Marie-Louise Ekman

Lars Wetterling Collection.

Tensta Konsthall, Stockholm 2012-2013 (annat ex)
Moderna Museet Stockholm 2017 (annat ex)
Borås Konstmuseum 2017 (annat ex)

Svensk Nutidskonst 4, Maria Lind (red), "Marie-Louise Ekman", (Förlaget Sören Fogtdal 1998), jfr sid 10.
Tone Hansen och Maria Lind (red), "No is not an answer: On the work of Marie-Louise Ekman", 2013, jfr uppslag sid 198-199.
Klas Gustafsson: Marie-Louise Ekmans två liv (Leopard förlag 2015), jfr uppslag sid 42-43.
Moderna Museet: Marie-Louise Ekman (2017), jfr sid 93.
Martina Montelius (red.): Marie-Louise Ekman (Orosdi-Back förlag 2018), jfr sid 51.

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 She travels unhindered over artistic buondaries and often ustilises art historical references, incorporating them with pop-culture references.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.