Cecilia Edefalk has established herself as one of the leading figures in contemporary art in Sweden. Since the 1980s, she has developed an intuitive and personal body of work that, starting from pre-existing images and figurative forms, has gradually become more abstract in expression. Her practice blends memories, visions, motifs from art history and elements from nature. For many years, Cecilia Edefalk has been holding conversations with deceased artists – Hilma af Klint, among others – which she documents and incorporates in her work. The first such discussion occurred with the artist and writer August Strindberg, who appeared to her in a park in Stockholm, and who, today, has guided her selection of works for this exhibition. A compilation of the artist’s conversations with her deceased colleagues was published by Ersatz in 2024. Extracts from this book, translated into French, accompany the exhibition. Cecilia Edefalk’s art has always engaged with its time and contributed to the emergence of artistic debates. But today, with a career spanning several decades and a considerable body of work behind her, the clamour of the present seems silenced, allowing her unique voice to be heard more clearly. Her works are a concentration of life, of different techniques and means of expression, and of important artistic and existential issues. This exhibition invites viewers to discover a subtle and personal body of work that is . It reveals the way in which Cecilia Edefalk is continuing the traditions of spiritual and artistic movements from the North. The exhibition will include the continous loop screening of a documentary entitled Cecilia Edefalk, Jag är inte här, jag drömmer (‘I am not here; I am dreaming’), in Swedish with French sub-titles.

For his intervention at Pinacoteca Agnelli in Turin, Paul Pfeiffer created Vitruvian Figure (Juventus) in collaboration with Juventus. The work features an immersive sound installation and a large-format image, displayed on billboards at two distinct points along the Pista 500. Since the 1990s, Paul Pfeiffer has developed a highly interdisciplinary artistic practice, encompassing video, photography, sound, installation, and sculpture. A central theme of his work is the exploration of moments intended for a mass audience, such as sporting and religious events, concerts, and television game shows, often leading to questions of spectacle, belonging, and difference. Pfeiffer analyzes not only the experience of the live event, when stadiums fill with fans, but also its extension through media broadcasting, which allows it to reach millions of people. In these moments, the notion of the individual is suspended, for both the spectator and the star, albeit in opposing ways: while celebrity is elevated and isolated from the rest, the spectator merges with the mass, merging with the crowd to become part of a greater whole. With Vitruvian Figure (Juventus), Pfeiffer continues his decades-long investigation of collective behavior and spectacle, while responding to the specific history of the city and the Lingotto, a site linked to performance, speed, and the production of objects for mass consumption and desire. His incisive work engages audiences on both intellectual and visceral levels, revealing how the architecture of gathering spaces shapes our cultural identity and the ways we relate to one another.