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Tirsdag 12:00 - 17:00 Onsdag 12:00 - 17:00 Torsdag 12:00 - 17:00 Fredag 12:00 - 17:00 Lørdag 12:00 - 16:00 Søndag 12:00 - 16:00

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Format was founded in 1991 and is a leading gallery for material-based art in Norway.

14/10/2026

FROM GROUND TO PROFOUND
Selected works from Harald Lode’s collection
FORMAT 24 September - 1 November 2026

Kina Björklund, Maria Antònia Carrió, Sam Chatto, Trinidad Contreras, Celia Dowson, Lisbeth Voigt Durand, Ellen Ehk Åkesson, Jens Erland, Elisa Helland Hansen, Matthias Kaiser, Nina Malterud, Marco Minetti, Norikazu Oe, Paul Philp, John Skognes, Mats Svensson, Marit Tingleff, Beth Wyller.

Harald Lode is an architect with a deep appreciation for materials and textures, and often draws inspiration from artists who work with material-based art. He was introduced to art, architecture, and craftsmanship at an early age through his father, who worked extensively with clay and wood.

Lode does not consider himself a collector, yet his home is filled with a considerable number of objects, the majority of which are ceramic works. The first pieces he purchased were functional objects, where everyday use was central. The beauty of an everyday object, and the idea that a meal can be enriched by using objects where craftsmanship, aesthetics, and function come together, have been important factors in Lode’s selection of objects.

Holding a cup and taking a sip creates an intimate connection between person and object. Through the creative process, the ceramic artist also becomes part of this connection. In the early 1990s, Lode acquired his first cups by Elisa Helland Hansen. Later, meetings with other ceramic artists expanded his interest in clay as a living material. He is fascinated by the balance between the clay’s own agency and the artist’s craftsmanship and processes, and how this is reflected in the final work.

The exhibition presents a selection of works by Norwegian, Spanish, British, Austrian, Japanese, Danish, and Swedish artists. The works were not acquired to build a specific collection; rather, the common thread is the personal relationships with the objects, relationships that have developed through meetings with artists and a growing interest of the materials.

The exhibition is supported by Oslofinér.

11/10/2026

Harald B. Lode in D2 ✨️

07/10/2026

KAREN KVILTU LIDAL
How to Live Together
FORMAT 24 September - 1 November 2026

Karen Kviltu Lidal is interested in weaving as a form of architecture - an architecture based on women’s technical and aesthetic knowledge, which has often been undervalued, and which is closely connected to the body and the domestic sphere. Her projects are textile objects and installations, based on the connection between body and architecture.

Somewhere between the floor and the ceiling of the gallery space is the height of an average Western man. With one arm raised, according to Le Corbusier, he would reach 226 cm above the ground. This measurement became a widespread standard for ceiling height in the mass construction of social-functionalistic architecture in the post-war period. In the exhibition How to Live Together, we are presented with an alternative structure; spanning the entire width of the room, a carpet creates a bodily and soft architectural installation.

The carpet is handwoven from unbleached linen and pale pink wool, assembled from 90 cm-wide sections, the width of Lidal’s loom. Each section has its own striped pattern. Stripes are a traditional and logical decorative element in weaving, in which either the warp or the weft alternately dominates. The sections are joined together with neon-yellow nylon straps, referring to building construction. The carpet measures approximately 4.4 x 4.4 metres, and visitors are invited to walk underneath it.

Karen Kviltu Lidal (b. 1979 in Akershus) lives and works in Fredrikstad. She received her master’s degree from Oslo National Academy of the Arts in 2008. Lidal has exhibited at Kunstnerforbundet, Tegnerforbundet, Sandnes Kunstforening, and Moss Kunstforening, among others. She has also participated in group exhibitions at Contextile Biennial, the Central Museum of Textiles in Łódź, Kunstnernes Hus, the National Museum, SOFT, and Lillehammer Art Museum. Her works have been acquired by Nordenfjeldske and KODE.

The exhibition is supported by the Arts Council Norway.

Exhibition photos: Thomas Tveter
Portrait photo: Ida Christin Foss

01/10/2026

KIRSTEN HERMANSSON
More is More
FORMAT 24 September - 1 November 2026

Kirsten Vikingstad Hermansson works with glass as a sculptural material and has developed her own process combining casting, grinding, and sculpting in the glass studio. She primarily uses discarded colours from European glass factories, giving them new life. Through her process, the materials are casted, shaped, broken apart, and reassembled into complex sculptures in which colour, form, and construction are central.

The exhibition More is More has abundance as its visual language. In Hermansson’s sculptures, references to architecture, regalia, construction, and symbols of power and ownership come together. Hermansson works with the powerful and the coplex. The forms may evoke architectural structures or objects associated with status and power, but are shifted through colour, scale, and unexpected combinations. What initially appears grand and confident may at the same time contain something absurd, fragile, or constructed.

The sculptures are built from cast and processed glass components that are assembled hot in the glass studio. Piece by piece, complex constructions emerge in which colour, scale, and density become structural elements. Colour is not decoration, but an essential part of the sculpture’s structure and meaning. Each sculpture has its own title and narrative, and acts as an independent chapter within a larger visual world. More is More creates a world where form, materiality, and abundance become expressions of how value, power, and meaning can be constructed and staged.

Kirsten Vikingstad Hermansson (b. 1988, Haugesund) is based in Jämshög, Sweden, where she has her own workshop and studio. She studied at Riksglasskolan in Orrefors, The Royal Danish Academy, and UMPRUM in Prague under Rony Plesl. Her sculptures have been acquired by the Corning Museum of Glass in the USA, the Swedish National Public Art Council, the National Museum in Norway, the Norwegian Ministry of Foreign Affairs, and KODE, among others.

Exhibition photos: Thomas Tveter
Portrait photo: Maddoc Photography

30/09/2026

15 forbindelser - Opening tomorrow, 1 October at 15pm at PLATINA Stockholm.

As part of Stockholm Craft Week, PLATINA Stockholm, FORMAT Oslo and SPACIOUS Copenhagen present a group exhibition featuring fifteen jewelery artists from Sweden, Denmark, and Norway, organized in collaboration between Platina Stockholm - curator Sofia Björkman, Format Oslo - curators Irija Øwre and Kristin Mannino, and Spacious Copenhagen - curator Annette Dam. The exhibition highlights both connections and contrasts, exploring how artists from three Nordic countries develop distinctive expressions and working methods while being part of a shared Nordic and global jewelry context. The exhibition is a travelling exhibition, starting in Stockholm, then Oslo and finally Copenhagen.

no

kastalje.art.jewellery

17/09/2026

FORMAT - Welcome to the opening Thursday 24 September at 6pm!

02/09/2026

BærbART
Selected Works from Dahlgren's Jewelry Collection
FORMAT 13 August - 20 September 2026

It all began on an autumn day in 2021. Hege was captivated by Ingjerd Hanevold's jewelry, and during the spring of 2022 she purchased several of Hanevold's pieces. This was followed by countless visits to galleries and artists' studios, where her interest in contemporary jewelry truly took shape. She began collecting works by a growing number of contemporary jewelry artists, laying the foundation for today's collection.

After only five years of passionately collecting contemporary jewelry, the collection now consists of nearly 300 works. Dahlgren actively follows developments within Norwegian contemporary jewelry, and the collection has a clear focus on jewelry artists based in Norway. A central part of her dedication to the field has been following the work of students in the Metal and Jewelry Art programme at the Oslo National Academy of the Arts. Dahlgren also keeps close track of established jewelry artists through studio visits, exhibitions, and artist talks. Her relationships with the artists are of great importance, as jewelry carries deeply personal narratives and creates a unique connection between artist and wearer.

Through building the collection, Dahlgren has experienced meaningful meetings with artists and engaging conversations with gallerists and curators. Jewelry has become a significant and essential part of her life and identity. She wears pieces from the collection every day and follows two guiding principles that define the collection: every work is purchased with the heart, and every work is meant to be worn.

In this exhibition, Hege Dahlgren presents a selection from her jewelry collection. It is a collection that reflects personal choices and a deep commitment, while also offering insight into the development, diversity, and quality of contemporary Norwegian jewelry art.

Exhibition photos: Thomas Tveter

26/08/2026

HEIDI BJØRGAN
Unruly
FORMAT 13 August - 20 September 2026

Heidi Bjørgan is internationally recognized for her experimental and expressive ceramic works, where challenging the established conventions of both the material and the craft is a central aspect of her artistic practice. Her work is characterized by a combination of technical skills and a courage to push the boundaries of ceramic tradition.

Bjørgan’s medium is ceramics, and she often begins with classical ceramic forms such as the vessel or the vase. This exhibition presents a broader range of traditional forms than her previous exhibitions, while the inclusion of more high-fired works introduces a different colour palette. Clay can never be fully controlled, it follows its own internal logic. It is precisely in the dynamic between the artist’s intention and the material’s own will that Bjørgan´s work takes shape.

Each piece evolves through an extended process involving mould-making, deformation of the moulds, repeated applications of glaze, and multiple firings in which different temperatures are explored. The traces of this process become an essential part of both the aesthetic and conceptual content of the work. While the surfaces possess a rich tactile and visual presence, the real surprise lies in the radical transformation of familiar classical forms. This is where Bjørgan’s artistic vision becomes most distinct, resulting in works that are both unpredictable and original.

Heidi Bjørgan (b. 1970, Trondheim) is based in Bergen, Norway. She studied at the Bergen National Academy of the Arts and Konstfack in Stockholm. She is represented by Taste Contemporary in Geneva and Tag Team Studio in Bergen. Her works are in the collections of the National Museum of Norway, KODE, Nordenfjeldske Kunstindustrimuseum, Kunstsilo, Trondheim Kunstmuseum, the Norwegian Ministry of Foreign Affairs, and Victoria and Albert Museum, among others.

The exhibition is supported by Arts Council Norway and the Municipality of Bergen.

Exhibition photos: Thomas Tveter
Portrait photo: Thor Brødreskift

19/08/2026

PHILIPP SPILLMANN
Mycelium of Things
FORMAT 13 August - 20 September 2026

In the exhibition Mycelium of Things, Spillmann presents a selection of brooches created from objects found in forests while foraging for mushrooms. When he roams the woods in search of mushrooms, Spillmann often encounters unexpected remnants of human activity such as abandoned coffee kettles, plastic fragments, tools, golf balls, ski poles, lighters, and sh***un shells. Each of these discarded objects was once invented, designed and acquired for a specific purpose before being lost, abandoned, or deliberately left behind in the woods. The objects carry stories of their own.

Teak wood from a coffee table and zinc-plated iron sheets found at garbage dumps in the city are used to transform the objects into functional brooches without changing the material’s surface. By crafting these discarded artefacts of civilisation into brooches inspired by mushrooms, Spillmann gives them new form and context. The transformation suggests new stories while inviting reflection on humanity’s place within a larger ecological system.

Philipp Spillmann (b.1977 Zurich) lives and works in Oslo. He completed a traditional apprenticeship as a goldsmith at the Zurich School of Arts and Crafts. He has worked with public commissions for Residential Care and Activity Centre in Sortland, Stord Upper Secondary School, Narvik Fire Station, Alta Care Centre, and Trudvang Kindergarten. He has participated in the Norwegian Associations for Crafts Artists Annual Exhibition and has held solo exhibitions at Telemark Art Centre, Gallery Four in Gothenburg, RAM Gallery and Østfold Art Centre. His works are included in the collections of the Museum of Applied Arts Cologne in Köln, The Design Museum in Munich, MUDAC – Museum of Contemporary Design and Applied Arts in Lausanne, Rian Design Museum in Falkenberg, the Northern Norwegian Art Museum, KODE and the National Museum of Norway.

The exhibition is supported by Arts Council Norway and The Art Centers in Norway

Exhibition photos: Thomas Tveter
Portrait photo: Aliona Pazdniakova

06/08/2026

FORMAT - Welcome to the opening Thursday 13 August at 6pm!

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Åpningstider

Tirsdag	12:00 - 17:00
Onsdag	12:00 - 17:00
Torsdag	12:00 - 17:00
Fredag	12:00 - 17:00
Lørdag	12:00 - 16:00
Søndag	12:00 - 16:00

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