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qbgallery
QB GALLERY
Oslo-based gallery for contemporary art, est. 2014.
—
wed - fri 12-18
sat - sun 12-16
NEXT WEEK
Falling Off A Horse Slowly | Christian Tunge
Opening Thursday 21st of May, 18-20
LAST WEEK
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until the 10th of May
___
Gerd Tinglum
Hundetunge Cynoglossum officinale, Ettermiddag, 2025
Acrylic on canvas
47 x 47 cm
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October. Each work is titled after the specific plants Norwegian and Latin name.
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
LAST WEEK
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until the 10th of May
___
Gerd Tinglum
Hundetunge Cynoglossum officinale, Ettermiddag, 2025
Acrylic on canvas
47 x 47 cm
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October. Each work is titled after the specific plants Norwegian and Latin name.
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
LAST WEEK
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until the 10th of May
___
Gerd Tinglum
Hundetunge Cynoglossum officinale, Ettermiddag, 2025
Acrylic on canvas
47 x 47 cm
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October. Each work is titled after the specific plants Norwegian and Latin name.
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
LAST WEEK
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until the 10th of May
___
Gerd Tinglum
Hundetunge Cynoglossum officinale, Ettermiddag, 2025
Acrylic on canvas
47 x 47 cm
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October. Each work is titled after the specific plants Norwegian and Latin name.
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
LAST WEEK
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until the 10th of May
___
Gerd Tinglum
Hundetunge Cynoglossum officinale, Ettermiddag, 2025
Acrylic on canvas
47 x 47 cm
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October. Each work is titled after the specific plants Norwegian and Latin name.
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
LAST WEEK
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until the 10th of May
___
Gerd Tinglum
Hundetunge Cynoglossum officinale, Ettermiddag, 2025
Acrylic on canvas
47 x 47 cm
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October. Each work is titled after the specific plants Norwegian and Latin name.
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
LAST WEEK
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until the 10th of May
___
Gerd Tinglum
Hundetunge Cynoglossum officinale, Ettermiddag, 2025
Acrylic on canvas
47 x 47 cm
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October. Each work is titled after the specific plants Norwegian and Latin name.
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
LAST WEEK
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until the 10th of May
___
Gerd Tinglum
Hundetunge Cynoglossum officinale, Ettermiddag, 2025
Acrylic on canvas
47 x 47 cm
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October. Each work is titled after the specific plants Norwegian and Latin name.
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
LAST WEEK
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until the 10th of May
___
Gerd Tinglum
Hundetunge Cynoglossum officinale, Ettermiddag, 2025
Acrylic on canvas
47 x 47 cm
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October. Each work is titled after the specific plants Norwegian and Latin name.
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
LAST WEEK
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until the 10th of May
___
Gerd Tinglum
Hundetunge Cynoglossum officinale, Ettermiddag, 2025
Acrylic on canvas
47 x 47 cm
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October. Each work is titled after the specific plants Norwegian and Latin name.
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
LAST WEEK
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until the 10th of May
___
Gerd Tinglum
Hundetunge Cynoglossum officinale, Ettermiddag, 2025
Acrylic on canvas
47 x 47 cm
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October. Each work is titled after the specific plants Norwegian and Latin name.
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
We are excited to announce that The National Museum has acquired the work ‘Midnight cabinet’ by Bjørn Båsen for their collection.
___
Bjørn Båsen
Midnight cabinet, 2020-2023
Oil paint, copper leaf and gesso on MDF and pine
105 cm x 45 cm x 45 cm
___
‘Midnight cabinet’ is made in the Memento Mori tradition, and is visually inspired by both flemish alterpieces and painted cabinets from the 1500 and 1600´s. The writings on the inside of the doors is retrieved from Charles Baudelaires poem ‘Eit åtsel’ / Une charogne from the poem collection Fleurs du mal (1857), about a young couple who encountered a rotting cadaver, illustrating the fragile lines between life and death.
The work was exhibited in 2022 at Nitja Centre for Contemporary art, under the solo exhibition Mythos. An earlier version of the work was also shown under the title 'De sade cabinet' in the solo exhibition Ghosts at LNM (The National association of Norwegian painters) in 2020.
___
📷 :Jørgen Craig Lello / LNM
We are excited to announce that The National Museum has acquired the work ‘Midnight cabinet’ by Bjørn Båsen for their collection.
___
Bjørn Båsen
Midnight cabinet, 2020-2023
Oil paint, copper leaf and gesso on MDF and pine
105 cm x 45 cm x 45 cm
___
‘Midnight cabinet’ is made in the Memento Mori tradition, and is visually inspired by both flemish alterpieces and painted cabinets from the 1500 and 1600´s. The writings on the inside of the doors is retrieved from Charles Baudelaires poem ‘Eit åtsel’ / Une charogne from the poem collection Fleurs du mal (1857), about a young couple who encountered a rotting cadaver, illustrating the fragile lines between life and death.
The work was exhibited in 2022 at Nitja Centre for Contemporary art, under the solo exhibition Mythos. An earlier version of the work was also shown under the title 'De sade cabinet' in the solo exhibition Ghosts at LNM (The National association of Norwegian painters) in 2020.
___
📷 :Jørgen Craig Lello / LNM
We are excited to announce that The National Museum has acquired the work ‘Midnight cabinet’ by Bjørn Båsen for their collection.
___
Bjørn Båsen
Midnight cabinet, 2020-2023
Oil paint, copper leaf and gesso on MDF and pine
105 cm x 45 cm x 45 cm
___
‘Midnight cabinet’ is made in the Memento Mori tradition, and is visually inspired by both flemish alterpieces and painted cabinets from the 1500 and 1600´s. The writings on the inside of the doors is retrieved from Charles Baudelaires poem ‘Eit åtsel’ / Une charogne from the poem collection Fleurs du mal (1857), about a young couple who encountered a rotting cadaver, illustrating the fragile lines between life and death.
The work was exhibited in 2022 at Nitja Centre for Contemporary art, under the solo exhibition Mythos. An earlier version of the work was also shown under the title 'De sade cabinet' in the solo exhibition Ghosts at LNM (The National association of Norwegian painters) in 2020.
___
📷 :Jørgen Craig Lello / LNM
We are excited to announce that The National Museum has acquired the work ‘Midnight cabinet’ by Bjørn Båsen for their collection.
___
Bjørn Båsen
Midnight cabinet, 2020-2023
Oil paint, copper leaf and gesso on MDF and pine
105 cm x 45 cm x 45 cm
___
‘Midnight cabinet’ is made in the Memento Mori tradition, and is visually inspired by both flemish alterpieces and painted cabinets from the 1500 and 1600´s. The writings on the inside of the doors is retrieved from Charles Baudelaires poem ‘Eit åtsel’ / Une charogne from the poem collection Fleurs du mal (1857), about a young couple who encountered a rotting cadaver, illustrating the fragile lines between life and death.
The work was exhibited in 2022 at Nitja Centre for Contemporary art, under the solo exhibition Mythos. An earlier version of the work was also shown under the title 'De sade cabinet' in the solo exhibition Ghosts at LNM (The National association of Norwegian painters) in 2020.
___
📷 :Jørgen Craig Lello / LNM
We are excited to announce that The National Museum has acquired the work ‘Midnight cabinet’ by Bjørn Båsen for their collection.
___
Bjørn Båsen
Midnight cabinet, 2020-2023
Oil paint, copper leaf and gesso on MDF and pine
105 cm x 45 cm x 45 cm
___
‘Midnight cabinet’ is made in the Memento Mori tradition, and is visually inspired by both flemish alterpieces and painted cabinets from the 1500 and 1600´s. The writings on the inside of the doors is retrieved from Charles Baudelaires poem ‘Eit åtsel’ / Une charogne from the poem collection Fleurs du mal (1857), about a young couple who encountered a rotting cadaver, illustrating the fragile lines between life and death.
The work was exhibited in 2022 at Nitja Centre for Contemporary art, under the solo exhibition Mythos. An earlier version of the work was also shown under the title 'De sade cabinet' in the solo exhibition Ghosts at LNM (The National association of Norwegian painters) in 2020.
___
📷 :Jørgen Craig Lello / LNM
We are excited to announce that The National Museum has acquired the work ‘Midnight cabinet’ by Bjørn Båsen for their collection.
___
Bjørn Båsen
Midnight cabinet, 2020-2023
Oil paint, copper leaf and gesso on MDF and pine
105 cm x 45 cm x 45 cm
___
‘Midnight cabinet’ is made in the Memento Mori tradition, and is visually inspired by both flemish alterpieces and painted cabinets from the 1500 and 1600´s. The writings on the inside of the doors is retrieved from Charles Baudelaires poem ‘Eit åtsel’ / Une charogne from the poem collection Fleurs du mal (1857), about a young couple who encountered a rotting cadaver, illustrating the fragile lines between life and death.
The work was exhibited in 2022 at Nitja Centre for Contemporary art, under the solo exhibition Mythos. An earlier version of the work was also shown under the title 'De sade cabinet' in the solo exhibition Ghosts at LNM (The National association of Norwegian painters) in 2020.
___
📷 :Jørgen Craig Lello / LNM
Gerd Tinglum
En dag (uten tittel 12-23), 2026
Acrylic on canvas
45 x 35 cm
___
The exhibition ‘En dag, Ettermiddag, Resten av Dagen’ presents three new series by Gerd Tinglum.
‘En dag’ consists of 12 works for the 12 hours of the day.
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October.
‘Resten av dagen’ is an object composed of discarded paintings.
___
In Tinglum’s contradictory use of both systematic structure and chance, new surfaces emerge in the interaction between the different layers of paint. Starting from control and systematics, the visual result cannot ultimately be directed.
Tinglum creates striking visual paintings in which the concept and idea play the leading role. She provides the viewer with a title and a concept as an entry point to the works, and our gaze and thoughts move between the visual and the conceptual within the layers of meaning. The paths our thoughts may take, and the experience of the works, transform from what is immediately visible into a poetic exploration and search within and between the layers of color.
___
📷: Øystein Thorvaldsen
Gerd Tinglum
En dag (uten tittel 12-23), 2026
Acrylic on canvas
45 x 35 cm
___
The exhibition ‘En dag, Ettermiddag, Resten av Dagen’ presents three new series by Gerd Tinglum.
‘En dag’ consists of 12 works for the 12 hours of the day.
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October.
‘Resten av dagen’ is an object composed of discarded paintings.
___
In Tinglum’s contradictory use of both systematic structure and chance, new surfaces emerge in the interaction between the different layers of paint. Starting from control and systematics, the visual result cannot ultimately be directed.
Tinglum creates striking visual paintings in which the concept and idea play the leading role. She provides the viewer with a title and a concept as an entry point to the works, and our gaze and thoughts move between the visual and the conceptual within the layers of meaning. The paths our thoughts may take, and the experience of the works, transform from what is immediately visible into a poetic exploration and search within and between the layers of color.
___
📷: Øystein Thorvaldsen
Gerd Tinglum
En dag (uten tittel 12-23), 2026
Acrylic on canvas
45 x 35 cm
___
The exhibition ‘En dag, Ettermiddag, Resten av Dagen’ presents three new series by Gerd Tinglum.
‘En dag’ consists of 12 works for the 12 hours of the day.
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October.
‘Resten av dagen’ is an object composed of discarded paintings.
___
In Tinglum’s contradictory use of both systematic structure and chance, new surfaces emerge in the interaction between the different layers of paint. Starting from control and systematics, the visual result cannot ultimately be directed.
Tinglum creates striking visual paintings in which the concept and idea play the leading role. She provides the viewer with a title and a concept as an entry point to the works, and our gaze and thoughts move between the visual and the conceptual within the layers of meaning. The paths our thoughts may take, and the experience of the works, transform from what is immediately visible into a poetic exploration and search within and between the layers of color.
___
📷: Øystein Thorvaldsen
Gerd Tinglum
En dag (uten tittel 12-23), 2026
Acrylic on canvas
45 x 35 cm
___
The exhibition ‘En dag, Ettermiddag, Resten av Dagen’ presents three new series by Gerd Tinglum.
‘En dag’ consists of 12 works for the 12 hours of the day.
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October.
‘Resten av dagen’ is an object composed of discarded paintings.
___
In Tinglum’s contradictory use of both systematic structure and chance, new surfaces emerge in the interaction between the different layers of paint. Starting from control and systematics, the visual result cannot ultimately be directed.
Tinglum creates striking visual paintings in which the concept and idea play the leading role. She provides the viewer with a title and a concept as an entry point to the works, and our gaze and thoughts move between the visual and the conceptual within the layers of meaning. The paths our thoughts may take, and the experience of the works, transform from what is immediately visible into a poetic exploration and search within and between the layers of color.
___
📷: Øystein Thorvaldsen
Gerd Tinglum
En dag (uten tittel 12-23), 2026
Acrylic on canvas
45 x 35 cm
___
The exhibition ‘En dag, Ettermiddag, Resten av Dagen’ presents three new series by Gerd Tinglum.
‘En dag’ consists of 12 works for the 12 hours of the day.
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October.
‘Resten av dagen’ is an object composed of discarded paintings.
___
In Tinglum’s contradictory use of both systematic structure and chance, new surfaces emerge in the interaction between the different layers of paint. Starting from control and systematics, the visual result cannot ultimately be directed.
Tinglum creates striking visual paintings in which the concept and idea play the leading role. She provides the viewer with a title and a concept as an entry point to the works, and our gaze and thoughts move between the visual and the conceptual within the layers of meaning. The paths our thoughts may take, and the experience of the works, transform from what is immediately visible into a poetic exploration and search within and between the layers of color.
___
📷: Øystein Thorvaldsen
Gerd Tinglum
En dag (uten tittel 12-23), 2026
Acrylic on canvas
45 x 35 cm
___
The exhibition ‘En dag, Ettermiddag, Resten av Dagen’ presents three new series by Gerd Tinglum.
‘En dag’ consists of 12 works for the 12 hours of the day.
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October.
‘Resten av dagen’ is an object composed of discarded paintings.
___
In Tinglum’s contradictory use of both systematic structure and chance, new surfaces emerge in the interaction between the different layers of paint. Starting from control and systematics, the visual result cannot ultimately be directed.
Tinglum creates striking visual paintings in which the concept and idea play the leading role. She provides the viewer with a title and a concept as an entry point to the works, and our gaze and thoughts move between the visual and the conceptual within the layers of meaning. The paths our thoughts may take, and the experience of the works, transform from what is immediately visible into a poetic exploration and search within and between the layers of color.
___
📷: Øystein Thorvaldsen
Gerd Tinglum
En dag (uten tittel 12-23), 2026
Acrylic on canvas
45 x 35 cm
___
The exhibition ‘En dag, Ettermiddag, Resten av Dagen’ presents three new series by Gerd Tinglum.
‘En dag’ consists of 12 works for the 12 hours of the day.
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October.
‘Resten av dagen’ is an object composed of discarded paintings.
___
In Tinglum’s contradictory use of both systematic structure and chance, new surfaces emerge in the interaction between the different layers of paint. Starting from control and systematics, the visual result cannot ultimately be directed.
Tinglum creates striking visual paintings in which the concept and idea play the leading role. She provides the viewer with a title and a concept as an entry point to the works, and our gaze and thoughts move between the visual and the conceptual within the layers of meaning. The paths our thoughts may take, and the experience of the works, transform from what is immediately visible into a poetic exploration and search within and between the layers of color.
___
📷: Øystein Thorvaldsen
Gerd Tinglum
En dag (uten tittel 12-23), 2026
Acrylic on canvas
45 x 35 cm
___
The exhibition ‘En dag, Ettermiddag, Resten av Dagen’ presents three new series by Gerd Tinglum.
‘En dag’ consists of 12 works for the 12 hours of the day.
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October.
‘Resten av dagen’ is an object composed of discarded paintings.
___
In Tinglum’s contradictory use of both systematic structure and chance, new surfaces emerge in the interaction between the different layers of paint. Starting from control and systematics, the visual result cannot ultimately be directed.
Tinglum creates striking visual paintings in which the concept and idea play the leading role. She provides the viewer with a title and a concept as an entry point to the works, and our gaze and thoughts move between the visual and the conceptual within the layers of meaning. The paths our thoughts may take, and the experience of the works, transform from what is immediately visible into a poetic exploration and search within and between the layers of color.
___
📷: Øystein Thorvaldsen
Gerd Tinglum
En dag (uten tittel 12-23), 2026
Acrylic on canvas
45 x 35 cm
___
The exhibition ‘En dag, Ettermiddag, Resten av Dagen’ presents three new series by Gerd Tinglum.
‘En dag’ consists of 12 works for the 12 hours of the day.
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October.
‘Resten av dagen’ is an object composed of discarded paintings.
___
In Tinglum’s contradictory use of both systematic structure and chance, new surfaces emerge in the interaction between the different layers of paint. Starting from control and systematics, the visual result cannot ultimately be directed.
Tinglum creates striking visual paintings in which the concept and idea play the leading role. She provides the viewer with a title and a concept as an entry point to the works, and our gaze and thoughts move between the visual and the conceptual within the layers of meaning. The paths our thoughts may take, and the experience of the works, transform from what is immediately visible into a poetic exploration and search within and between the layers of color.
___
📷: Øystein Thorvaldsen
Gerd Tinglum
En dag (uten tittel 12-23), 2026
Acrylic on canvas
45 x 35 cm
___
The exhibition ‘En dag, Ettermiddag, Resten av Dagen’ presents three new series by Gerd Tinglum.
‘En dag’ consists of 12 works for the 12 hours of the day.
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October.
‘Resten av dagen’ is an object composed of discarded paintings.
___
In Tinglum’s contradictory use of both systematic structure and chance, new surfaces emerge in the interaction between the different layers of paint. Starting from control and systematics, the visual result cannot ultimately be directed.
Tinglum creates striking visual paintings in which the concept and idea play the leading role. She provides the viewer with a title and a concept as an entry point to the works, and our gaze and thoughts move between the visual and the conceptual within the layers of meaning. The paths our thoughts may take, and the experience of the works, transform from what is immediately visible into a poetic exploration and search within and between the layers of color.
___
📷: Øystein Thorvaldsen
Gerd Tinglum
En dag (uten tittel 12-23), 2026
Acrylic on canvas
45 x 35 cm
___
The exhibition ‘En dag, Ettermiddag, Resten av Dagen’ presents three new series by Gerd Tinglum.
‘En dag’ consists of 12 works for the 12 hours of the day.
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October.
‘Resten av dagen’ is an object composed of discarded paintings.
___
In Tinglum’s contradictory use of both systematic structure and chance, new surfaces emerge in the interaction between the different layers of paint. Starting from control and systematics, the visual result cannot ultimately be directed.
Tinglum creates striking visual paintings in which the concept and idea play the leading role. She provides the viewer with a title and a concept as an entry point to the works, and our gaze and thoughts move between the visual and the conceptual within the layers of meaning. The paths our thoughts may take, and the experience of the works, transform from what is immediately visible into a poetic exploration and search within and between the layers of color.
___
📷: Øystein Thorvaldsen
Gerd Tinglum
En dag (uten tittel 12-23), 2026
Acrylic on canvas
45 x 35 cm
___
The exhibition ‘En dag, Ettermiddag, Resten av Dagen’ presents three new series by Gerd Tinglum.
‘En dag’ consists of 12 works for the 12 hours of the day.
‘Ettermiddag’ consists of 11 works for 11 plants encountered on a walk in October.
‘Resten av dagen’ is an object composed of discarded paintings.
___
In Tinglum’s contradictory use of both systematic structure and chance, new surfaces emerge in the interaction between the different layers of paint. Starting from control and systematics, the visual result cannot ultimately be directed.
Tinglum creates striking visual paintings in which the concept and idea play the leading role. She provides the viewer with a title and a concept as an entry point to the works, and our gaze and thoughts move between the visual and the conceptual within the layers of meaning. The paths our thoughts may take, and the experience of the works, transform from what is immediately visible into a poetic exploration and search within and between the layers of color.
___
📷: Øystein Thorvaldsen
For Market Art Fair 2026 we are exhibiting a duo presentation including photography by Espen Gleditsch and bronze sculptures by Lars Morell.
Stockholm 24- 26. april 2026
___
The fair participation in generously supported by Office for Contemporary Art Norway (OCA).
@oca_norway
___
📷: Anja Karolina Furrer
___
Magasin 9
Frihamnsgatan 66
115 56 Stockholm
For Market Art Fair 2026 we are exhibiting a duo presentation including photography by Espen Gleditsch and bronze sculptures by Lars Morell.
Stockholm 24- 26. april 2026
___
The fair participation in generously supported by Office for Contemporary Art Norway (OCA).
@oca_norway
___
📷: Anja Karolina Furrer
___
Magasin 9
Frihamnsgatan 66
115 56 Stockholm
For Market Art Fair 2026 we are exhibiting a duo presentation including photography by Espen Gleditsch and bronze sculptures by Lars Morell.
Stockholm 24- 26. april 2026
___
The fair participation in generously supported by Office for Contemporary Art Norway (OCA).
@oca_norway
___
📷: Anja Karolina Furrer
___
Magasin 9
Frihamnsgatan 66
115 56 Stockholm
For Market Art Fair 2026 we are exhibiting a duo presentation including photography by Espen Gleditsch and bronze sculptures by Lars Morell.
Stockholm 24- 26. april 2026
___
The fair participation in generously supported by Office for Contemporary Art Norway (OCA).
@oca_norway
___
📷: Anja Karolina Furrer
___
Magasin 9
Frihamnsgatan 66
115 56 Stockholm
For Market Art Fair 2026 we are exhibiting a duo presentation including photography by Espen Gleditsch and bronze sculptures by Lars Morell.
Stockholm 24- 26. april 2026
___
The fair participation in generously supported by Office for Contemporary Art Norway (OCA).
@oca_norway
___
📷: Anja Karolina Furrer
___
Magasin 9
Frihamnsgatan 66
115 56 Stockholm
@qbgallery’s presentation at Market Art Fair 2026 brings together @espengleditsch and @lars_morell
Gleditsch’s photographs focus on early functionalist architecture, where utopian ideals meet a quiet sense of unease. Morell’s abstract bronze sculptures suggest organic forms that draw together and pull apart, echoing a sense of proximity and distance. Together, the works reflect on how modernist ideas continue to shape the spaces we inhabit.
Market Art Fair 2026
24–26 April, #stockholm
Espen Gleditsch, ‘Path (Davos)’, (2025)
Espen Gleditsch, ‘The Magic Mountain (Schatzalp Sanatorium, Davos)’, (2025)
Espen Gleditsch. Photo Kari Kjøsnes
Lars Morell. Photo Kari Kjøsnes
Lars Morell, ‘The Host’, (2024). Tor Simen Ulstein
@qbgallery’s presentation at Market Art Fair 2026 brings together @espengleditsch and @lars_morell
Gleditsch’s photographs focus on early functionalist architecture, where utopian ideals meet a quiet sense of unease. Morell’s abstract bronze sculptures suggest organic forms that draw together and pull apart, echoing a sense of proximity and distance. Together, the works reflect on how modernist ideas continue to shape the spaces we inhabit.
Market Art Fair 2026
24–26 April, #stockholm
Espen Gleditsch, ‘Path (Davos)’, (2025)
Espen Gleditsch, ‘The Magic Mountain (Schatzalp Sanatorium, Davos)’, (2025)
Espen Gleditsch. Photo Kari Kjøsnes
Lars Morell. Photo Kari Kjøsnes
Lars Morell, ‘The Host’, (2024). Tor Simen Ulstein
@qbgallery’s presentation at Market Art Fair 2026 brings together @espengleditsch and @lars_morell
Gleditsch’s photographs focus on early functionalist architecture, where utopian ideals meet a quiet sense of unease. Morell’s abstract bronze sculptures suggest organic forms that draw together and pull apart, echoing a sense of proximity and distance. Together, the works reflect on how modernist ideas continue to shape the spaces we inhabit.
Market Art Fair 2026
24–26 April, #stockholm
Espen Gleditsch, ‘Path (Davos)’, (2025)
Espen Gleditsch, ‘The Magic Mountain (Schatzalp Sanatorium, Davos)’, (2025)
Espen Gleditsch. Photo Kari Kjøsnes
Lars Morell. Photo Kari Kjøsnes
Lars Morell, ‘The Host’, (2024). Tor Simen Ulstein
@qbgallery’s presentation at Market Art Fair 2026 brings together @espengleditsch and @lars_morell
Gleditsch’s photographs focus on early functionalist architecture, where utopian ideals meet a quiet sense of unease. Morell’s abstract bronze sculptures suggest organic forms that draw together and pull apart, echoing a sense of proximity and distance. Together, the works reflect on how modernist ideas continue to shape the spaces we inhabit.
Market Art Fair 2026
24–26 April, #stockholm
Espen Gleditsch, ‘Path (Davos)’, (2025)
Espen Gleditsch, ‘The Magic Mountain (Schatzalp Sanatorium, Davos)’, (2025)
Espen Gleditsch. Photo Kari Kjøsnes
Lars Morell. Photo Kari Kjøsnes
Lars Morell, ‘The Host’, (2024). Tor Simen Ulstein
@qbgallery’s presentation at Market Art Fair 2026 brings together @espengleditsch and @lars_morell
Gleditsch’s photographs focus on early functionalist architecture, where utopian ideals meet a quiet sense of unease. Morell’s abstract bronze sculptures suggest organic forms that draw together and pull apart, echoing a sense of proximity and distance. Together, the works reflect on how modernist ideas continue to shape the spaces we inhabit.
Market Art Fair 2026
24–26 April, #stockholm
Espen Gleditsch, ‘Path (Davos)’, (2025)
Espen Gleditsch, ‘The Magic Mountain (Schatzalp Sanatorium, Davos)’, (2025)
Espen Gleditsch. Photo Kari Kjøsnes
Lars Morell. Photo Kari Kjøsnes
Lars Morell, ‘The Host’, (2024). Tor Simen Ulstein
Espen Gleditsch @haugarkunstmuseum
Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.
«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.
1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm
DM or send an email to @qbgallery for more information about available works from this series.
Espen Gleditsch @haugarkunstmuseum
Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.
«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.
1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm
DM or send an email to @qbgallery for more information about available works from this series.
Espen Gleditsch @haugarkunstmuseum
Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.
«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.
1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm
DM or send an email to @qbgallery for more information about available works from this series.
Espen Gleditsch @haugarkunstmuseum
Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.
«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.
1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm
DM or send an email to @qbgallery for more information about available works from this series.
Espen Gleditsch @haugarkunstmuseum
Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.
«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.
1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm
DM or send an email to @qbgallery for more information about available works from this series.
Espen Gleditsch @haugarkunstmuseum
Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.
«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.
1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm
DM or send an email to @qbgallery for more information about available works from this series.
Espen Gleditsch @haugarkunstmuseum
Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.
«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.
1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm
DM or send an email to @qbgallery for more information about available works from this series.
Espen Gleditsch @haugarkunstmuseum
Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.
«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.
1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm
DM or send an email to @qbgallery for more information about available works from this series.
Thank you to everyone who joined us for yesterday’s opening✨
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until May 10th
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
Thank you to everyone who joined us for yesterday’s opening✨
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until May 10th
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
Thank you to everyone who joined us for yesterday’s opening✨
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until May 10th
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
Thank you to everyone who joined us for yesterday’s opening✨
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until May 10th
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
Thank you to everyone who joined us for yesterday’s opening✨
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until May 10th
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
Thank you to everyone who joined us for yesterday’s opening✨
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
On view until May 10th
___
Opening hours
Wed - Fri 12-18
Sat - Sun 12-16
For inquiries, send us a DM or contact us at post@qbg.no
___
📷: Øystein Thorvaldsen
OPENING TOMORROW
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
Opening Thursday 9th of April, 18-20
___
📷 : Kari Kjøsnes
OPENING TOMORROW
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
Opening Thursday 9th of April, 18-20
___
📷 : Kari Kjøsnes
OPENING TOMORROW
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
Opening Thursday 9th of April, 18-20
___
📷 : Kari Kjøsnes
OPENING TOMORROW
En dag, Ettermiddag, Resten av dagen | Gerd Tinglum
Opening Thursday 9th of April, 18-20
___
📷 : Kari Kjøsnes
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
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