Current exhibitions

16 September 2023 – 3 Mars 2024 

The Thiel Gallery has invited the artist Maria Friberg to initiate a dialogue between her practice and the Gallery’s collections. This collaboration is part of a major initiative to shine a contemporary light on the Thiel Gallery. Friberg has been free to choose works from the collection created by Ernest and Signe Thiel around the previous turn of the century and to mirror them in a selection of her own photographs and video works.

Almost There identifies the gap that exists between then and now. So much has changed, but a lot is the same. We think we understand history, and yet we don’t. In that way, Maria Friberg’s interaction with the collection is a matter of taking turns: her art offers new perspectives on the Thiel Gallery and its art works, but also gives a deeper understanding of the themes in her own artistic practice.

Maria Friberg was an obvious choice for the Thiel Gallery. In a collection dominated by male artists and portraits, it is vital to redirect our vision, as Friberg does. In her art, men often assume poses that are traditionally female; they are passive, vulnerable, lost, and pleasing to the eye. The assumption that male and female are opposites is challenged.

6 May–1 October 2023

Touching is a duo exhibition of prints by Andreas Eriksson (b. 1975) and Edvard Munch (1863–1944). Munch was a favourite of Signe Maria and Ernest Thiel, and their collection includes 95 graphic prints of the Norwegian artist. It is with great pleasure we now present a large selection of these, in dialogue with works by Andreas Eriksson. Eriksson is a renowned contemporary artist who represented Sweden at the Venice Biennale in 2011 and has had solo exhibitions at Bonniers Konsthall, the Nordic Watercolour Museum in Skärhamn and the Museum of Sketches in Lund. Perhaps best known as a painter, he has also made prints since his late teens.

This exhibition highlights the distinct style of both artists, but also shows how they each bring out new qualities in the works of the other. Juxtaposing Eriksson and Munch in a free format dissolves the notion of a linear art history. The images are liberated from their habitual contexts. By hanging their works from different eras next to each other, new mutual relationships emerge.