Moderna Museet, Stockholm, "Marie-Louise Ekman", 17 June – 17 September 2017.
Sven-Harrys Konstmuseum, Stockholm, "Party for Öyvind", September 2021 - January 2022 and Museum Tinguely, Basel, 16 February – 1 May 2022.

Maria Lind (ed.), "Marie-Louise Ekman", 1998, illustrated on p. 47.
Klas Gustafson, Marie-Louise Ekmans två liv", 2015, illustrated on full page p. 130.
Moderna Museet, "Marie-Louise Ekman", 2017, illustrated on full page p. 82.

Marie-Louise Ekman is without a doubt one of Sweden's most eccentric artists. The consistency in her expression is striking, with a distinctive language that is unmistakably her own.

Ekman's artistry is timeless and continuously relevent. She is a leading and influential artist who often depicts everyday environments, but does not align herself with the absurdist and surrealist art forms. She travels unhindered over artistic buondaries and often ustilises art historical references, incorporating them with pop-culture references. Ekmans konstnärskap har i mycket präglats av hennes anarkistiska och klarsynta angrepp på normalitet som ständigt har manifesterats i en spännvidd som låtit henne ingå i kretsen kring den inflytelserika undergroundtidningen "Puss" och med separatutställningar på Galerie Aronowitsch.

When looking closer at her multifaceted artisty one discovers that she is a recycler. There is barely a motif that is not repeated in more than one context, not a figure that does not stir up déjà vu. One first encounters these elements in objects or paintins, then in movies, tv-seris and radio programmes. Although the media sources vary in theme and tone over the decades, Ekman continues to reference media through her art, and it is thanks to this that Ekman feels forever young.

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