carlier | gebauer

Iman Issa, Proxies, with a Life of Their Own, exhibition at TAXISpalais Kunsthalle Tirol, 11 December, 2020 – 7 March, 2021

Caroline Mesquita, IN VIVO, exhibition at Pivô, Saõ Paulo, until 19 December,2020

Guillaume Leblon, special presentation, carlier | gebauer, Berlin, SUNDAY OPEN, 6 December 2020

Asta Gröting, Blinded and the best Light, 2020, special screening for SUNDAY OPEN, 1 November, 2020, 12-6 pm

Showroom, Gallery Weekend Berlin, 2020

Emily Wardill, Night for Day, Secession, Vienna, until 8 November, 2020

Cecilia Edefalk & Pakui Hardware, "– a breath? a name? – the ways of worldmaking", Biennale Gherdëina 7, until 20 October 2020

Iman Issa, Surrogates, Kunstmuseum, Sankt Gallen, until 9 August, 2020

Cecilia Edefalk, Homecoming, Norrköppings Konstmuseum, until 17 January, 2021

Cecilia Edefalk, Homecoming, exhibition view at Norrköping Konstmuseum, 2020.

Cecilia Edefalk - Homecoming
March 28 – January 17, 2021


For the first time, the Norrköping Art Museum is showing an extensive retrospective with Cecilia Edefalk, born in 1954 in Norrköping, operating in Berlin and Stockholm. In Homecoming, new works are presented together with some of her classics. Sensuality, presence, a strong sense of nature and relationships are key themes.

Cecilia Edefalk is one of Sweden's most important now living artists. She has been internationally established since the 1990s. Cecilia Edefalk works with painting, photography, sculpture and installations. She was born in 1954 and grew up in Norrköping and is represented in Norrköping Art Museum's collection with several works.

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Inspired by the falling of a birch tree, Edefalk’s bronze works provide an autobiographical account of this traumatic moment of death and fragmentation; an homage to both the tree itself, as well as to the reflexive processes of memorial and mourning. Molded from the same singular branch, Edefalk situates these cast bronze skins vertically erect, poised in a totemic fashion as if animated by their own metonymic possibilities. Frequently alluding to the cyclical motions of the natural world, Edefalk’s vision of the spiritual interconnectedness between all elements appears mirrored in both form and content, establishing a methodological act of conjuring and recalling those systems of remembrance and memory. While Edefalk’s practice is circumscribed by an intuitive and often deeply personal approach to art-making, the consistent use of repetition and seriality in her modes of production points to the ways in which Edefalk brilliantly maneuvers expectations of authorship and authenticity with elusive precision.

Cecilia Edefalk, Weeping Birch, 2010
Bronze and tempera, 47,6 x 13,3 x 5,7 cm


Cecilia Edefalk’s intuitive and deeply personal practice often draws from things that she encounters in her everyday life — whether a field of dandelions, a novel, or memories of visiting a church in Italy. Edefalk’s approach fuses the intimate and the analytical. Her choice of topics often emerges from a rigorous, uncanny intuition that she hones to undertake serial explorations of a single motif, experimenting with duplication, scale, and installation. Edefalk views repetition as a means to express different ideas. She isolates transitory moments of perception, multiplying and dividing the forms that emerge from them, to create visionary meditations on nature, the mutability of time, and natural cycles of growth and decay. 

Cecilia Edefalk (b.1954, Norrköping) lives and works in Stockholm. Her work received a major retrospective in 2020 at Norrköping Museum of Art and in 2016 at Prins Eugens Waldmarsudde, Stockholm. Edefalk has had numerous one person museum exhibitions at  Moderna Museet, Stockholm; BAMPFA, Berkeley Art Museum; Crystal Palace, Stockholm; Parasol unit, London; The Art Institute of Chicago; Malmö Konstmuseum; Lunds Konsthall, Sweden; Kunsthalle Kiel, Germany; and Kunsthalle Bern. Her work has appeared in many group shows at various international venues including at Aargauer Kunsthaus, Aarau; Moderna Museet, Malmö; Documenta 11, Kassel; the 22nd São Paolo Biennial; the Whitney Museum of American Art, New York; Wadsworth Atheneum Museum of Art, Hartford; Museum für Moderne Kunst, Frankfurt; CCA Wattis Institute for Contemporary Art, San Francisco; and Musée d’art moderne de la Ville de Paris, Paris.

Cecilia Edefalk, Grey, 2020
watercolor on paper, 37,7 x 28,3 cm


Cecilia Edefalk, A boat, 2017
Sculpture: wood and linen, 315 x 149 x 70 cm and Painting: 15 cm diameter

The sketch for A boat depicts two cupped hands, open as if to receive or hand over something. The lines in the palms of the hands are echoed in the grain of the boat’s pine frame. Thus, the body of the boat emerges as a gesture of care, as well as a container for – what exactly? A boat is a vessel to travel in, a tool for displacement, but also the embodiment of dreams and hopes. The idea for the work was born in 1998 while preparing for an exhibition at Berns konsthall in Stockholm.