DELI - STOCKHOLM ART WEEK
(22 april – 25 april 2026)
Participating Artists:
BIGERT & BERGSTRÖM, GEORG NORDMARK, JAANA-KRISTINA ALAKOSKI, JOHAN, LUNDBORG, KONRAD LIDÉN, MAX RONNERSJÖ, MIO NIELSEN, NIKLAS BREIMERT, OTIS HUSS, SOFIA VIOL, TOVA MOZARD, VERA LJUNGGREN, XERXES OAKMAN, ZOI JOHANSSON, GÖKENS LIVS VICTOR LIZANA FT. VIDA LAVÈN.
Richter Holtermann launches Deli during Art Week, a four day group exhibition taking inspiration from the classic NYC deli and deli as slang for delusional. The exhibition features 14 artists ranging from emerging talents to more established names in Stockholm, with each artist presenting a single artwork reflecting the theme in a curated market space setting in our gallery.
OMSKRIVNING - MARTIN KOZLOWSKI
(19 March - 11 April 2026)
Martin Kozlowski’s artistic practice has recently taken a new direction. Ever since Goldsmiths (London) and Städelschule (Frankfurt am Main), he has primarily worked with spray paint as a medium to develop a gestural painting with a new vocabulary within the framework of spray paint painting. For Kozlowski, spray paint has functioned as a tool to extend the painting’s gesture on the surface of the canvas to instead suggest a space in front of the canvas. By varying the distance between the spray can and the canvas, he has been able to capture the speed, movement, and intensity of a distinctive style of painting with references to the speed and dynamics of the urban space.
Kozlowski’s intense work in developing a gestural language with spray paint has resulted in the development of an allergy to the spray paint’s solvents. Suddenly, he was faced with the necessity of abandoning the tool that had long been central to his practice. The situation forced a reassessment of method and a translation of expression into several other media, such as drawing, oil painting, and most recently, sculptural works in wood and ceramics.
In the exhibition Omskrivning, Kozlowski leaves the two-dimensional framework of the canvas to process ceramics and wood into three-dimensional form. The painterly gestures and rhythms that were previously captured on the surface of the canvas are now translated into tactile materials in sculptural forms. In these new works, a practice in transformation emerges, where the language of painting is tested within the spatiality of sculpture. Movement and materiality remain central, but now gain a physical presence where the logic of the painting continues out into the room.
AND THEN SHE BRAIDED THE FISH´S HAIR
(12 February - 28 March 2026)
Participating Artists:
ELINOR SILOW
GURLI KRUBER
HEDDA HULTMAN
SPIRITUAL MECHANISM
(8 January - 7 February 2026)
Participating Artists:
ALICE NORDLUND, ALVA LE FEBVRE, ANDERS JOHANSSON, ANTON KASIAN EDBERG, CLARA KETTER, DAVID ÅBERG, ELIS ESSINGER, KEVIN JUDGE, SARALI BORG, STELLA LEVIN.
The human mind and body, with the machine as an extension. It is often not necessary to use steel, AI, computers, or mechanisms. But we do. We need these kinds of external tools, but what happens when tools and technology become spiritualized? When the human mind tangos with software, a piece of advanced technology, or an application?
The Antikythera Mechanism is the first complex piece of technology ever found, the oldest computer yet discovered. It was found in a shipwreck near the Greek island of Antikythera in 1901 by sponge divers. The invention predicted the positions of the Sun, Moon, and planets. Tracked lunar phases and eclipses. Showed dates of ancient games and used the Egyptian calendar. But what about all these statistics, why?
Maybe the first computer ever was a cousin to something bigger, or at least a tool for seeking answers to questions we still haven’t solved. Ghost in the machine.The metallic mechanism, with complex interlocking gears, housed in a wooden box about the size of a MacBook. An enchanted tool, with more power than the human brain could ever reach without its existence.
The machinery continues forever, and after the Spinning Jenny, everything suddenly starts to fly. And on our flight, we all turned on flightmode and forgot about the very beginning. The craziness has led human beings to 2026, and we are still stuck in the middle of inventing the new. But for some people or let’s say a certain group the machines are fulfilling another mission. A mission to tell stories, to provoke, without making things or making new things happen. Just to stimulate the mind.
In this exhibition, we invite you to explore the process rather than the results. We are not trying to capture anything, we are simply observers of fragments found along the way toward a higher resolution.
AFTER THE MISTAKE - OLLE WITT
(4 December - 31 December 2025)
After the mistake you seldom realize that you've made it. Our collective epiphany is slowly creeping up on us, are we living out the after?Despite the negative connotations, the mistake is often referred to as an opportunity to improve, but what if it's repeated again and again?
The process often begins without reference, but as the painting gets painted my own recognition comes into play. When shapes emerge on the canvas i try and imagine what they can become, until the seesaw of the familiar and the uncanny finds balance in the middle.
In painting the mistake can be a tool that lets the bodies of paint partly decide for themselves what shapes they take. The painter is through the mistake, a mediator. The painters mission is to, after the mistake, try and make it again and again.Olle Witt (b.1998) is currently studying the last year of his Bachelor of fine arts at Konstfack, Stockholm. Witt has previously studied painting at Pernbys Målarskola and Philosophy at Södertörns högskola. He has exhibited at Galleri Hedenius as part of the group exhibition Unga Konstnärer and was one of three winners of the royal grant Den tänkande handen (2024).
NIGHTINGALE - VERA LJUNGGREN
(4 December - 31 December 2025)
Vera Ljunggren’s distinctive visual world emerges from a playful, almost naive curiosity about the dim recesses of existence. Owl, Palm, Crab — titles that follow the logic of a picture book while simultaneously opening toward something more suggestive. The broken, bare tree branches in the paintings’ landscapes bend into curlicues, as if nature itself were expressing a state of mind rather than serving as a motif. In Fever, the fire-yellow tree seems to pad its way forward on a trunk resembling a small foot, moving through an equally glowing landscape.
Perhaps this can be read as a kind of poetics — for the world of these paintings evokes the fever dream. Despite the sly warmth that accompanies their almost childlike simplicity, the works are filled by a certain unease: the animal in the painting of the same name appears dying or felled, with eerily human, pale skin; Pelargård, despite its inviting title, is brutal in its fateful yet beautiful presence; and the embrace in Embrace is stiff and withdrawn — a turned-away cheek, a ghost-like translucent hand, the silhouette of a body.
Vera Ljunggren (b. 2000) based in Stockholm. She studied at Konstfack and Pernby School of Painting, and completed an exchange at the Royal Danish Academy of Fine Arts. With Nightingale, she is exhibiting in Sweden for the first time. Vera has previously exhibited in Copenhagen inncluding group exhibitions at Galleri Alice Folker, as well as the dialogue exhibition Follow the Tails in collaboration with photographer Tine Beck at Galleri Arden Asbæk.
MEET ME HALFWAY - HUGO CIAPPI
(6 November - 4 December 2025)
Richter Holtermann presents their first solo exhibition and are pleased to invite you to Meet Me Halfway featuring Hugo Ciappi. Ciappi describes the series as a kind of personal diary, where every painting holds a story and every title carries weight. The works speak to the instability of perception and the ongoing dialogue between past and present, certainty and doubt."You always think you're right in the present," Ciappi reflects, "but only later do you question your choices and maybe you're wrong again. Meet me halfway, because you never live entirely right or entirely wrong. It's about finding balance, and I never quite manage it."
