Bjørn Båsen (b. 1981, Eggedal) has a BA from The Arts Institute at Bournemouth and an MA from the Oslo National Academy of the Arts. Båsen’s works invite the spectator into a whole new world. His skillful perspectives make one feel as though you could take a leap and fall into his illusion of a blissful wonderland. However, in his world of porcelain puzzles, cracks are always present and propped with references to deep and often dark matters. Båsen’s oeuvre is filled with references to mythology, past and present decadence – the fairytales of former glory meet the realism of today. His work is included in the collection of the Astrup Fearnley Museum, KODE Art Museum, Bergen, Nordnorsk Kunstmuseum, Nordenfjeldske Kunstindustrimuseum, Equinor, DNB as well as numerous private collections nationally and abroad. Selected solo shows include Galleri Brandstrup, Oslo (2017, 2013, 2011, 2009, 2008). Selected group shows include QB Gallery (2021, 2020, 2019), Blaafarveverket, Modum (2018), Nordenfjeldske Kunstindustri-museum, Trondheim (2017), Nordnorsk Kunstmuseum, Tromsø (2017, 2009), Haugar Vestfold Kunsmuseum, Tønsberg (2013), Astrup Fearnley Museet, Oslo (2012, 2008), Rackstamuseet, Arvika (2011) and Stenersen Museet, Oslo (2010).

Liv Tandrevold Eriksen (f. 1976, Oslo) is educated from KHIO, Oslo Institute of Colour. Early on in her career Tandrevold Eriksen worked primarily with drawing, before making a switch to painting in the mid 2010s. Her move from one medium to another was a continuation of her playful approach to form and colour, and the graphic qualities of Eriksen’s first paintings often pointed to her artistic background in drawing. The spaces conjured by her new paintings appear increasingly ambiguous; her use of multicoloured attachments look perfectly at home on the paintings’ surfaces, emphasizing her ability to push for new ways of approaching her subject. Tandrevold Eriksen’s work is included in numerous private and public collections, such as Statens Kunstråd, Sverige, Equinor and Norwegian Culture Council. Previous solo shows include QB Gallery, Oslo (2020), LNM, Oslo (2019), Tag Team, Bergen (2015), Tegnerforbundet, Oslo (2013), Kunstnerforbundet, Oslo (2009). Selected group shows include Stavanger Art Museum (2020, 2015), QB Gallery Oslo (2021, 2019), Helsinki Biennale (2008) and The Stenersen Museum, Oslo (2004).

Hanne Friis (b. 1972, Oslo) is educated in painting and sculpture at the Art Academy in Trondheim, but is primarily known for her sensuous, abstract sculptures in various textile materials. A significant part of her fabrics are stained by plants through slow dyeing processes which give the surfaces a painterly expression. The sculptures are carefully crafted by hand with a distinctive stitching technique; with a small needle Friis transforms the material by folding and pressing the fabric into organic formations and complex structures that generate a sense of change and growth. The ambiguity in the relationship between form and materiality is a recurring theme. Friis’ work is included in the collection of Haugar Art Museum, Tønsberg, Sørlandets Art Museum, Kristiansand, The Norwegian Government, Oslo, KODE Art Museum, Bergen, The National Museum, Oslo, The Museum of Decorative Arts, Trondheim, The Art Museum of Northern Norway, Tromsø and The Arts Council, Norway as well as numerous private collections nationally and abroad. Selected solo shows include Maria Wettergren Gallery, Paris (2019), Trafo, Asker (2018), Kunstnerforbundet, Oslo (2016, 2010), Gustavsberg Konsthall, Sweden (2010), Galleri F15, Moss (2003). Selected group shows include QB Gallery, Oslo (2021, 2020), Kunsthalle Seinäjoki, Finland (2020), Kristiansand Kunsthall (2019), Maria Wettergren Gallery, Paris (2019), Grand Palais, Paris (2019), Foundation Villa Datris, L’Isle-sur-la-Sorgue (2018), MARSO Gallery, Mexico City (2018), Hint Project, Aarhus (2017), KODE Art Museum, Bergen (2015, 2001), Henie Onstad Kunstsenter (2014), Liljevalchs Konsthall, Stockholm (2014), Lillehammer Kunstmuseum (2013), Vigelandsmuseet, Oslo (2013), Kunstindustrimuseet, Oslo (2012) and Bomuldsfabriken, Arendal (2009).

Linda Lerseth (b. 1984, Trondheim) is educated at the Oslo Academy of Fine Art. Her work consists of sculptures, reliefs, tapestries and installations in a wide range of materials, spanning from concrete, epoxy and steel to ceramics and fabrics mixed with numerous other found objects that she molds and connects in a collage-like manner. In her work Lerseth experiments with chance and how one or multiple objects react to a material or a process, her working methods are both casual and completely focused. Lerseth’s work, with its very raw and strangely connected elements, can point to the ephemeral quality of what we surround us with. Her works can be sentimental for the viewer, looking at the deterioration or idolization of a lost objects from the past, being it a favourite snack or a pillow from Ikea. Lerseth’s work is visually both striking and uncanny, delivering a potpourri of meaning and new connections for the viewer to interpret. Selected solo shows include Podium, Oslo (2020), Louise Dany, Oslo (2020), Salongen, Oslo (2019), Elephant Kunsthall, Lillehammer (2018) and Noplace, Oslo (2016). Selected group exhibitions include Hvitsten salong (2020), Fat relic, London (2015), Spcae 4235, Genève (2015) and Munchs Atelier, Oslo (2015). Upcoming exhibitions include the opening exhibition of the National Museum, Oslo (2022).

Lars Morell (b. 1980, NO) is educated at the Oslo National Academy of Fine Arts. Over the past few years, Morell has created a complex and diverse body of work consisting of photographs, sculptures, and installations. Morell’s work has always encompassed and questioned the visible/invisible and what seems to be something that it is not. In numerous exhibitions nationally and internationally this iconography has been thoroughly developed, and in his recent works distorted shapes, which now “grow” over the canvas, are constructed from imagery in his previous works of paintings, sculptures and drawings. We see colored constructs that at first glance are reminiscent of branching root systems; we recognize the outlines of chains and hooks – and thus again objects that are used in illusion and deception. Morell develops these works out of figuration and sees them as distorted still lives, as a dilemma between abstraction and representational painting. Morell’s work is included in the collections of Caviar Factory Art Museum, Malmö Kunstmuseum, Sørlandet Kunstmuseum, Equinor and KLP. Selected solo shows include QB Gallery, Oslo (2020, 2018), Cinnamon, Rotterdam (2018, 2016), Stephane Simoens, Knokke (2017), BGE Contemporary, Stavanger (2017), Kant Copenhagen (2015, 2014), Kristiansand Kunsthall (2015), Palais de Tokyo, Paris (2013), Choi & Lager, Cologne (2013), Galerie Nivet-Garzon, Paris (2012) and Perla Mode, Zürich (2010). Selected group shows include Museum of Contemporary Art, Antwerp (2014), Palais de Tokyo, Paris (2012), ISPC, New York (2008) and Nationalmuseum, Berlin (2008).

Andrea Scholze (b. 1988, Oslo) was educated at the Oslo National Academy of the Arts (BFA, 2011, MFA, 2016). Scholze’s sculptural and figurative works tend towards an organic aesthetic, seeking to capture form and motion rather than achieving polished, static, perfection. Through individual sculptures she channels emotions and tell stories, and roughly modelled sculptures with an expressive, often bleak look, have long been a trademark of her practice. Scholze’s talent has been recognized by the Norwegian establishment. Her work has been acquired by KODE museums in Bergen, Norway and the National Museum of Decorative Arts and Design in Trondheim, Norway for the museum’s permanent collection. Scholze has exhibited nationally and internationally, amongst others at Trøndelag Center for Contemporary Art, Trondheim (upcoming, 2021), Akershus Art Centre, Lillestrøm (2019). Selected group shows include Villa Streccius, Landau der Pfalz, Germany (upcoming, 2021), New Nordic Porcelain Forum, workshops and exhibitions (upcoming, 2021), QB Gallery, Oslo (2021, 2020), KODE Art Museum, Bergen (2019) Patrick Parrish Gallery, New York (2018), TRESOR, Basel (2017), the Collective Design Fair, New York (2016), Talente showcase in Munich (2015) and at the National Museum, Oslo (2013).

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