CECILIA HILLSTRÖM GALLERY

We are pleased to start the autumn season 2026 with our first solo exhibition by painter Anna Camner. Having launched our representation of Camner in 2025, her works have since been featured at Art Brussels and Art Monte-Carlo in spring 2026. Anna Camner creates paintings that hover between the tangible and the intangible, blending precise realism with an enigmatic sense of mystery. Working in oil on acrylic panels, she

We are pleased to present Fredrik Söderberg's fifth solo exhibition at the gallery, The Alchemical Wedding, featuring a new series of watercolour and oil paintings. Continuing his long-standing interest in symbols and

Motivation for the scholarship : The artist Olle Norås approaches organic materials and forms through an exploratory artistic process. Through painting, sculpture, and experiments with texture and surface, he creates works that reflect on humanity’s relationship with nature and the slow processes that shape our surrounding world. Themes of time, memory, and transformation recur in his map-like images, where scale and meaning continuously shift, from slowly growing lichens to fragments of geological patterns or distant shimmering galaxy clusters. In this oscillation between the microscopic and the cosmic, between closeness and distance, new perceptions arise. For an artistic practice that, through methodical precision and visionary care, transforms the overlooked into visually charged experiences, Olle Norås is awarded the 2025 Scholarship from the Sten A Olsson Foundation for Research and Culture. The Sten A Olsson Foundation for Research The Stena Foundation is an important institution in the cultural life of Western Sweden, providing a unique opportunity for artists to produce new works and increase their visibility. This year, six cultural practitioners each receive 300 000 SEK to stimulate further development. Since 1996, the Foundation has awarded 179 scholarships for the continued training of talented individuals in fields such as art, music, theatre, dance, literature, scenography and circus art. Furthermore, the Foundation has awarded grants to many research and culture projects.

It is with great pleasure that we present Bigert & Bergström’s first exhibition at the gallery, Scrupulus. Opening 19 February 17:00–20:00. An artist talk with Bigert & Bergström moderated by art critic and curator Nora Arrhenius Hagdahl will take place on Tuesday 3 March at 18:00 at the gallery. No need to RSVP but limited number of seats. The talk will be in Swedish. After 40 years of collaboration, Bigert & Bergström are best known for their large-scale installations, public works, and performances. Their practice often operates at the intersection of art, science, and social issues, with a particular focus on climate, technology, and our relationship with nature. In their projects, they combine humor, seriousness, and poetic strategies to highlight new perspectives on contemporary global challenges. In the new exhibition Scrupulus, the focus is on the smallest sculpture the artist duo has ever created. “The work Scrupulus is a tiny 6 mm sculpture that you can keep in your shoe. It consists of a one-carat raw diamond that will chafe noticeably when you take it with you for a walk around the city” explain Mats Bigert and Lars Bergström. After personally engaging with the work, art critic Blake Gopnik describes Scrupulus as “... a work of art that gets us thinking about the very notion of the artistic, putting art’s discomfiting fuck-up-ed-ness on the table (and in our footwear) for our contemplation, when in the standard course of things even art often goes down far too easy ”. – excerpt from exhibition text by Blake Gopnik. The Roman philosopher Cicero was the first to use the word scrupuli as a metaphor for worry, likening it to irritating stones in one’s shoe. The word unscrupulous later came to describe people without a conscience—a central theme of the exhibition, which oscillates between the sharp light of science and the smokescreens of climate denial. “The diamond’s carbon content is the same as the amount of carbon currently found in one cubic meter of air—0.25 grams, or around 430 parts per million according to today’s measurements. And that is unique. No other upright-walking hominid has ever experienced anything like this” say Bigert & Bergström. Visitors to the exhibition can not only take a diamond home in their shoe, but also become part of collected climate data from a permafrost area in Abisko in the Northern part of Sweden. The exhibition’s largest work is a curtain of glass beads where the image of a diagram emerges in real time. The climate data consists of CO₂ measurements originating from Bigert & Bergström’s land art project Sensing the Arctic, located in Abisko. As visitors walk through the curtain of data points, they encounter a large black sphere titled Denial Machine. The sphere moves menacingly up and down in futile attempts to magnetically capture a pile of metallic weather symbols. In addition, the exhibition includes smaller sculptures and photographic works. With inventiveness and humor, Bigert & Bergström shine a light on one of humanity’s greatest challenges. In Scrupulus, we are thrown between light and darkness in a presentation that does not shy away from dramatic gestures. Mats Bigert, born in 1965, and Lars Bergström, born in 1962, have collaborated since 1986. They studied at the Royal Institute of Art in Stockholm from 1986 to 1990. The duo has carried out numerous exhibitions and public projects, both in Sweden and internationally. Recent solo projects include Broken Greenhouse – Embodied Climate Futures, Lund Botanical Garden (2025); Tipping Point, Djurgården, Stockholm (2022); Hurricane Party, Norrtälje Art Hall (2022); and CO₂ Lock-In, Stockholm School of Economics (2020). Broken Greenhouse will be presented at Bergianska Trädgården outside Stockholm in collaboration with Accelerator in autumn 2026. The acclaimed social sculpture Solar Egg (2017) has been exhibited and toured in Sweden and internationally since its first installation in Kiruna.

As our first exhibition in 2026, we are delighted to present Transmissions, Sonja Larsson’s fifth solo show at the gallery. Transmissions presents a new body of Larsson’s large-scale abstract work, continuing her long-standing exploration of rhythm and geometry in painting. A fascination with the precision offered by nature–from the tiniest microscopic building blocks of life to the unfathomable forces of space–is at the core of Larsson’s artistic practice. Her paintings unfold step by step through repeated layering, where the trace of the hand remains clearly visible. Every stroke creates more body, adding a sculptural dimension to painting. Each work in the exhibition is an encouragement to contemplation.The physical labour invested in these vast canvases is transformed into an experience of colour and rhythm. This sensation grows step by step during the process of viewing, allowing the painting to occupy both time and space. Sonja Larsson (b. 1955 in Olofström) graduated from the Royal Institute of Art in 1985. Her work has been presented in solo shows at The Royal Academy of Fine Arts, Enköpings konsthall, Sven-Harrys Konstmuseum, Västerås Konstmuseum, Galerie Aronowitsch and Aicon Contemporary, New York. Furthermore, Larsson has been engaged in several public commissions, e.g. Årstaberg train station, Stockholm, Slottsbergsskolan, Göteborg, Örebro Hospital, Hagastaden for Einar Mattson, Stockholm, Navet, Umeå, the Rinkeby Academy, Danderyd Hospital, The Royal Institute of Technology, and the Swedish Embassy in Santiago, Chile. She is represented in the collections of Moderna Museet, Public Art Agency Sweden, Stockholm konst, Lund University, Umeå University and Region Stockholm. Larsson has been a member of the Royal Academy of Fine Arts since 2010. She lives and works in Stockholm.