Dorothée Nilsson Gallery is pleased to return to MARKET ART FAIR in Stockholm celebrating its 20th edition. We are presenting new work from Inka & Niclas, Lotta Antonsson and Yuken Teruya. You can find us in booth #21.
For nearly two decades, Inka&Niclas have explored nature through the camera, not as documentation but as a way of examining how ways of seeing are formed. Working across photography, video, sculpture and installation, they investigate how visual conventions, technology and cultural expectations shape our perception of the natural world.
In the new works G-type Main Sequence, the artists return to a reduced landscape motif consisting of horizon, sky, water and sun. The familiar elements appear subtly altered, compressed or abstracted, and hover between image and construction. What at first seems recognisable reveals itself as something less certain. Rather than presenting nature as a fixed reality, the series frames it as a space of projection, memory and desire, where image, material and cultural imagination intersect.
Inka (b. Finland, 1985) and Niclas (b. Sweden, 1984) Lindergård have worked together since 2007 and live in Stockholm, Sweden. They have had exhibitions at Haus am Kleistpark (Berlin, Germany), Lidköping Konsthall (Sweden), Gothenburg Museum of Art (Sweden), Cantor Arts Center (California, USA), Nasher Museum of Art (North Carolina, USA), Pearl Art Museum (Shanghai, China), Sternenpassage, MuseumsQuartier (Vienna, Austria) and Museo Fortuny (Venice, Italy) to name a few.
Their works are represented in the permanent collections of Moderna Museet (Sweden), Gothenburg Museum of Art (Sweden), Fries Museum (the Netherlands), Arendt & Art (Luxembourg), The Wienerberger Collection (Austria) and Edit Maryon Foundation (Switzerland). They were awarded the EMOP Arendt Award 2021 and The Swedish Photo Book Price 2012.
Lotta Antonsson belongs to a generation of artists shaped by the post-structuralist approach to identity and its formation: the self is not an essence but a signifier – a social, cultural and historical construct in flux. Her work is a meditation on the metaphysical tension between presence and vision – both within the individual and the social body of women. Using analogue processes of photography, collage and assemblage, she dismantles and reconfigures the visual language that has historically framed femininity, revealing the gaze as both a mechanism of control and a tool of liberation. Drawing from a personal archive of vintage lifestyle and erotic magazines, she examines how women’s bodies have been represented, desired and consumed. Cutting, layering and recontextualising found images, she creates a fractured, ironic space where clichés are exposed and the authority of representation is momentarily suspended. Removing the images from their context, cutting away identifiers such as printed names or backgrounds, leaves them open to interpretation. Faces are covered with broken seashells, a sharp mask, protecting the figure while they stare at the viewer, defying the viewer’s gaze.
Lotta Antonsson studied fine arts and photography in Stockholm at the University of Arts, Crafts and Design and at the Royal Art Academy in Copenhagen. Antonsson was a professor of Photography (2007-2016) at the Valand Academy of Art and Design in Gothenburg. Her works have been in numerous international exhibitions, including Moderna Museet, Stockholm, Magasin III, Stockholm, Capture Photofestival / Trapp projects, Vancouver, Villa San Michele, Capri, the Latvian Centre for Contemporary Art in Riga, Photo Biennale in Brighton, UK, and the Daegu Photo Biennale in South Korea. During Stockholm Art Week 2026 she will open a solo exhibition at Fotografiska, Stockholm. Her work is in several international collections, among them Moderna Museet, Stockholm, SE, The Gothenburg Museum of Art, Gothenburg, SE, Hasselblad Foundation, Gothenburg, SE, Magasin III, Stockholm, SE, Hallands Konstmuseum, Halmstad, SE, Soho House, Stockholm, SE, Swedish Art Council, Stockholm, SE, Sammlung Hackelsberger, Berlin, DE
Yuken Teruya
In the series Minding My Own Business Teruya’s work transforms newspapers into sculptural landscapes, where sprouts emerge from printed stories, indicating new life and hope. The Monopoly series functions as a symbol of money itself, by using toy money (Monopoly money). It is an attempt to re-assess the power of symbols in cultural, national, and religious contexts, using these tokens as a tool to visualize values that cannot be measured. Monopoly bills questioning the power of cultural, political, and religious symbol. The concept extends to the investigation of symbols represented by the jewels which have been passed down through generations of the British Royal Family.
Yuken Teruya (1973, Japan) is an artist based in Berlin and Okinawa. Teruya received his BFA from Tama Art University in Tokyo in 1996 and his MFA from the School of Visual Arts in New York in 2001, where he has spent 20 years of his life. His works have been exhibited at Pompidou Metz, Metz, the Saatchi Gallery, London. In the public collections of British Museum , the Museum of Modern Art, New York, the Guggenheim, New York, the Flag Art Foundation, New York, the Renwick.