests’ for a Norwegian organic orchard

Hardanger’s orchards produce some of the world’s finest ciders, yet the region’s agricultural practices reflects a broader global story: the believe in human superiority over other living beings. Pesticides – literally meaning ‘pest killer’ was one technological byproduct from WW1, later adopted by the agribusiness to push back on the loss of yield to insects and birds. Over time, the link between pest control and warfare grew increasingly tight, not only scientifically and technologically but also metaphorically: ideas first embedded in language gradually shaped actions, and ultimately, our view of the natural world. Hardanger, as most of the farming regions in the world, embraced these methods enthusiastically. As early as 1906, fruit-eating birds were systematically killed here – bounties offered to children for shooting them or destroying nests and eggs. By 2025, only two orchards in Hardanger operate organically. Tessas Eplegård is one of them. Tessa and Ander, who describe themselves as happy amateurs with backgrounds in biology, run their farm with an uncommon philosophy. Rather than viewing insects, birds and fungi as enemies to be eliminated, they’ve built an entire brand around befriending them. OlssønBarbieri’s design for Tessas Eplegård rejects the pastoral myth that typically adorns organic food packaging – the comforting fiction that rural farm life exists in isolation from late-capitalist, industrialised society. Instead, the work acknowledges what conventional farming has normalised globally: methods developed during that original ‘pest war,’ with direct links established between pesticide use and the decline of farmland bird populations. The concept ‘Tessas Eplegårds Venner’ – or ‘Friends of Tessa’s Orchard’ – dedicates each product to the very creatures most fruit growers consider threats. Markmus (Field mouse) cider, Pinnsvin (Hedgehog) honey, Låsvale (Barn Swallow), Løvetann (Dandelion), Dompap (Bullfinch). “It felt natural to invite illustrators whose unique styles could enrich this narrative,” explains Erika Barbieri. “We prepared a common brief that allowed all contributors to see which critter each illustrator was assigned, providing a sense of the larger story and the message we aimed to communicate.”