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Galleri Duerr

@galleriduerr

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Contemporary art gallery in Stockholm, Sweden.
Mattias Åkeson | Kom & Gå
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CONCERT VOL. 8

Date: SATURDAY, OCTOBER 3
Time: 15.00
Place: Gävlegatan 10B
Free Admission

On October 3 at 3 PM, Galleri Duerr invites you to an intimate musical encounter featuring violinist Denis Bernier Martin, violist Nanako Akai, and cellist Greta Ernesaks of the Norrköping Symphony Orchestra.

In dialogue with Karin Lind’s exhibition "Terra/Terratorium", the trio presents a carefully curated program that moves across centuries and musical languages — from the profound architecture of J.S. Bach’s Goldberg Variations to György Kurtág’s intimate Hommage à Bach and Allan Pettersson’s evocative String Trio.

Bringing together sound, space, and visual art, the concert invites the audience to experience the exhibition through another sensory dimension — where composition, resonance, and materiality meet.

Produced by Mika Takehara.
Supported by Region Stockholm.

____________

Den 3 oktober kl. 15.00 bjuder Galleri Duerr in till ett intimt musikaliskt möte med violinisten Denis Bernier Martin, violasten Nanako Akai och cellisten Greta Ernesaks från Norrköpings Symfoniorkester.

I dialog med Karin Linds utställning Terra/Terratorium presenterar trion ett omsorgsfullt kurerat program som rör sig genom århundraden och musikaliska uttryck – från J.S. Bachs djupgående arkitektur i Goldbergvariationerna, via György Kurtágs intima Hommage à Bach, till Allan Petterssons suggestiva stråktrio.

Musik, rum och bildkonst vävs samman i ett möte som låter utställningen upplevas genom ytterligare ett sinnligt lager – där komposition, resonans och materialitet möts.

Producerad av Mika Takehara.
Med stöd av Region Stockholm.

@karinsimka
@mika_takehara_musician
@nilalto
#gretaernesaks
#denisberniermartin
#stockholmgallerydistrict
@atriumljungberg
#kammarmusik
#stringtrio

Artwork:
Karin Lind
Konventionen

#concert #stockholm #event #konsert #kammarmusik #stringtrio #bach #kurtag #allanpettersson #galleri #artgalleri taken in Galleri Duerr by @galleriduerr

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15 days ago

KARIN LIND
TERRA / TERRATORIUM
ÖAR AV MAKT –
LANDSKAP AV TID

We are excited to open this new chapter with a presentation of Karin Lind’s latest works.

TERRA / TERRATORIUM is a series of paintings exploring the relationship between humanity, landscape, territory, and power — and the ways in which these forces shape our understanding of place.

@karinsimka
#stockholmgallerydistrict by @galleriduerr

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5

16 days ago

GARDEN OF OTHERWORLDLY DELIGHTS

Opening Reception
Date: Wednesday, September 30
Time: 17.00–20.00
Place: Hudiksvallsgatan 6, 2nd floor

Craft Week Opening Hours
Wed: 17.00–20.00
Thu–Fri: 12.00–18.00
Sat–Sun: 12.00–16.00

Artist Talks
Thursday, October 1, 17.30
Friday, October 2, 13.45

"Garden of Otherworldly Delights" brings together works by five Norway-based craft artists: Beatrice Alvestad Lopez, Daniela Bergschneider, Eirik Falckner, Kristina Austi, and Madelen Isa Lindgren.

Drawing on Nordic relationships to nature, folklore and the more-than-human, the exhibition considers the shifting boundaries between human and other forms of life.

The title echoes Hieronymus Bosch’s The Garden of Earthly Delights, whose fantastical world dissolves distinctions between humans, animals and plants. In a contemporary Nordic context, the artists similarly turn to imagination as a space for reconsidering our place within a wider ecology.

Through textiles, ceramics, glass and wood, the exhibition offers a constellation of forms, creatures and landscapes—inviting us to look closely at what lives, grows and exists beyond the human.

A collaboration between Galleri Duerr and The Space Craft, kindly supported in part by Norwegian Crafts.

Please note: the exhibition takes place at our previous gallery space, Hudiksvallsgatan 6, not at our new location.

@spacecraft_exhibitions
@sthlmcraftweek
#stockholmgallerydistrict taken in Galleri Duerr by @galleriduerr

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18 days ago

KARIN LIND
Terra / Terratorium
Öar av makt – Landskap av tid

A new series of paintings by Karin Lind that explores the shifting relationship between humanity, landscape, territory, and power.

Rooted in a visual language informed by symbolism and infused with surrealist undertones, Lind’s paintings move between the recognizable and the uncanny, where historical realities encounter imagined futures. Three monumental triptychs unfold across past, present, and future, though time in Lind’s work is never linear. Perspectives overlap, histories resurface, and the future appears already embedded within the present.

Drawing on real historical events and contemporary geopolitical tensions surrounding the islands of Åland, Gotland, and Greenland, the series considers territory as both physical geography and symbolic space. Negotiating tables, political encounters, and struggles over sovereignty become stages on which individual lives intersect with larger systems of power.

Across three triptychs, this political landscape gradually gives way to the landscape itself. What begins with negotiation and conflict ends in a world where human presence has receded and the structures of power have fallen silent. The landscape remains, bearing traces of human intervention while exceeding the limits of human control.

"Terra / Terratorium. Öar av makt – Landskap av tid" ultimately asks how we shape, inhabit, and claim the spaces around us, and what might remain when those claims can no longer be sustained. by @galleriduerr

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18 days ago

GALLERI DUERR IS MOVING

A new chapter, just around the corner.

We’re moving to a new street-level space in the same neighborhood — making it easier to step inside, discover the gallery, and spend time with the work.

Our new address is:
Gävlegatan 10B

We open our doors on Thursday, October 1, with an exhibition by Karin Lind.

We look forward to welcoming you to our new space in the Stockholm Gallery District.

#stockholmgallerydistrict taken in Galleri Duerr by @galleriduerr

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a month ago

Siiri Jüris at the Tartu Art House

On Friday, 4 September, painter Siiri Jüris opened her solo exhibition "like an echo in the dark, warm twilight" at Tartu Art House in Estonia. The exhibition is curated by Peeter Talvistu.

The exhibition brings together a selection of paintings by Jüris produced in Sweden over the past five years, offering the first overview of the latest tendencies in her oeuvre. The artist calls herself a landscape painter, which is a surprisingly apt description, because landscapes are indeed constantly present in her works. They take the form, however, of a certain natural and inherent amorphousness, which almost never allows us to be completely sure where the boundaries between different elements lie.

The paintings also feature people and hands as central elements. Through them, we as viewers can find contact with what is depicted. Hands also introduce the theme of care and support, which are important for us as individuals as well as from the perspective of preserving nature as a whole.

The curator adds: “We all need assistance and encouragement at times, and none of us can exist alone. We can also never be completely isolated from the (natural) environment that surrounds us. The deep and warm tones in the gallery result in a soft and velvety atmosphere, which seems to softly embrace you.”

Siiri Jüris (b. 1992) is a painter from Estonia currently living in Sweden. After graduating from the Tartu Art School and the Department of Painting at the University of Tartu (BA and MA), she obtained a master’s degree from the Royal Institute of Art in Stockholm. She is represented by Tütar Gallery in Estonia and Galleri Duerr in Sweden. In 2021, Jüris was awarded the Tartu Art Museum’s “Young Tartu” exhibition, and in 2024 she received the Young Artist Encouragement Award at the annual exhibition of Tartu art.

Galleri Duerr is pleased to be a part of this exhibition.

The exhibition is supported by the Cultural Endowment of Estonia, Tütar Gallery, Galleri Duerr and Uppsala Municipality.

Graphic designer: Ott Metusala
Photographer: Marje Eelma

@siirijyris
@kunstimaja
@tutar.gallery
@ptalvistu
@marjeeelmaphotography taken in Tartu Kunstimaja / Tartu Art House by @galleriduerr

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a month ago

FINISSAGE & FREE CONCERT
SUNDAY, SEPT 20

Date: Sunday, September 20
Time: 12–4 pm, concert at 3 pm
Place: Galleri Duerr, Hudiksvallsgatan 6, fl 2

We warmly invite you to join us on Sunday, September 20, for the finissage of "Kom & Gå", Mattias Åkeson’s current exhibition at Galleri Duerr.

The gallery will be open from 12–4 pm, with a live concert at 3 pm featuring acclaimed musicians Sara Hammarström (flute), Kim Hellgren (viola), and Lisa Viguier Vallgårda (harp), in dialogue with the exhibition and in the presence of the artist.

The concert will be the last concert at our current space on Hudiksvallsgatan 6. After many memorable exhibitions, concerts, and encounters here, we are now preparing to move the gallery to our new home at Gävlegatan 10B.

We hope you can join us for this special occasion as we say goodbye to Hudiksvallsgatan 6 and look ahead to what comes next.

Please RSVP to info@galleriduerr.se — it would be lovely to know if you can join us. Drop-ins are, of course, always welcome.

........................

PROGRAMME
Trio Perenne presents a programme spanning three works: Matthew Whittall’s "The City in the Sea", Johannes Jansson’s "Studie", and Claude Debussy’s "Sonate pour flûte, alto et harpe".

Whittall’s piece draws on Edgar Allan Poe’s dark, haunting poem about a city beneath the sea. Jansson’s ”Studie” was written specifically for the three musicians and brought them together as Trio Perenne. Debussy’s 1915 sonata, composed during the First World War, is known for its distinctive instrumentation and more stripped-down, fragmented musical language.

@mika_takehara_musician
#musicandart
@atriumljungberg taken in Galleri Duerr by @galleriduerr

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a month ago

MATTIAS ÅKESON
KOM & GÅ
until 20 September, 2026

1-4
Sändare / Mottagare series , 2026
Digital pigment print, Diasec® with matt acrylic glass.
105 x 85 cm

The series "Sändare / Mottagare" (Sender / Receiver) consists of photographs of details and objects drawn from office and administrative work. I think of them as a kind of close-up study, in which the objects also relate to the context of the film.

Screens, projectors, cables, connectors, and ventilation ducts become motifs that, in different ways, evoke the conceptual pair of sender and receiver.

The images also contain references to artists and visual languages that have influenced my work. One recurring reference is the Spanish Baroque painter Juan Sánchez Cotán and his still-life paintings. I am particularly interested in the way he arranges and depicts everyday objects, giving them a strong presence and significance within the image.

@mattias.akeson
#mattiashagberg
@atriumljungberg
#stockholmgallerydistrict taken in Galleri Duerr by @galleriduerr

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a month ago

MATTIAS ÅKESON
KOM & GÅ
until 20 September, 2026

1-3
Skyddsrond #1 + #2, 2026
Wood laminate, textile, polyester

These sculptures are made from furniture being discarded from a government workplace. When the department responsible for reusing and redistributing the furniture declined to take it, the objects were left in a kind of limbo. This became the starting point for the sculptures, which explore ideas of care and neglect, while asking what it means to take responsibility for something no longer considered useful. Rather than presenting the furniture simply as discarded, the sculptures approach it as something that might still call for attention, care, or protection.

This question is also present in the cushions placed against and around the furniture. Their softness and familiarity give the objects a more bodily presence, almost as though they were being cared for. Together, the two materials create a sense of personification: the furniture appears vulnerable, exposed, and in need of attention. The cushions introduce a tension between abandonment and care, between objects deemed no longer useful and the possibility of continuing to value them.

This tension also connects the sculptures to the film "Kom & Gå". The film brings together people whose conversations unfold around work, responsibility, and our relationships to one another, while the sculptures approach similar questions through the relationship between objects. They extend the concerns of the film into a different register: what happens when responsibility is no longer about how we care for one another, but about how we respond to the things—and perhaps the people—that have been left behind?

@mattias.akeson
#mattiashagberg
@atriumljungberg taken in Galleri Duerr by @galleriduerr

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a month ago

MATTIAS ÅKESON
KOM & GÅ
until September 20, 2026

1-3.
"Kom & Gå", 2026
Video, 9-minute loop, HD, single-channel. In collaboration with Mattias Hagberg.

"Kom & Gå" (Come & Go) is the name of a digital time clock, one function within a range of workplace programs used by many municipal departments. It was something I encountered every working day when I was employed by a municipality. I clocked in and out, walked to the photocopier, sat in meetings, and moved through the same rooms and corridors. The name "Come & Go" stayed with me and began to evoke associations far beyond the time clock itself.

I started thinking about the ritualistic nature of work and everyday life—all the small movements, routines, and recurring actions that shape a working day. Events that repeat almost imperceptibly, while giving life a sense of circularity. I could walk around the workplace with these thoughts in the back of my mind, almost daydreaming.

Over time, the title took on a more existential meaning. "Come and go". To arrive somewhere and leave again. To return, repeat, and disappear. At the same time, my father was growing older and increasingly ill, and recently passed away. I am now roughly the age he was when he was forced into early retirement. The two worlds began to merge.

In my daydreams, I imagined a group of older people moving through the workplace, a little more slowly than everyone else. They would rest on the stairs, look at us through the glass of a meeting room, and move between the offices without any particular purpose—as if stuck in a loop, still caught in the rhythm of the workplace even though their time there had come to an end.

The workplace became a place where different times and stages of life could exist simultaneously. The simple act of the time clock registering when you come and go became an image of something larger—of work, ageing, loss, and the strange feeling of being caught in a movement that endlessly repeats itself.

@mattias.akeson
@jeanbaptisteberanger
#stockholmgallerydistrict
@atriumljungberg taken in Galleri Duerr by @galleriduerr

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a month ago

KONSTNÄRSSAMTAL
"Den som inte arbetar ska inte äta"

Mattias Åkeson och Mattias Hagberg möter Roland Paulsen och Christian Rück.

I Nya testamentet slår aposteln Paulus fast att den som inte arbetar inte heller skall få mat på bordet. Hans ord har blivit synonyma med den västerländska arbetsmoralen. Med en syn på arbete som plikt. Men måste det vara så?

Ja, vad är egentligen arbetets mening?

Möt konstnären Mattias Åkeson, författaren Mattias Hagberg, psykiatrikern Christian Rück och sociologen Roland Paulsen i ett samtal om arbetsmoralen och existensen.

Samtalet tar avstamp i Mattias Åkesons och Mattias Hagbergs bok ”Kom & Gå”, och är en del av Mattias Åkesons utställning med samma titel på galleriet.

NÄR: Lördag 5 september kl 14
VAR: Galleri Duerr,
Hudiksvallsgatan 6 , pl 2.

Utställningen pågår till den 19 september

Roland Paulsen är aktuell med boken Avbegåvad och Christian Rück med boken Generation Trauma. Båda på Albert Bonniers förlag.

@mattias.akeson
#mattiashagberg
#rolandpaulsen
#christianruck
#stockholmgallerydistrict

Foto:
Mattias Åkeson: Mattias Åkeson
Mattias Hagberg: Carina Gran
Christian Rück: Märta Thisner
Roland Paulsen: Thron Ullberg taken in Galleri Duerr by @galleriduerr

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a month ago

ENTER ART FAIR
IAN BERRY
28-30 AUGUST 2026

Thank you, Copenhagen and ENTER Art Fair 2026!

We’re back in Stockholm after a few very busy and inspiring days in Copenhagen.

A heartfelt thank you to everyone who stopped by our booth — collectors, curators, colleagues, friends and art lovers. We had so many good conversations, met so many new people and made connections that we hope will continue long after the fair.

A special thank you to Ian Berry for creating the presentation for ENTER Art Fair. Taking the garden as its starting point, the exhibition built on the visual language of his installation “Secret Garden”.

One of the things we enjoyed most was watching people discover the work. From a distance, the scale, colour and imagery drew you into the booth. Then, looking closer, came the surprise — realising that the works were made entirely from reclaimed denim.

It was only when you got close that the craftsmanship really revealed itself: the intricate cutting, layering and incredible detail in each piece. We loved seeing visitors take their time with the works and discover something new the longer they looked.

We were also very happy to see Ian’s presentation included by FLO London in their “10 artists to discover at ENTER Art Fair 2026”.

Thank you again to everyone who came by, stopped for a conversation, or simply took a moment to look. We’re returning from Copenhagen with many new meetings, ideas and connections — and feeling very grateful for the experience.

Installation views by Debbie Bragg.

@ianberry.art
@enterartfair
@debbiebrag
@flolondon_
@julie.dorthea.leopold

#enterartfair #copenhagen #ianberry #denimart #secretgarden taken in Enter Art Fair by @galleriduerr

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2 months ago