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CONCERT!

Eva Linda, violin
Mikael Augustsson, bandoneon
Jon Fält, drums/percussion

We warmly invite you to an evening where music and contemporary art meet in unexpected and inspiring ways.

Date: Thursday, May 21
Time: 7 pm
Place: Galleri Duerr

Join us for this live performance by acclaimed musicians Eva Lindal (violin), Mikael Augustsson (bandoneon), and Jon Fält (drums/percussion). Together, these three singular artists create a rich and immersive sonic landscape that moves between improvisation, contemporary music, tango, jazz, and experimental sound worlds.

The concert takes place in dialogue with the exhibition "Errare humanum est. Painting at the Time of Artificial Intelligence", featuring works by five Estonian artists.

Through this encounter between sound and image, the evening invites audiences into a space of reflection, intuition, and artistic exploration at the intersection of humanity, technology, and creativity.


EVA LINDAL — violinist exploring improvisation, contemporary music & Baroque traditions through international collaborations and experimental projects.

MIKAEL AUGUSTSSON — bandoneonist/composer blending Argentine tango with influences from Stravinsky, Debussy & Morricone into deeply personal soundscapes.

JON FÄLT — one of Sweden’s leading drummers, known for his inventive, dynamic approach to modern jazz and percussion.

This concert is curated by Mika Takehara.

Galleri Open Hours Today:
11:00–20:00

Come early to explore the exhibition and stay after to meet the musicians.

Photos:
Eva Lindal ©Lars Jönsson
Mikael Augustsson ©José Figueroa
Jon Fält ©Jon Fält

Now open! Errare humanum est. Painting In The Time of Artificial Intelligence @galleriduerr till 27 June.

Thank you:
@stellamottus , the curator for leading the whole thing
@siirijyris , the artist for putting us together with the wonderful gallerist Deborah from @galleriduerr
@kipat for a thoughtful install
@galleriduerr for being a such a warm host
@gerdahnsn , @siirijyris , @carlkagge , #vanoallsalu for being great colleagues throughout the past few years

Big ❤️‍🔥

Now open! Errare humanum est. Painting In The Time of Artificial Intelligence @galleriduerr till 27 June.

Thank you:
@stellamottus , the curator for leading the whole thing
@siirijyris , the artist for putting us together with the wonderful gallerist Deborah from @galleriduerr
@kipat for a thoughtful install
@galleriduerr for being a such a warm host
@gerdahnsn , @siirijyris , @carlkagge , #vanoallsalu for being great colleagues throughout the past few years

Big ❤️‍🔥

Now open! Errare humanum est. Painting In The Time of Artificial Intelligence @galleriduerr till 27 June.

Thank you:
@stellamottus , the curator for leading the whole thing
@siirijyris , the artist for putting us together with the wonderful gallerist Deborah from @galleriduerr
@kipat for a thoughtful install
@galleriduerr for being a such a warm host
@gerdahnsn , @siirijyris , @carlkagge , #vanoallsalu for being great colleagues throughout the past few years

Big ❤️‍🔥

Now open! Errare humanum est. Painting In The Time of Artificial Intelligence @galleriduerr till 27 June.

Thank you:
@stellamottus , the curator for leading the whole thing
@siirijyris , the artist for putting us together with the wonderful gallerist Deborah from @galleriduerr
@kipat for a thoughtful install
@galleriduerr for being a such a warm host
@gerdahnsn , @siirijyris , @carlkagge , #vanoallsalu for being great colleagues throughout the past few years

Big ❤️‍🔥

Now open! Errare humanum est. Painting In The Time of Artificial Intelligence @galleriduerr till 27 June.

Thank you:
@stellamottus , the curator for leading the whole thing
@siirijyris , the artist for putting us together with the wonderful gallerist Deborah from @galleriduerr
@kipat for a thoughtful install
@galleriduerr for being a such a warm host
@gerdahnsn , @siirijyris , @carlkagge , #vanoallsalu for being great colleagues throughout the past few years

Big ❤️‍🔥

Now open! Errare humanum est. Painting In The Time of Artificial Intelligence @galleriduerr till 27 June.

Thank you:
@stellamottus , the curator for leading the whole thing
@siirijyris , the artist for putting us together with the wonderful gallerist Deborah from @galleriduerr
@kipat for a thoughtful install
@galleriduerr for being a such a warm host
@gerdahnsn , @siirijyris , @carlkagge , #vanoallsalu for being great colleagues throughout the past few years

Big ❤️‍🔥

Now open! Errare humanum est. Painting In The Time of Artificial Intelligence @galleriduerr till 27 June.

Thank you:
@stellamottus , the curator for leading the whole thing
@siirijyris , the artist for putting us together with the wonderful gallerist Deborah from @galleriduerr
@kipat for a thoughtful install
@galleriduerr for being a such a warm host
@gerdahnsn , @siirijyris , @carlkagge , #vanoallsalu for being great colleagues throughout the past few years

Big ❤️‍🔥

Now open! Errare humanum est. Painting In The Time of Artificial Intelligence @galleriduerr till 27 June.

Thank you:
@stellamottus , the curator for leading the whole thing
@siirijyris , the artist for putting us together with the wonderful gallerist Deborah from @galleriduerr
@kipat for a thoughtful install
@galleriduerr for being a such a warm host
@gerdahnsn , @siirijyris , @carlkagge , #vanoallsalu for being great colleagues throughout the past few years

Big ❤️‍🔥

Opening today!

)
Acrylic an oil on canvas
130*160cm
2026

“)” represents the smiling mouth in the series, where Vainre continued a so-called synthetic visual created with the aid of an image generator by hand, and vice versa — making arbitrary, rough physical gestures with paint, which were then further developed with the image generator and subsequently applied to the canvas by hand. It is like a conversation, a collaboration, where one takes over the thread or the unfinished work from the other, and from the resulting entanglement it becomes impossible to tell where the human ends and the artificial begins.

Errare humanum est. Painting In The Time Of Artificial Intelligence opening today @galleriduerr , at 12:00—16:00. Welcome!

Photos by @albert.kerstna

Opening today!

)
Acrylic an oil on canvas
130*160cm
2026

“)” represents the smiling mouth in the series, where Vainre continued a so-called synthetic visual created with the aid of an image generator by hand, and vice versa — making arbitrary, rough physical gestures with paint, which were then further developed with the image generator and subsequently applied to the canvas by hand. It is like a conversation, a collaboration, where one takes over the thread or the unfinished work from the other, and from the resulting entanglement it becomes impossible to tell where the human ends and the artificial begins.

Errare humanum est. Painting In The Time Of Artificial Intelligence opening today @galleriduerr , at 12:00—16:00. Welcome!

Photos by @albert.kerstna

Opening today!

)
Acrylic an oil on canvas
130*160cm
2026

“)” represents the smiling mouth in the series, where Vainre continued a so-called synthetic visual created with the aid of an image generator by hand, and vice versa — making arbitrary, rough physical gestures with paint, which were then further developed with the image generator and subsequently applied to the canvas by hand. It is like a conversation, a collaboration, where one takes over the thread or the unfinished work from the other, and from the resulting entanglement it becomes impossible to tell where the human ends and the artificial begins.

Errare humanum est. Painting In The Time Of Artificial Intelligence opening today @galleriduerr , at 12:00—16:00. Welcome!

Photos by @albert.kerstna

Opening today!

)
Acrylic an oil on canvas
130*160cm
2026

“)” represents the smiling mouth in the series, where Vainre continued a so-called synthetic visual created with the aid of an image generator by hand, and vice versa — making arbitrary, rough physical gestures with paint, which were then further developed with the image generator and subsequently applied to the canvas by hand. It is like a conversation, a collaboration, where one takes over the thread or the unfinished work from the other, and from the resulting entanglement it becomes impossible to tell where the human ends and the artificial begins.

Errare humanum est. Painting In The Time Of Artificial Intelligence opening today @galleriduerr , at 12:00—16:00. Welcome!

Photos by @albert.kerstna

Opening today!

)
Acrylic an oil on canvas
130*160cm
2026

“)” represents the smiling mouth in the series, where Vainre continued a so-called synthetic visual created with the aid of an image generator by hand, and vice versa — making arbitrary, rough physical gestures with paint, which were then further developed with the image generator and subsequently applied to the canvas by hand. It is like a conversation, a collaboration, where one takes over the thread or the unfinished work from the other, and from the resulting entanglement it becomes impossible to tell where the human ends and the artificial begins.

Errare humanum est. Painting In The Time Of Artificial Intelligence opening today @galleriduerr , at 12:00—16:00. Welcome!

Photos by @albert.kerstna

We are thrilled to welcome Estonian artists Vano Allsalu, Gerda Hansen, Carl-Robert Kagge & Mart Vainre, curated by Stella Mõttus. Uppsala-based artist Siiri Jüris joins the group for their debut exhibition in Stockholm.

200 years ago, when photography was born, people felt exactly the same kind of skepticism and unease that surrounds the rise of artificial intelligence today. The new technology promised something unprecedented—an image without the hand, a picture without the brush. Yet what once appeared to the public as a marvel and to artists as a threat to their livelihood gradually became a natural part of our world. And yet, this time feels different.

It is hard to imagine an artist whose work has not been shaped in some way by photography, as much of what we see every day reaches us through the camera lens. As then, there are those who approach these changes with caution, but also those driven by curiosity, and those who see artificial intelligence as a tool that might open up new possibilities. It is this last perspective that the five Estonian artists in this exhibition explore: Vano Allsalu, Gerda Hansen, Siiri Jüris, Carl-Robert Kagge, and Mart Vainre.

Imperfection is often a conscious part of painting – errare humanum est. A mistake is not just a deviation, but part of the human hand and of making itself, something that comes with thinking and doing. A machine, on the other hand, does not make mistakes in the same way, because it has no understanding of how an error can be both natural and meaningful.

Image 1:
Mart Vainre
";)", 2026
Acrylic and oil on canvas
255 x 160 cm

Image 2:
Gerda Hansen
"Flock of Birds", 2026
Acrylic and oil on canvas
120 x 150 cm

Image 3:
Siiri Jüris
"Before the Dark", 2026
160 x 120 cm

Image 4:
Carl-Robert Kagge
"Mesh Symbols 2", 2026
Acrylic, spray paint and screenprint on canvas
30 x 40 cm

Image 5:
Vano Allsalu
"Pro et contra III", 2026
Acrylic on canvas
100 x 80 cm

We are thrilled to welcome Estonian artists Vano Allsalu, Gerda Hansen, Carl-Robert Kagge & Mart Vainre, curated by Stella Mõttus. Uppsala-based artist Siiri Jüris joins the group for their debut exhibition in Stockholm.

200 years ago, when photography was born, people felt exactly the same kind of skepticism and unease that surrounds the rise of artificial intelligence today. The new technology promised something unprecedented—an image without the hand, a picture without the brush. Yet what once appeared to the public as a marvel and to artists as a threat to their livelihood gradually became a natural part of our world. And yet, this time feels different.

It is hard to imagine an artist whose work has not been shaped in some way by photography, as much of what we see every day reaches us through the camera lens. As then, there are those who approach these changes with caution, but also those driven by curiosity, and those who see artificial intelligence as a tool that might open up new possibilities. It is this last perspective that the five Estonian artists in this exhibition explore: Vano Allsalu, Gerda Hansen, Siiri Jüris, Carl-Robert Kagge, and Mart Vainre.

Imperfection is often a conscious part of painting – errare humanum est. A mistake is not just a deviation, but part of the human hand and of making itself, something that comes with thinking and doing. A machine, on the other hand, does not make mistakes in the same way, because it has no understanding of how an error can be both natural and meaningful.

Image 1:
Mart Vainre
";)", 2026
Acrylic and oil on canvas
255 x 160 cm

Image 2:
Gerda Hansen
"Flock of Birds", 2026
Acrylic and oil on canvas
120 x 150 cm

Image 3:
Siiri Jüris
"Before the Dark", 2026
160 x 120 cm

Image 4:
Carl-Robert Kagge
"Mesh Symbols 2", 2026
Acrylic, spray paint and screenprint on canvas
30 x 40 cm

Image 5:
Vano Allsalu
"Pro et contra III", 2026
Acrylic on canvas
100 x 80 cm

We are thrilled to welcome Estonian artists Vano Allsalu, Gerda Hansen, Carl-Robert Kagge & Mart Vainre, curated by Stella Mõttus. Uppsala-based artist Siiri Jüris joins the group for their debut exhibition in Stockholm.

200 years ago, when photography was born, people felt exactly the same kind of skepticism and unease that surrounds the rise of artificial intelligence today. The new technology promised something unprecedented—an image without the hand, a picture without the brush. Yet what once appeared to the public as a marvel and to artists as a threat to their livelihood gradually became a natural part of our world. And yet, this time feels different.

It is hard to imagine an artist whose work has not been shaped in some way by photography, as much of what we see every day reaches us through the camera lens. As then, there are those who approach these changes with caution, but also those driven by curiosity, and those who see artificial intelligence as a tool that might open up new possibilities. It is this last perspective that the five Estonian artists in this exhibition explore: Vano Allsalu, Gerda Hansen, Siiri Jüris, Carl-Robert Kagge, and Mart Vainre.

Imperfection is often a conscious part of painting – errare humanum est. A mistake is not just a deviation, but part of the human hand and of making itself, something that comes with thinking and doing. A machine, on the other hand, does not make mistakes in the same way, because it has no understanding of how an error can be both natural and meaningful.

Image 1:
Mart Vainre
";)", 2026
Acrylic and oil on canvas
255 x 160 cm

Image 2:
Gerda Hansen
"Flock of Birds", 2026
Acrylic and oil on canvas
120 x 150 cm

Image 3:
Siiri Jüris
"Before the Dark", 2026
160 x 120 cm

Image 4:
Carl-Robert Kagge
"Mesh Symbols 2", 2026
Acrylic, spray paint and screenprint on canvas
30 x 40 cm

Image 5:
Vano Allsalu
"Pro et contra III", 2026
Acrylic on canvas
100 x 80 cm

We are thrilled to welcome Estonian artists Vano Allsalu, Gerda Hansen, Carl-Robert Kagge & Mart Vainre, curated by Stella Mõttus. Uppsala-based artist Siiri Jüris joins the group for their debut exhibition in Stockholm.

200 years ago, when photography was born, people felt exactly the same kind of skepticism and unease that surrounds the rise of artificial intelligence today. The new technology promised something unprecedented—an image without the hand, a picture without the brush. Yet what once appeared to the public as a marvel and to artists as a threat to their livelihood gradually became a natural part of our world. And yet, this time feels different.

It is hard to imagine an artist whose work has not been shaped in some way by photography, as much of what we see every day reaches us through the camera lens. As then, there are those who approach these changes with caution, but also those driven by curiosity, and those who see artificial intelligence as a tool that might open up new possibilities. It is this last perspective that the five Estonian artists in this exhibition explore: Vano Allsalu, Gerda Hansen, Siiri Jüris, Carl-Robert Kagge, and Mart Vainre.

Imperfection is often a conscious part of painting – errare humanum est. A mistake is not just a deviation, but part of the human hand and of making itself, something that comes with thinking and doing. A machine, on the other hand, does not make mistakes in the same way, because it has no understanding of how an error can be both natural and meaningful.

Image 1:
Mart Vainre
";)", 2026
Acrylic and oil on canvas
255 x 160 cm

Image 2:
Gerda Hansen
"Flock of Birds", 2026
Acrylic and oil on canvas
120 x 150 cm

Image 3:
Siiri Jüris
"Before the Dark", 2026
160 x 120 cm

Image 4:
Carl-Robert Kagge
"Mesh Symbols 2", 2026
Acrylic, spray paint and screenprint on canvas
30 x 40 cm

Image 5:
Vano Allsalu
"Pro et contra III", 2026
Acrylic on canvas
100 x 80 cm

We are thrilled to welcome Estonian artists Vano Allsalu, Gerda Hansen, Carl-Robert Kagge & Mart Vainre, curated by Stella Mõttus. Uppsala-based artist Siiri Jüris joins the group for their debut exhibition in Stockholm.

200 years ago, when photography was born, people felt exactly the same kind of skepticism and unease that surrounds the rise of artificial intelligence today. The new technology promised something unprecedented—an image without the hand, a picture without the brush. Yet what once appeared to the public as a marvel and to artists as a threat to their livelihood gradually became a natural part of our world. And yet, this time feels different.

It is hard to imagine an artist whose work has not been shaped in some way by photography, as much of what we see every day reaches us through the camera lens. As then, there are those who approach these changes with caution, but also those driven by curiosity, and those who see artificial intelligence as a tool that might open up new possibilities. It is this last perspective that the five Estonian artists in this exhibition explore: Vano Allsalu, Gerda Hansen, Siiri Jüris, Carl-Robert Kagge, and Mart Vainre.

Imperfection is often a conscious part of painting – errare humanum est. A mistake is not just a deviation, but part of the human hand and of making itself, something that comes with thinking and doing. A machine, on the other hand, does not make mistakes in the same way, because it has no understanding of how an error can be both natural and meaningful.

Image 1:
Mart Vainre
";)", 2026
Acrylic and oil on canvas
255 x 160 cm

Image 2:
Gerda Hansen
"Flock of Birds", 2026
Acrylic and oil on canvas
120 x 150 cm

Image 3:
Siiri Jüris
"Before the Dark", 2026
160 x 120 cm

Image 4:
Carl-Robert Kagge
"Mesh Symbols 2", 2026
Acrylic, spray paint and screenprint on canvas
30 x 40 cm

Image 5:
Vano Allsalu
"Pro et contra III", 2026
Acrylic on canvas
100 x 80 cm

We are thrilled to welcome Estonian artists Vano Allsalu, Gerda Hansen, Carl-Robert Kagge & Mart Vainre, curated by Stella Mõttus. Uppsala-based artist Siiri Jüris joins the group for their debut exhibition in Stockholm.

200 years ago, when photography was born, people felt exactly the same kind of skepticism and unease that surrounds the rise of artificial intelligence today. The new technology promised something unprecedented—an image without the hand, a picture without the brush. Yet what once appeared to the public as a marvel and to artists as a threat to their livelihood gradually became a natural part of our world. And yet, this time feels different.

It is hard to imagine an artist whose work has not been shaped in some way by photography, as much of what we see every day reaches us through the camera lens. As then, there are those who approach these changes with caution, but also those driven by curiosity, and those who see artificial intelligence as a tool that might open up new possibilities. It is this last perspective that the five Estonian artists in this exhibition explore: Vano Allsalu, Gerda Hansen, Siiri Jüris, Carl-Robert Kagge, and Mart Vainre.

Imperfection is often a conscious part of painting – errare humanum est. A mistake is not just a deviation, but part of the human hand and of making itself, something that comes with thinking and doing. A machine, on the other hand, does not make mistakes in the same way, because it has no understanding of how an error can be both natural and meaningful.

Image 1:
Mart Vainre
";)", 2026
Acrylic and oil on canvas
255 x 160 cm

Image 2:
Gerda Hansen
"Flock of Birds", 2026
Acrylic and oil on canvas
120 x 150 cm

Image 3:
Siiri Jüris
"Before the Dark", 2026
160 x 120 cm

Image 4:
Carl-Robert Kagge
"Mesh Symbols 2", 2026
Acrylic, spray paint and screenprint on canvas
30 x 40 cm

Image 5:
Vano Allsalu
"Pro et contra III", 2026
Acrylic on canvas
100 x 80 cm

“,” is a part of the three painting series called “;)” that I’m showing for the first time on Saturday @galleriduerr

,
105 × 85 cm
Acrylic and oil on canvas
2026

“,” represents the left eye in the series. Here, Vainre has started from a machine-generated visual, located at the outer edge of the work. This reference visual was created using the open-source Stable Diffusion AI model's text-to-image generator, run through the ComfyUI interface, where the machine was asked to express its own computational nature — its artificial neural network. The artist then attempted to replicate this by hand with painstaking accuracy. Next, in the central part of the painting, he interpreted and reproduced this visual language through relief-like paint, but this time far more impulsively. Here, the artist is interested in the breadth of the spectrum — where the human at one moment replicates the machine's output one-to-one and then interprets it freely.

Group show Errare humanum est. Painting In The Time Of Artificial Intelligence. Open till 27 June, 2026 @galleriduerr

Photos by @albert.kerstna

“,” is a part of the three painting series called “;)” that I’m showing for the first time on Saturday @galleriduerr

,
105 × 85 cm
Acrylic and oil on canvas
2026

“,” represents the left eye in the series. Here, Vainre has started from a machine-generated visual, located at the outer edge of the work. This reference visual was created using the open-source Stable Diffusion AI model's text-to-image generator, run through the ComfyUI interface, where the machine was asked to express its own computational nature — its artificial neural network. The artist then attempted to replicate this by hand with painstaking accuracy. Next, in the central part of the painting, he interpreted and reproduced this visual language through relief-like paint, but this time far more impulsively. Here, the artist is interested in the breadth of the spectrum — where the human at one moment replicates the machine's output one-to-one and then interprets it freely.

Group show Errare humanum est. Painting In The Time Of Artificial Intelligence. Open till 27 June, 2026 @galleriduerr

Photos by @albert.kerstna

“,” is a part of the three painting series called “;)” that I’m showing for the first time on Saturday @galleriduerr

,
105 × 85 cm
Acrylic and oil on canvas
2026

“,” represents the left eye in the series. Here, Vainre has started from a machine-generated visual, located at the outer edge of the work. This reference visual was created using the open-source Stable Diffusion AI model's text-to-image generator, run through the ComfyUI interface, where the machine was asked to express its own computational nature — its artificial neural network. The artist then attempted to replicate this by hand with painstaking accuracy. Next, in the central part of the painting, he interpreted and reproduced this visual language through relief-like paint, but this time far more impulsively. Here, the artist is interested in the breadth of the spectrum — where the human at one moment replicates the machine's output one-to-one and then interprets it freely.

Group show Errare humanum est. Painting In The Time Of Artificial Intelligence. Open till 27 June, 2026 @galleriduerr

Photos by @albert.kerstna

“,” is a part of the three painting series called “;)” that I’m showing for the first time on Saturday @galleriduerr

,
105 × 85 cm
Acrylic and oil on canvas
2026

“,” represents the left eye in the series. Here, Vainre has started from a machine-generated visual, located at the outer edge of the work. This reference visual was created using the open-source Stable Diffusion AI model's text-to-image generator, run through the ComfyUI interface, where the machine was asked to express its own computational nature — its artificial neural network. The artist then attempted to replicate this by hand with painstaking accuracy. Next, in the central part of the painting, he interpreted and reproduced this visual language through relief-like paint, but this time far more impulsively. Here, the artist is interested in the breadth of the spectrum — where the human at one moment replicates the machine's output one-to-one and then interprets it freely.

Group show Errare humanum est. Painting In The Time Of Artificial Intelligence. Open till 27 June, 2026 @galleriduerr

Photos by @albert.kerstna

Hör Paula Tove Alderin berätta om sin utställning Shed/Horizons of Rawness på Galleri Duerr som pågår till och med lördag 9 maj.

Kolla in verk av Alderin och fler av Galleri Duerrs konstnärer på Konstnärsdatabasen.

In Focus.
Paula Tove Alderin
SHED / Horizons of Rawness
26.03–09.05.2026

Paula Tove Alderin’s works bear traces of a world that trembles. They carry her own existential and physical experiences; they incorporate materials whose threads reach back into history and link forward to the future. In the absence of colour and definable form, one senses something dawning, a possible “something,” which simultaneously seems to be taking shape and fading away before one’s eyes.

The exhibition "Shed – Horizons of Rawness" transports the viewer to a place or a state where the familiar ceases and something else takes over. Through her multidisciplinary practice, Alderin explores the horizon of rawness, filtered through philosophy, politics, and beliefs, and allows the formless to take shape through the personal and cultural meanings of the body and the material. In the exhibition, which is the artist’s first at the gallery, she weaves together existential experiences with contemporary global upheavals and treats rawness as an unstable interval—a state of both becoming and dissolution—where matter, form, and meaning both emerge and dissolve.

There is a fragility in Alderins’ work, a beauty in the dual presence of creation and destruction, of the dawning and the fleeting. At the same time, the works possess a palpable intensity, where rawness, gesture, and materiality strike through their powerful presence. The tremors and instabilities of both the outside world and the body are evident in forms that appear as sinkholes, in titles such as Inferno and Oblivion, and in the black charcoal that resembles the dust left behind when large buildings collapse.

In Focus.
Paula Tove Alderin
SHED / Horizons of Rawness
26.03–09.05.2026

Paula Tove Alderin’s works bear traces of a world that trembles. They carry her own existential and physical experiences; they incorporate materials whose threads reach back into history and link forward to the future. In the absence of colour and definable form, one senses something dawning, a possible “something,” which simultaneously seems to be taking shape and fading away before one’s eyes.

The exhibition "Shed – Horizons of Rawness" transports the viewer to a place or a state where the familiar ceases and something else takes over. Through her multidisciplinary practice, Alderin explores the horizon of rawness, filtered through philosophy, politics, and beliefs, and allows the formless to take shape through the personal and cultural meanings of the body and the material. In the exhibition, which is the artist’s first at the gallery, she weaves together existential experiences with contemporary global upheavals and treats rawness as an unstable interval—a state of both becoming and dissolution—where matter, form, and meaning both emerge and dissolve.

There is a fragility in Alderins’ work, a beauty in the dual presence of creation and destruction, of the dawning and the fleeting. At the same time, the works possess a palpable intensity, where rawness, gesture, and materiality strike through their powerful presence. The tremors and instabilities of both the outside world and the body are evident in forms that appear as sinkholes, in titles such as Inferno and Oblivion, and in the black charcoal that resembles the dust left behind when large buildings collapse.

In Focus.
Paula Tove Alderin
SHED / Horizons of Rawness
26.03–09.05.2026

Paula Tove Alderin’s works bear traces of a world that trembles. They carry her own existential and physical experiences; they incorporate materials whose threads reach back into history and link forward to the future. In the absence of colour and definable form, one senses something dawning, a possible “something,” which simultaneously seems to be taking shape and fading away before one’s eyes.

The exhibition "Shed – Horizons of Rawness" transports the viewer to a place or a state where the familiar ceases and something else takes over. Through her multidisciplinary practice, Alderin explores the horizon of rawness, filtered through philosophy, politics, and beliefs, and allows the formless to take shape through the personal and cultural meanings of the body and the material. In the exhibition, which is the artist’s first at the gallery, she weaves together existential experiences with contemporary global upheavals and treats rawness as an unstable interval—a state of both becoming and dissolution—where matter, form, and meaning both emerge and dissolve.

There is a fragility in Alderins’ work, a beauty in the dual presence of creation and destruction, of the dawning and the fleeting. At the same time, the works possess a palpable intensity, where rawness, gesture, and materiality strike through their powerful presence. The tremors and instabilities of both the outside world and the body are evident in forms that appear as sinkholes, in titles such as Inferno and Oblivion, and in the black charcoal that resembles the dust left behind when large buildings collapse.

In Focus.
Paula Tove Alderin
SHED / Horizons of Rawness
26.03–09.05.2026

Paula Tove Alderin’s works bear traces of a world that trembles. They carry her own existential and physical experiences; they incorporate materials whose threads reach back into history and link forward to the future. In the absence of colour and definable form, one senses something dawning, a possible “something,” which simultaneously seems to be taking shape and fading away before one’s eyes.

The exhibition "Shed – Horizons of Rawness" transports the viewer to a place or a state where the familiar ceases and something else takes over. Through her multidisciplinary practice, Alderin explores the horizon of rawness, filtered through philosophy, politics, and beliefs, and allows the formless to take shape through the personal and cultural meanings of the body and the material. In the exhibition, which is the artist’s first at the gallery, she weaves together existential experiences with contemporary global upheavals and treats rawness as an unstable interval—a state of both becoming and dissolution—where matter, form, and meaning both emerge and dissolve.

There is a fragility in Alderins’ work, a beauty in the dual presence of creation and destruction, of the dawning and the fleeting. At the same time, the works possess a palpable intensity, where rawness, gesture, and materiality strike through their powerful presence. The tremors and instabilities of both the outside world and the body are evident in forms that appear as sinkholes, in titles such as Inferno and Oblivion, and in the black charcoal that resembles the dust left behind when large buildings collapse.

Välkomna på ett panelsamtal om offentlig konst med Henrik Orrje (avdelningschef Statens konstråd), Yuvinka Medina (konstnärlig ledare Gävle konstcentrum) och Karolina Modig (kulturjournalist och redaktör). Samtalet modereras av Ashik Zaman (konstnärlig ledare Konstnärshuset) och arrangeras av Konstnärsdatabasen.

Samtalet tar sin utgångspunkt i frågor om digitalisering och deltagande: Hur hjälper eller stjälper digitaliseringen den offentliga konsten? Hur förvaltar vi det vi äger tillsammans?

Var? Galleri Duerr, Hudiksvallsgatan 6, Stockholm
När? 5 maj kl. 18:30
Språk? Svenska

Ingen föranmälan krävs men antalet sittplatser är begränsade.

Välkomna på ett panelsamtal om offentlig konst med Henrik Orrje (avdelningschef Statens konstråd), Yuvinka Medina (konstnärlig ledare Gävle konstcentrum) och Karolina Modig (kulturjournalist och redaktör). Samtalet modereras av Ashik Zaman (konstnärlig ledare Konstnärshuset) och arrangeras av Konstnärsdatabasen.

Samtalet tar sin utgångspunkt i frågor om digitalisering och deltagande: Hur hjälper eller stjälper digitaliseringen den offentliga konsten? Hur förvaltar vi det vi äger tillsammans?

Var? Galleri Duerr, Hudiksvallsgatan 6, Stockholm
När? 5 maj kl. 18:30
Språk? Svenska

Ingen föranmälan krävs men antalet sittplatser är begränsade.

Välkomna på ett panelsamtal om offentlig konst med Henrik Orrje (avdelningschef Statens konstråd), Yuvinka Medina (konstnärlig ledare Gävle konstcentrum) och Karolina Modig (kulturjournalist och redaktör). Samtalet modereras av Ashik Zaman (konstnärlig ledare Konstnärshuset) och arrangeras av Konstnärsdatabasen.

Samtalet tar sin utgångspunkt i frågor om digitalisering och deltagande: Hur hjälper eller stjälper digitaliseringen den offentliga konsten? Hur förvaltar vi det vi äger tillsammans?

Var? Galleri Duerr, Hudiksvallsgatan 6, Stockholm
När? 5 maj kl. 18:30
Språk? Svenska

Ingen föranmälan krävs men antalet sittplatser är begränsade.

Välkomna på ett panelsamtal om offentlig konst med Henrik Orrje (avdelningschef Statens konstråd), Yuvinka Medina (konstnärlig ledare Gävle konstcentrum) och Karolina Modig (kulturjournalist och redaktör). Samtalet modereras av Ashik Zaman (konstnärlig ledare Konstnärshuset) och arrangeras av Konstnärsdatabasen.

Samtalet tar sin utgångspunkt i frågor om digitalisering och deltagande: Hur hjälper eller stjälper digitaliseringen den offentliga konsten? Hur förvaltar vi det vi äger tillsammans?

Var? Galleri Duerr, Hudiksvallsgatan 6, Stockholm
När? 5 maj kl. 18:30
Språk? Svenska

Ingen föranmälan krävs men antalet sittplatser är begränsade.

Välkomna på ett panelsamtal om offentlig konst med Henrik Orrje (avdelningschef Statens konstråd), Yuvinka Medina (konstnärlig ledare Gävle konstcentrum) och Karolina Modig (kulturjournalist och redaktör). Samtalet modereras av Ashik Zaman (konstnärlig ledare Konstnärshuset) och arrangeras av Konstnärsdatabasen.

Samtalet tar sin utgångspunkt i frågor om digitalisering och deltagande: Hur hjälper eller stjälper digitaliseringen den offentliga konsten? Hur förvaltar vi det vi äger tillsammans?

Var? Galleri Duerr, Hudiksvallsgatan 6, Stockholm
När? 5 maj kl. 18:30
Språk? Svenska

Ingen föranmälan krävs men antalet sittplatser är begränsade.

Concert tonight at 7 pm: AN EVENING OF SOUND AND SPACE

Meet the artist 🎥

Get to know Paula Tove Alderin and discover what Galleri Duerr is bringing to Stockholm Art Week.

Music & visual art merge!

In Stockholm Gallery District, @galleriduerr invites you to a concert curated by percussionist Mika Takehara, shaped in close connection with Paula Tove Alderin’s exhibition SHED / Horizons of Rawness. Together, they create a shifting landscape where music and visual art intersect. Alderin will be present to introduce her work.

In the exhibition, Alderin draws on experiences of the body, rawness, and beauty, as she explores fleeting states of transition in both space and thought.

Saturday, April 25
7 PM - 9 PM
Galleri Duerr

(1) Paula Tove Alderin Installation. Photo: Jean Baptiste Béranger
(2) Paula Tove Alderin Installation. Photo: Jean Baptiste Béranger
(3) Paula Tove Alderin Installation. Photo: Jean Baptiste Béranger

Music & visual art merge!

In Stockholm Gallery District, @galleriduerr invites you to a concert curated by percussionist Mika Takehara, shaped in close connection with Paula Tove Alderin’s exhibition SHED / Horizons of Rawness. Together, they create a shifting landscape where music and visual art intersect. Alderin will be present to introduce her work.

In the exhibition, Alderin draws on experiences of the body, rawness, and beauty, as she explores fleeting states of transition in both space and thought.

Saturday, April 25
7 PM - 9 PM
Galleri Duerr

(1) Paula Tove Alderin Installation. Photo: Jean Baptiste Béranger
(2) Paula Tove Alderin Installation. Photo: Jean Baptiste Béranger
(3) Paula Tove Alderin Installation. Photo: Jean Baptiste Béranger

Music & visual art merge!

In Stockholm Gallery District, @galleriduerr invites you to a concert curated by percussionist Mika Takehara, shaped in close connection with Paula Tove Alderin’s exhibition SHED / Horizons of Rawness. Together, they create a shifting landscape where music and visual art intersect. Alderin will be present to introduce her work.

In the exhibition, Alderin draws on experiences of the body, rawness, and beauty, as she explores fleeting states of transition in both space and thought.

Saturday, April 25
7 PM - 9 PM
Galleri Duerr

(1) Paula Tove Alderin Installation. Photo: Jean Baptiste Béranger
(2) Paula Tove Alderin Installation. Photo: Jean Baptiste Béranger
(3) Paula Tove Alderin Installation. Photo: Jean Baptiste Béranger

Earlier this year, ‘10.’ was developed as part of Stockholm Creative Edition,
bringing together Galleri Duerr, SUITE, and curator Kipat Kahumbu.

The idea was simple:
to create an environment where attention is valued above all else.

No labels.
No phones.
No distractions.

As Stefan Ortmark noted in his review, the exhibition shifted focus back onto the act of looking itself.

This collaboration continues to explore how art and design can meet,
not as separate disciplines, but as part of the same spatial and cultural language.

—

Works are now available to visit and acquire at
SUITE Studio
Skeppargatan 22

Earlier this year, ‘10.’ was developed as part of Stockholm Creative Edition,
bringing together Galleri Duerr, SUITE, and curator Kipat Kahumbu.

The idea was simple:
to create an environment where attention is valued above all else.

No labels.
No phones.
No distractions.

As Stefan Ortmark noted in his review, the exhibition shifted focus back onto the act of looking itself.

This collaboration continues to explore how art and design can meet,
not as separate disciplines, but as part of the same spatial and cultural language.

—

Works are now available to visit and acquire at
SUITE Studio
Skeppargatan 22

Earlier this year, ‘10.’ was developed as part of Stockholm Creative Edition,
bringing together Galleri Duerr, SUITE, and curator Kipat Kahumbu.

The idea was simple:
to create an environment where attention is valued above all else.

No labels.
No phones.
No distractions.

As Stefan Ortmark noted in his review, the exhibition shifted focus back onto the act of looking itself.

This collaboration continues to explore how art and design can meet,
not as separate disciplines, but as part of the same spatial and cultural language.

—

Works are now available to visit and acquire at
SUITE Studio
Skeppargatan 22

Earlier this year, ‘10.’ was developed as part of Stockholm Creative Edition,
bringing together Galleri Duerr, SUITE, and curator Kipat Kahumbu.

The idea was simple:
to create an environment where attention is valued above all else.

No labels.
No phones.
No distractions.

As Stefan Ortmark noted in his review, the exhibition shifted focus back onto the act of looking itself.

This collaboration continues to explore how art and design can meet,
not as separate disciplines, but as part of the same spatial and cultural language.

—

Works are now available to visit and acquire at
SUITE Studio
Skeppargatan 22

Earlier this year, ‘10.’ was developed as part of Stockholm Creative Edition,
bringing together Galleri Duerr, SUITE, and curator Kipat Kahumbu.

The idea was simple:
to create an environment where attention is valued above all else.

No labels.
No phones.
No distractions.

As Stefan Ortmark noted in his review, the exhibition shifted focus back onto the act of looking itself.

This collaboration continues to explore how art and design can meet,
not as separate disciplines, but as part of the same spatial and cultural language.

—

Works are now available to visit and acquire at
SUITE Studio
Skeppargatan 22

Earlier this year, ‘10.’ was developed as part of Stockholm Creative Edition,
bringing together Galleri Duerr, SUITE, and curator Kipat Kahumbu.

The idea was simple:
to create an environment where attention is valued above all else.

No labels.
No phones.
No distractions.

As Stefan Ortmark noted in his review, the exhibition shifted focus back onto the act of looking itself.

This collaboration continues to explore how art and design can meet,
not as separate disciplines, but as part of the same spatial and cultural language.

—

Works are now available to visit and acquire at
SUITE Studio
Skeppargatan 22