Klara Kristalova

Klara Kristalova is a Czech-born Swedish sculptor, painter, and graphic artist, recently selected (by the Museum of Contemporary Art Kiasma, Helsinki) to be one of the artists representing the Nordic Countries Pavilion at the 2026 61st International Art Exhibition–La Biennale di Venezia in Venice, Italy. Kristalova is part of a generation of artists who came of age in the 1980s and 1990s, when the cerebral, impersonal rigours of modernism were being questioned. Within this context, the emphatically handmade and figurative character of her work could be seen as a critique of modernism. Working alone in her studio in Norrtälje, north of Stockholm, Sweden, Kristalova has created works that have reached far beyond her isolated rural studio, garnering, deservedly, international attention and acclaim. Kristalova also paints, draws, and produces lithographic prints with themes and characters relating to her sculptures.

Born in Prague, Kristalova grew up in Sweden, where her family moved when she was very young. Kristalova initially applied for Konstfack University of Arts, Crafts and Design but was rejected, upon which she, much to her own surprise, rather found herself accepted as a student at the prestigious Royal Institute of Art in Stockholm, 1988-1993, from where she graduated with an MFA. After her graduation she firmly established herself with a number of exhibitions as well as several public commissions in Sweden before being internationally recognised, around 2007-2008, with exhibitions in Miami (Galerie Perrotin) as well as Paris (Galerie Emmanuel Perrotin) and London (Alison Jacques Gallery). To other early ventures out on the international art scene could be added her inclusion at the Frieze Art Fair in 2008 and her first U.S. museum solo exhibition at SITE Santa Fe, New Mexico, U.S.A., in 2009.

Kristalova began her studies at the Royal Institute of Art in the prints department but eventually decided to rather work in ceramics (according to Kristalova’s recollections decades later, a technique that was a bit frowned upon back then), a material/method more suitable for her work process/temperament since it requires work for an extended period of time (the piece must be fired, cooled, painted, and fired again, etc.), with time allowed for contemplation between the different moments. According, once again, to Kristalova’s recollections, painting was ‘too quick for her’, often resulting in finished canvases drying on the easel while she, herself, was still in the midst of her mental process, which had only just started to come to fruition. It’s worth pointing out in this context that several of Kristalova’s sculptures take a month or two to finish, while others take several years before the right context emerges for the piece to be completed.

Kristalova works predominantly in ceramics, which are given expressive qualities by the deliberately imperfect technique/finish employed by the artist. Her working method was eloquently described in the press release that accompanied her 2024 exhibition, Beast, at Perrotin, Paris:

Klara Kristalova, born in 1967, doesn’t let herself be pigeonholed into categories, and even takes pleasure in defying them. Far from any conventional approach, she allows unexpectedness and singularity to emerge from the abolition of boundaries between the arts, from the exploration of undefined margins. In the mid-1990s, her artistic path took her away from pure painting and towards modelling. She approaches this discipline with a great deal of freedom and playfulness, appreciating both its shaping and its materiality. Kristalova’s ceramics arise from successive transformations. A quick drawing is soon followed by modelling, which develops this initial intention. By kneading, she reconnects with an ancestral practice. The clay is worked directly with the fingers, creating irregularities and shifting surfaces. An initial firing precedes the moment of painting on ceramic, quick and playful... Finally comes the ultimate transformation: the final firing and its unpredictability. Kristalova’s creative process incorporates imperfection, emergence and a certain amount of chance: when the kiln is opened, she particularly likes it when the colours have dripped and blended.

Kristalova creates sculptures that blend myths and other literary sources with themes of isolation, transformation, and psychological depth, thus exploring darker narratives against a backdrop of fairytale-like imagery, characterised by its fantastical quality. By mixing a variety of source material whilst adding her own twist, Kristalova delves into the uncharted and psychologically charged lost territory of childhood with all its memories and traumas. Her glazed ceramic works embody a tactile sense of vulnerability, and her characters are mostly girls, who morph into flora, fauna, and other natural elements. A brilliant storyteller, creating small worlds related to dreams (or nightmares), Kristalova excels in her use of traditional materials like clay or bronze. Katarina Wadstein MacLeod (professor of history of art at the Department of Culture and Aesthetics at Stockholm University) writes (in Klara Kristalova. Sången om allt / The Song of Everything, exhibition catalogue, Carl Eldhs Ateljémuseum, Stockholm, 6 May-26 September 2021):

Since the mid-1990s, Kristalova has constructed a world populated by animals, nature, and girls crafted in glazed ceramics. Ceramics is an artform that has been on the roller coaster of good taste. During the 18th Century, porcelain figurines, small items with glossy surfaces, were an exclusive artform where the gestures and glances of the different pieces would create conversation amongst dinner guests. Porcelain figurines and glazed ceramics have since fluctuated between being exclusive art objects in expensive collections to being cheap knick-knacks in gift shops. In Kristalova’s work, preconceived notions about good and bad taste, surface and depth, are put into play. […] In Kristalova’s art the surface plays a particular role. The glaze and color palette are carefully selected, each painted line flowing out to the edges of the flower petals precisely placed. Simultaneously, it is the glazed surface that makes visible the cracks that life inevitably creates with its memories, sorrows, and losses.

To come upon an exhibition space populated with Kristalova’s creatures is like being sucked into a vaguely sinister and weirdly personal fairy tale. The hand-painted ceramic and bronze figures speak directly to the artist’s interior life, and the absurdity of the imagery is often paired with simplicity in presentation; works are placed on white cloth-covered tables, plain pedestals, or directly on the floor. This combination, along with the intentionally handmade quality of her sculptures, gives the work a classical presence despite its idiosyncratic nature.

The highly personal and, as mentioned above, idiosyncratic nature of Kristalova’s work traces its roots to a variety of sources that have inspired the artist. Of great importance was her family’s large art library (her father was Czech-Swedish sculptor Eugen Krajcik, 1943-1999), which regrettably was lost when the house burnt down when Kristalova was seventeen. Kristalova has also mentioned illustrated children’s book as a source of inspiration along works by fellow international artists like Odilon Redon (1840–1916, French symbolist printmaker and painter, considered a precursor to surrealism; perhaps best known today for the dreamlike paintings, leaning towards abstraction and inspired by Japanese art, created in the first decade of the 20th century), Max Ernst (1891–1976, German-born painter, sculptor, printmaker and poet who was a primary pioneer of the Dada movement and surrealism), Merit Oppenheim (1913–1985, German-born Swiss surrealist artist and photographer) and Mike Kelly (1954–2012, American artist whose work involved found objects, textile banners, drawings, assemblage, collage, performance, photography, sound and video; described as ‘one of the most influential American artists of the past quarter century and a pungent commentator on American class, popular culture and youthful rebellion’).

Klara Kristalova has been a member of the Swedish Royal Academy of Fine Arts since 2012 and is currently serving as the academy’s vice-president.

In 2025 it was announced that the Museum of Contemporary Art Kiasma in Helsinki had chosen Kristalova (together with Benjamin Orlow and Tori Wrånes) to represent the Nordic Countries Pavilion (in an exhibition curated by Kiasma’s Chief Curator, Anna Mustonen, and commissioned by Kiasma in collaboration with Moderna Museet, Sweden, and OCA–Office for Contemporary Art Norway) at the 61st International Art Exhibition–La Biennale di Venezia, 2026. The motivation said:

Representing a dynamic and diverse approach to contemporary Nordic artistic practice, the exhibition brings together artists from different backgrounds and creative disciplines. Known for their distinctive approaches to sculpture, installation and performance, the artists share a common exploration of transformation, resilience and vulnerability, often blurring the boundaries between the real and the imagined. Their work will weave together Nordic mythologies with broader global contexts such as identity, cultural survival and gender equality to bring a compelling and transformative perspective to the Pavilion.

Highly sought after as a sculptor, Kristalova has executed several public commissions, including, for example, a wall sculpture for Norrtälje Public Baths (Norrtälje Municipality, Sweden, 1995); the entrance to a public park in Karlstad, Sweden (Karlstad Municipality, Sweden, 2004); and a sculpture group for a garden at Mid Sweden University, Campus Östersund (Mid Sweden University, Sweden, 2004). In 2005 she also designed a public square, which included one of her sculptures, in Falkenberg, Sweden (Falkenberg Municipality, Sweden). Other public commissions include Fall (AlbaNova University Center, Stockholm Center for Physics, Astronomy and Biotechnology, the Royal Institute of Technology, Stockholm, 2001); Touched by Flowers (memorial in Tungelsta Garden Park, Haninge Municipality, Sweden, 2007); The Girl that Disappeared (Gustav II Adolf Park, Norrtälje Municipality, Sweden, 2011); What Holds Me Back Carries Me Further (Slottsskogen Public Park, Gothenburg Municipality, Sweden, 2018); A Walk (memorial for the writer Karin Boye, Huddinge Municipality, Sweden, 2020); and Hudiksvallstjejen (Kattvik Quay, Hudiksvall, Hudiksvall Municipality, Sweden, 2025).

Kristalova’s work is included in public and private collections like EMMA-Espoo Museum of Modern Art, Espoo, Finland; Centre Pompidou, Paris; Rubell Museum, Miami, Florida, U.S.A.; Moderna Museet, Stockholm; Nationalmuseum, Stockholm; Artipelag, Stockholm; Norrköping Museum of Art, Norrköping, Sweden; Västerås Museum of Art, Västerås, Sweden; Bror Hjorts Hus, Uppsala, Sweden; Uppsala Art Museum, Uppsala, Sweden; Skövde Museum of Art, Skövde, Sweden; Sundsvall Museum of Art, Sundsvall, Sweden; Tore A Johanssons stiftelse (Tore A Johansson Foundation)/Konsthall 16, Stockholm; Public Art Agency, Sweden; Norrtälje Municipality, Sweden; Knivsta Municipality, Sweden; Örebro Municipality, Sweden and Lidköping Municipality, Sweden.

Kristalova’s impressive list of solo exhibitions reads as follows Galleri Mejan, Stockholm (1994); Bror Hjorths Hus, Uppsala, Sweden (1994); Galleri PS, Gothenburg, Sweden (1995); Galleri TRE, Stockholm (1995); Galleri Axel Mörner, Stockholm (1998); Galleri PS, Gothenburg, Sweden (1999); Olle Olsson Hagalund-museet, Solna, Sweden (2000); Nya skulpturer/New Sculptures, Galleri Magnus Karlsson, Stockholm (2002); Teatergalleriet, Uppsala, Sweden (2004); Galleri PS, Gothenburg, Sweden (2004); Klara Kristalova, Galleri Magnus Karlsson, Stockholm (2004); Visit, Härnösand Art Centre, Härnösand, Sweden (2007); Katastrofer och andra vardagliga händelser/Catastrophes and Other Everyday Events, Galleri Magnus Karlsson, Stockholm (2007); Two Dark Holes and Other Stories, Galerie Perrotin, Miami, Florida, U.S.A. (2007); Short Stories, Galerie Emmanuel Perrotin, Paris (2008); Frieze Art Fair, Galerie Perrotin, London (2008); Where the Owls spend their Days, Alison Jacques Gallery, London (2009); Klara Kristalova, Site Santa Fe, Santa Fe, New Mexico, U.S.A. (2009); Sleepwalkers, Galleri Magnus Karlsson, Stockholm (2010); FIAC, Galerie Perrotin, Paris (2010); New Work Series, SFMOMA, San Francisco Museum of Modern Art, San Francisco, California, U.S.A. (2011); Sounds of Dogs and Youth, Lehmann Maupin, New York, NY, U.S.A. (2011); Wild Thought, Galerie Perrotin, Paris (2012); Klara Kristalova, Bonniers konsthall, Stockholm (2012); Klara Kristalova, Västerås Art Museum, Västerås, Sweden (2013); Klara Kristalova, Gothenburg Museum of Art, Gothenburg, Sweden (2013); Underworld, Galerie Perrotin, New York, NY, U.S.A. (2014); Big Girl Now, Lehmann Maupin, New York, NY, U.S.A. (2014); Promise, Bror Hjorths Hus, Uppsala, Sweden (2014); Where I Come From and Where I Will Be, Hunt Kastner, Prague (2014); Turning Into Stone, Norton Museum of Art, West Palm Beach, Florida, U.S.A. (2014); Sculptures and Drawings, Galleri Magnus Karlsson, Stockholm (2016); Hello Stranger, Galerie Perrotin, Hong Kong (2016); Slottet, Galleri Magnus Karlsson, Stockholm (2017); Klara Kristalova, GL STRAND, Copenhagen (2017); Camouflage, Galerie Perrotin, Paris (2017); Upp i rök/Up in Smoke, Galleri Magnus Karlsson, Stockholm (2020); Poem and Thought, Lidköpings Konsthall, Lidköping, Sweden (2020); The Song of Everything, Carl Eldhs Ateljémuseum, Stockholm (2021); Soft Parade, Perrotin, Seoul (2021); Flora and Fauna, Perrotin, New York, NY, U.S.A. (2022); Klara Kristalova at Teatergrillen, Teatergrillen, Stockholm (2022); Carl Hammoud & Klara Kristalova, Chart Art Fair, Galleri Magnus Karlsson, Copenhagen (2023); The Cold Wind and the Warm, Lehmann Maupin, London (2023); Beast, Perrotin, Paris (2024); Klara Kristalova-en presentation, Hälsingland Museum, Hudiksvall, Sweden (2025) and Habitat, Skellefteå konsthall, Sara kulturhus, Skellefteå, Sweden (2025-2026).

To this could be added the, no less impressive, list of following group exhibitions Galleri S:t Olof, (with Ingela Johansson), Norrköping, Sweden (1994); Det dubbla arvet, Hallwylska palatset, Stockholm (1994); Åtta fynd, Heland Wetterling Gallery, Stockholm (1994); Stockholm Smart Show, Galleri TRE, Stockholm (1994); Stockholm Art Fair, Galleri TRE, Stockholm (1995); En öppning, Skövde Konsthall, Skövde, Sweden (1995); Shaking patterns, W135, Amsterdam, Netherlands (1995); Unga tecknare, Nationalmuseum, Stockholm (1997); Skulptur, Pythagoras Industrimuseum, Norrtälje, Sweden (1998); Galerie Eboran, Salzburg, Austria (1998); Underbelly, Adelaide, Australia (1998); The Bible of Networking, Konstakuten, Stockholm (1998); The Bible of Networking, Sali Gia Gallery, London (1998); Networking, P-house, Tokyo (1999); Art Farm, Åland, Finland (1999); Stockholm Art Fair, Galleri Axel Mörner, Stockholm (1999); Galleri Doktor Glas, Stockholm (1999); Liste 2000, The Young Art Fair in Basel, Galleri Magnus Karlsson, Basel, Switzerland (2000); Norrtälje Konsthall, Norrtälje, Sweden (2000); Skövde Konsthall, Skövde, Sweden (2000); Sveriges Allmänna Konstförening, Stockholm (2001); The World of Flash, The Nunnery, London (2001); Blir du lonesome lille vän, Konstnärshuset, Stockholm (2002); 4 Förslag, Statens Konstråds galleri, Stockholm (2002); Galleria Becker, Jyväskylä, Finland (2002); Talking to me?, Rauma Biennale Balticum, Rauma Art Museum, Rauma, Finland (2002); Svensk Konst Nu, SAK on tour: Kalmar Art Museum, Kalmar, Sweden; Konstens Hus, Luleå, Sweden, Gävleborg County Museum, Gävle, Sweden; and Skövde Konsthall, Skövde, Sweden (2005); The Armory show, Galleri Magnus Karlsson, New York, NY, U.S.A. (2005); Grönska, Kristinehamn Art Museum, Kristinehamn, Sweden (2006); Among Gnomes and Trolls, Galleri Magnus Karlsson, Stockholm (2006); Frieze Art Fair, Galleri Magnus Karlsson, London (2006); 20 år, Bonniers konsthall, Stockholm (2007); Barnet i samtidskonsten, Haninge konsthall, Stockholm (2007); The Armory Show, Galleri Magnus Karlsson, New York, NY, U.S.A. (2007); Effigies, Stuart Shave Modern Art, London (2007); Makers and Modellers, Gladstone Gallery, New York, NY, U.S.A. (2007); Frieze Art Fair, Galleri Magnus Karlsson and Galerie Perrotin, London (2007); Frieze Art Fair, Galleri Magnus Karlsson, Galerie Emmanuel Perrotin and Alison Jacques Gallery, London (2008); Past, Present, Future Perfect: Selections from the Ovitz Family Collection, H&R Block Artspace, Kansas City, Missouri, U.S.A. (2008); An Expanded Field of Possibilities, Santa Barbara Contemporary Arts Forum, Santa Barbara, California, U.S.A. (2009); The Armory Show, Galleri Magnus Karlsson, New York, NY, U.S.A. (2009); Le Sang d’un poète, Frac des Pays de la Loire, Saint-Nazaire, France (2009); Sortilèges, Fondation pour l’art contemporain Claudine et Jean-Marc Salomon, Le château d’Arenthon, Annecy, France (2009); Drömmare, Millesgåden, Stockholm, Sweden/Gotlands Museum, Visby, Sweden (2009); Frieze Art Fair, Galleri Magnus Karlsson, London (2009); The Armory Show, Galleri Magnus Karlsson, New York, NY, U.S.A. (2010); In Full Bloom, Galleria Raffaella Cortese, Milan, Italy (2010); The House In My Head, Kunsthallen Brandts, Odense, Denmark (2010); Touched, Lehmann Maupin Gallery, New York, NY, U.S.A. (2010); Luc Tuymans: A vision of central Europe, Brugge Central, Bruges, Belgium (2010); Larger than life, stranger than fiction, (Triennale) Fellbach, Germany (2010); I dag är igår i morgon/Today is Yesterday Tomorrow, Galleri Magnus Karlsson, Stockholm (2010); Contemporary Clay, RH Gallery, New York, NY, U.S.A. (2011); The Magic of Clay, GI Holtegaard, Copenhagen (2011); New Work: Tiago Carneiro da Chnha and Klara Kristalova, SFMOMA, San Francisco Museum of Modern Art, San Francisco, California, U.S.A. (2011); Following the Line, Girl’s Club Contemporary, Fort Lauderdale, Florida, U.S.A. (2012); Borås Internationella Skulpturbiennal, Borås Art Museum, Borås, Sweden (2012); Klara Kristalova & Peter Ern, Galleri Rostrum, Malmö, Sweden (2012); Alison Goldfrapp: Performer as Curator, The Lowry Museum, Manchester, United Kingdom (2013); Time Waits For Us, Galleri Magnus Karlsson, Stockholm (2013); Chart Art Fair, Galleri Magnus Karlsson, Copenhagen (2013); Summer Group Show: Hernan Bas, Anne Chu, Klara Kristalova, Lehmann Maupin, New York, NY, U.S.A. (2013); Museum of Contemporary Art Miami, Miami, Florida, U.S.A. (2013); Body and Soul: New International Ceramics, Museum of Art and Design, New York, NY, U.S.A. (2013); Every Morning Comes the Sun, Galleri Magnus Karlsson, Hellvi Kännungs, Gotland, Sweden (2013); 2014, Galleri Magnus Karlsson, Stockholm (2014); Frieze Art Fair, Galleri Magnus Karlsson, New York, NY, U.S.A. (2014); Young Collectors, Proje4L/Elgiz Museum of Contemporary Art, Istanbul, Turkey (2014); Dansa skulptur!/Dance Sculpture!, Wanås Konst, Sweden (2014); Chart Art Fair, Galleri Magnus Karlsson, Copenhagen (2014); Queensize–Female Artists from the Olbricht Collection, me Collectors Room/Olbricht Foundation, Berlin (2014); I love it! What is it?, Kulturhuset, Galleri 5, Stockholm (2014);c/o Hotel le Manoir, Galleri Magnus Karlsson, Banyuls-sur-Mer, France (2015); Pandora’s Vox, Klara Kristalova, Veronika Holcova & Sandra Vásquez de la Horra, Prague City Gallery, Prague (2015); Jubileumssamling, Royal Academy of Fine Arts, Stockholm (2015); Future Seasons Past, Lehmann Maupin, New York, NY, U.S.A. (2015); Ceramix – Art and ceramics from Rodin to Schütte, Bonnefantenmuseum, Maastricht, the Netherlands (2015); No Man’s Land, Rubell Family Collection/Contemporary Arts Foundation, Miami, Florida, U.S.A. (2015); Transformations, Bästa Biennalen, Moderna Museet Malmö, Malmö, Sweden (2015); Sisters of the moon, KMAC Contemporary Art Museum, Louisville, Kentucky, U.S.A. (2016); Kreativa Rum, Åmells konsthandel, Stockholm (2016); Collected Works! 30 Years with the Maria Bonnier Dahlin Foundation, Bonniers konsthall, Stockholm (2016); Jag ser ett mörker/I See a Darkness, Galleri Magnus Karlsson, Hellvi Kännungs, Gotland, Sweden (2016); Chart Art Fair, Galleri Magnus Karlsson, Copenhagen (2016); Generosity: On the Art of Giving, National Gallery, Prague (2016); Ceramix – Art and ceramics from Rodin to Schütte, Sèvres, Paris (2016); Her Crowd: New Art by Women from Our Neighbors’ Private Collections, Bruce Museum, Greenwich, Connecticut, U.S.A. (2016); In the Search of Present, Museum of Modern Art, Helsinki (2016); Superflat consideration on contemporary ceramics, Towada art center, Towada, Japan (2017); Les Imaginaires d’un monde in-tranquille, Abbaye Saint-André/Centre d’art contemporain, Meymac, France (2017); Yellow Creature - Aspekte der transformation, Kunstmuseum Luzern, Luzern, Switzerland (2017); Queen Kristina!, Kristinehamn Art Museum, Kristinehamn, Sweden (2017); Art Berlin, Galleri Magnus Karlsson, Berlin (2017); No Ordinary Moments, EMMA–Espoo Museum of Modern Art, Espoo, Finland (2018); Omvägar/Detour, Artipelag, Stockholm (2018); Mejan 94, Domeij Gallery, Stockholm (2018); Till Bruno/For Bruno, Galleri Magnus Karlsson, Stockholm (2018); Heads Roll, Sheffield Museums, Graves Gallery, Sheffield, United Kingdom (2018); The gathering, Falun Museum, Falun, Sweden (2018); Strålglans, Galleri Jeanette Ödlund, Borås, Sweden (2018); Stockholm Calling, Asia House, Galleri Magnus Karlsson, London (2018); Figures de l’Animal, Abbaye Saint-André/Centre d’art contemporain, Meymac, France (2019); Sculpture, Sculpture, Sculpture!, CFHILL, Stockholm (2019); Beyond the Vessel, Meşher, Istanbul, Turkey (2019); Djuret i människan–Människan i djuret, Konsthallen Lokstallet, Strömstad, Sweden (2019); Främlingar/Strangers, Galleri Magnus Karlsson, Hellvi Kännungs, Gotland, Sweden (2019); LOVE by Pierre Yovanovitch, R & Company, New York, NY, U.S.A. (2019); For Every Atom Belonging to Me as Good Belongs to You, Selection from the Baily Collection, Montreal Museum of Fine Arts, Montreal, Canada (2019); Shades of Existence, Teckningsmuseet, Laholm, Sweden (2019); Signature Women, Artipelag, Stockholm (2020); In the Name of Flower, Pearl Art Museum, Shanghai, China (2020); Stilla liv/Still Life, Galleri Magnus Karlsson, Hellvi Kännungs, Gotland, Sweden (2020); Intermezzo, Galleri Magnus Karlsson, Stockholm (2020); ART ZUID Amsterdam Sculptuur Biënnale, Amsterdam, the Netherlands (2021); Du cheval à l’oeuvre, Haras National du Pin, Le Pin-au-Haras, France (2021); 1100 Degrees, CFHILL, Stockholm (2021); Summer Group Show, Galleri Magnus Karlsson, Stockholm (2021); Marriage: From Antiques to Contemporary Art, What Museum, Tokyo (2022); Toucher Terre, Fondation Villa Datris, L’Isle-Sur-La-Sorgue, France (2022); Un Éte au Havre, Le Havre, France (2022); Strange Clay: Ceramics in Contemporary Art, Hayward Gallery, London (2022); Vårsalongen 100 år, Liljevalchs konsthall, Stockholm (2022); Hej Norrtälje!, Norrtälje konsthall, Norrtälje, Sweden (2022); Head in the Clouds, Perrotin, Tokyo (2022); Källan/The Spring, Galleri Magnus Karlsson, Stockholm (2022); French Delights, Bodrum Loft, Bodrum, Turkey (2023); A Tie To All The Earth, Teagan Art Space, Beijing (2023); Dans la Tête de Balthus, Perrotin, Paris (2023); Nocturnal Ballads, Perrotin, Shanghai, China (2023); Room by Room: Concepts, Themes, and Artists in The Rachofsky Collection, The Warehouse, Dallas, Texas, U.S.A. (2023); Sculptors’ Drawings, Galleri Trop, Stockholm (2023);Chart Art Fair, Galleri Magnus Karlsson, Copenhagen (2023); Kom som du är och andra nyförvärv/Come as You Are!, Skissernas Museum-Museum of Artistic Process and Public Art, Lund, Sweden (2023); Showroom Presentation, Galleri Magnus Karlsson, Stockholm (2023); Mästartryck/Masterprints, Grafiska sällskapet, Stockholm (2024); Skulpterad samtid, Rikstolvan, Järrestad, Sweden (2024); Il Sorriso Degli Dèi/The Smile of the Gods, NEVVEN, Bologna, Italy (2024); The Infinite Woman, Villa Carmignac, Porquerolles Island, France (2024); I Follow the Sun, Artipelag, Stockholm (2024); Tecknandets historia-lusten att berätta, Teckningsmuseet, Laholm, Sweden (2024); Flora/Fauna, Sturehof, Stockholm (2024); Gazing Bodies, CFHILL, Stockholm (2024); Donation Perrotin & Artists, Centre Pompidou, Paris (2024); Yet Another Morning-Drawing in the Moderna Museet Collection, Moderna Museet, Stockholm (2025); Stockholm konst gästar Liljevalchs +, Liljevalchs +, Stockholm (2025); Perrotin Matignon, Perrotin, Paris (2025); Konvergenser #10, Nevven Gallery, Gothenburg, Sweden (2025); Jan Watteus Art Collection, Dalsland Museum, Dalsland, Sweden (2025); and Summer Group Show, Galleri Magnus Karlsson, Stockholm (2025).

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