Johan Thunell




I established my studio in the early seventies after my training at the Croydon College of Art,
London. In the early days, inspired of what I saw of work from Japan and England.  I mainly made domestic ware in stoneware and porcelain. In later years the emphasis has shifted towards sculptural work; renderings of beast and man in stoneware and raku. Quite recently my interest has come to focus on human physiognomy. Johan Thunell starts his work with sketching charismatic faces from human being while he is waiting for a bus, train, airplane or any other suitable occasion. Using the sketch as a model he starts to wheel thrown the clay and create fascinating human faces. He has exhibited at museums and galleries all over the world. He is also an frequent exhibitor at international artfairs In Europe, the US and Asia.
Born 1946. Lives and work in south of Sweden.

Johan Thunell

25 November – 22 December

Johan Thunell

“New faces”

I established my studio in the early seventies after my training at the Croydon College of Art,
London. In the early days, inspired of what I saw of work from Japan and England.  I mainly made domestic ware in stoneware and porcelain. In later years the emphasis has shifted towards sculptural work; renderings of beast and man in stoneware and raku. Quite recently my interest has come to focus on human physiognomy. Johan Thunell starts his work with sketching charismatic faces from human being while he is waiting for a bus, train, airplane or any other suitable occasion. Using the sketch as a model he starts to wheel thrown the clay and create fascinating human faces. He has exhibited at museums and galleries all over the world. He is also an frequent exhibitor at international artfairs In Europe, the US and Asia.
Born 1946. Lives and work in south of Sweden.

Daan Oude Elferink



DAAN OUDE ELFERINK – Explore the beauty of decay

“My name is Daan Oude Elferink (Daanoe) and I am pleased to take you to the world behind the ‘no entry’ signs and the locked doors. It offers a glimpse of the beautiful, forbidden world of decay as I see it. You’d be surprised what people leave behind, often for unknown reasons. Beautiful villas, still fully furnished – everything covered in a layer of dust. Hospitals with patient files scattered in the hallways. Theaters and ballrooms, now empty of laughter. Castles where the family photo album still sits on the bookshelf. Memories of what used to be. How did these people live? Why is the place abandoned? What happened? With time, nature starts to take over. As the years pass, buildings and the secrets they keep crumble and decay. On first glance you may see a pile of moldy debris, but look at it with different eyes and you’ll find a breathtaking beauty. Decay ignites the imagination.”

Daan Oude Elferink is born 1978 in Nijmegen, Holland
This will be Daan Oudes first exhibition i Malmö.

During opening night at 19:30 and 21:30;
Daan Oude will present his work and pictures from different spectacular photoprojects.

The nearby Galleri 8 will be open 18-24 during Malmö gallerinatt exhibiting Lars Tunebo where we will show his mixed media work.

Henrik Johansson, “AB IMO PECTORE”

Öppet 29/4 – 4/6 alla dagar kl. 10:00 – 18:00, Välkomna!


HENRIK JOHANSSON – From heart to hand to canvas

Henrik Johansson calls his new exhibition “Abo imo pectore” – “With all my heart”. And, sure enough, he paints with his heart. It makes his hand that holds the brushes and his eyes that choose the colors to listen to the thoughts and obey the impulses that do not have their roots in an academy of art, but just in his heart. In the joy of painting. In the joy of being able to paint.

As it is the joy of heart that rules the art of Henrik Johansson it would be easy to believe that he is one of the so called “Sunday painters”, also known as “the Sacred Heart painters”. The nickname “Sunday painters” goes back to the naïve masters from the years around the former turn of the century, self-taught artists who only were free to paint on Sundays. Among them mainly the Parisian Costums officer Henri Rousseau (1844-1902), who also belonged to those who showed the way into surrealism, the multifaceted reality that hides behind the immediately visible world.

But even if the heart also has guided Henrik Johansson to realities that many times seem to be multifaceted och filled with mystery, it would of course be wrong to call him a naïve artist. That is naïve meaning untrained and childish. It is true that he calls himself an autodidact and by that places himself on the same level as the naïve painters, but he has not been left totally to himself. As a child Henrik Johansson belonged to those kids who always drawn, sketched and painted. When he later should start high school, the choice was easy: it became the craft line with art as the first choice. There he met the artist Thomas Holm, a figurative expressionist with a good eye to classic art. Holm quickly realized the young student’s ability of to achieve and reproduce a motif with an apparently intuitive look for anatomical abbreviations, perspective shifts and nuanced dialogs between light and shadow. He gave his adept a good advice: Study Caravaggio! All that Henrik Johansson was aiming for, this Roman baroque artist had driven to perfection, only 400 years earlier.

And Henrik Johansson followed his advice. Studied Michelangelo da Caravaggio (1571-1610) whose dramatic life and equally dramatic paintings created uproar already in his own time. With him disappeared the Renaissance’s refinement and love for exquisite details. Caravaggio, a homosexual rowdy and fighter with a very short fuse, told in sweeping, yet blood-dripping brush-strokes about violence. About beheadings and crucifixions. With a dramatic headlight light, called tenebroso, he focused the essentials in each work and put the remains in half-light and shadows. He painted flirty androgynous angels. Boys from the streets were used as models for the young Bacchus. Dirty foot soles were placed literally before the eyes of officiating priests when they were exposed on altar paintings. In prolongation Henrik Johansson also adopted two of Caravaggio’s later, contemporary, admirers: the Norwegian Odd Nerdrum and the Dane Michael Kvium, who both have a preference for realistically painted absurdities with domicile in the more obscure outlaying lands of the baroque.

When Henrik Johansson last exhibited at Galleri Final in the beginning of 2014, masterly performed replicas of paintings by Caravaggio were used as backgrounds for different, most often surrealistic, events. In the new exhibition the Italian master only plays a minor role. Fragments from some of his most famous paintings can be seen, but most often as an underlying dimension. As a sort of reference to a zero where all started, in any case for Henrik Johansson. In layer by layer where faces, bodies, parts of bodies, parts of clothes partly overlaps each other, Henrik Johansson plays with our fantasy and our perception. Also here it deals about fragments that are glued together to collage with use of illusory painted pieces of yellow masking tape. He paints a story. An incoherent story and we have to fill in the words ourselves. He gives us a clue, the word HOPE. It reappears as a mantra in quite a lot of works. But hope of what? The answer is with the viewer.

It is like this Henrik Johansson works. No answers are given in beforehand. The paintings are omitted for the viewer’s mindsets, which turns them into barometers. They can swing between hope and despair, between tangible reality and untouchable dreams. Not even the titles of the paintings are to any help. Most often they have no names at all and the fantasy wanders helpless between interpretations that disappear before they were transformed into words. In other paintings Latin quotes confuse. “Dum vivimus, vivamus” – “While we live, let us live”. Let us live with different identities in an all-time changing life where the only move that counts is the move of the body. Or…? And the paint “Persona non grata” – a person not desired. To whom does it refer? To the labourer who in a painting by Caravaggio is helping to rise the cross of St. Peter? To the well-dressed man with a whipped-away face? To the tattooed girl whose body-language is so rejective? The question marks accumulate. As already mentioned, the art of Henrik Johansson leaves no answers, in return it trigs the curiosity.

Britte Montigny

Foto: Nicho Södling


Lennart Nilsson Fotograf, 1 July – 1 October 2017

Sommarens utställning på Fabriken blir en av Lennart Nilssons största. Den visar över 200 fotografier på 1000 m2 golvyta. Utställningen visar kända, men också mindre kända, bilder från 40-talet och framåt. Vissa av dem aldrig tidigare utställda.

Fabriken har tillsammans med Lennart Nilsson själv och Anne Fjellström planerat denna utställning i närmare 3 år. Hösten 2016 kunde till slut datum för den stora utställningen bestämmas.

Tyvärr avled Lennart Nilsson den 28 januari i år.

”Trots Lennarts sorgliga bortgång har vi inte tvekat en sekund gällande allt fullfölja våra gemensamma planer med att sammanställa en utställning för Fabriken i sommar.
Jag tror inte Lennart hade önskat något annorlunda. Vi har sedan flera månader tillbaka arbetat med att ta fram nytt material och vi hoppas publiken skall uppleva en utställning som överraskar samtidigt som många bilder naturligtvis är väl känd, men en del kanske på ett lite nytt sätt. ”, säger Anne Fjellström, VD på Lennart Nilsson Photography.

Utställningens curator Johan Petterson har formulerat utställningens kärna:

” På Fabriken möter vi ett livsverk. Vi möter foton tagna under mer än ett halvt sekel. Foton som beskriver en rastlös nyfikenhet parad med en stor konstnärlighet. Vi möter ett livsverk som har global spridning och som fått en pedagogisk funktion. Som har berikat mänskligheten med bilder av ”det osedda”, och även om de inte innehåller svaret på livets gåta så har det gett oss en handfast uppfattning om hur gåtan börjar. Men framför allt möter vi en av världens största fotografiska konstnärer som om och om igen frikostigt bjuder in oss på en svindlande resa.”

Utställningen öppnar den 1 juli och pågår t.o.m den 1 oktober

Öppettider juli – augusti tis – sön kl. 11 – 17, september – 1 oktober fre-sön kl. 11 – 17

Entré 70 kronor, barn under 18 år fri entré




Bertil Warnolf

4 March – 9 April 2017



The artist Bertil Warnolf, living and working in Malmoe, is an illusionist. Ever since his debut at Galerie Holm almost half a century ago, he has enchanted his growing fan base with seemingly photographically precise depictions of objects we usually find around us: a burnt matchstick. Small birds with forest colored plumage (such as can be seen in every bush in a park). A fish. A simple wooden chair. But the illusion scrapes, creates uneasiness. The paintings’ eye deceptive perfection is disturbed by illogical elements. The sense of escapism is interrupted. The fragile matchstick is subjected to undue pressure.  Deprived of the hiding places offered by the bushes, the birds perform equilibristic balance acts. The fish is not only humanized, it is also carefully covered in bandages. Disturbed by “not being more” than a wooden chair it changes shape as a chameleon… The paintings lack of logic houses a surrealistic dimension which clearly indicates that their task is not only to entertain by making the boundary between reality and fiction liquid, but that they also have something to say about the actual reality we live in.  About our earth as fragile as the burnt matchstick. About the birds whose habitat is decreasing for each day that goes by. About the fishes which are torn to pieces by garbage and suffocated by plastic. About the intolerance with everything that is dull and boring. About the accelerating demands of changeability. Behind the naked and coloristically gentle compositions in the paintings by Bertil Warnolf there is hidden a deep seriousness and a great commitment with our time and our earth.

Britte Montigny


Malmökonstnären Bertil Warnolf är illusionist. Ända sedan debuten på Galleri Holm för snart ett halvt sekel sedan har han förtrollat sin växande skara fans med till synes fotografiskt exakta avbildningar av föremål vi oftast finner runt omkring oss: en avbränd tändsticka. Småfåglar med skogsfärgade fjäderdräkter (sådana som kan ses i varje parkbuskage). En fisk. En enkel trästol. Men illusionen skaver, oroar. Målningarnas ögonbedrägliga perfektion rubbas av ologiska skeenden. Känslan av verklighetsflykt kommer av sig. Den sköra tändstickan utsätts för orimliga påfrestningar. Berövade buskagens gömställen utför småfåglarna ekvilibristiska balansakter. Fisken har inte bara förmänskligade drag, den är dessutom omsorgsfullt bandagerad. Trästolen ändrar skepnad likt en kameleont i olust över att ”bara” vara en trästol… I målningarnas bristande logik finns en surreell dimension som entydigt signalerar att deras uppgift inte endast är att roa genom att göra gränsen mellan verklighet och fiktion flytande, utan att de också har något att säga om den faktiska verklighet vi lever i. Om vår jord, lika ömtålig som den avbrända tändstickan. Om fåglarna vars habitat minskar dag för dag. Om fiskarna som skärs sönder av avfall och kvävs av plast. Om ofördragsamheten med det alldagliga. Om tidsaccelerationens krav på ständig föränderlighet. Bakom Bertil Warnolfs avskalade och koloristiskt varsamma kompositioner döljer sig ett djup allvar och ett stort engagemang med vår tid och vår jord.

Britte Montigny

Recension av Carolina Söderholm Sydsvenskan 11 Mars 2017


Anna Clarén

28 January – 26 February 2017



Anna Clarén’s photo art is highly autobiographical. After having seen her latest works I’m tempted to say skinless. Given the title Under, they differ from everything she has built so far on her career. Under might refer to under the surface but could also – in Swedish – be understood as a haul between then and now. Butterflies are responsible for the transport. Nameless butterflies who flutter in the tepid air in Fjärilshuset (The Butterfly House) at Haga. The butterflies bring her back to square one. It was with the butterflies she almost unconsciously entered her photographic path, a couple of decades ago. Then life and success interfered and the butterflies disappeared, maybe because she never was very interested in them to begin with. However, when life demanded a restart they returned. In Under – to borrow from her own words – she merely uses them as symbols of resurrection. I myself even understand them as the artist’s alter ego, the final stage of turning yet in a fixed manner. This time it doesn’t begin with a young girl’s dream of a fulfilling career as a photographer but instead at a  turbulent life crisis that leads to something new and unexplored.

My first encounter of Anna Claréns photographic art took place at Fotografiska in Stockholm during the spring of 2013.  The museum showed Close to Home, an exhibition which has since then reached far and wide and generated a photo book with the same name. It made an immense impression. The motifs were trivial and self-biographical, collected from her closest environments: her kids and husband, her parents and their parents, nature sceneries from Biskops-Arnö, Stockholm or Skåne, places where she had lived during longer or shorter periods. Clean pictures, minimalism stripped off everything but the most essential. Exquisite. What had them differed from all I had seen so far was however, the light and the shimmer of fragile happiness that radiated from it. But it was also alarming. Almost every photo was so filled with light that it seemed to be overexposed. Just a bit more light and the motif would fade and fly away as the morning mists in early summer, as the memories of the past.

The stillness and silence in Close to Home is total and leads thoughts towards artists such as Jan Vermeer van Delft and Wilhelm Hammershøi, both known for creating big and unforgettable art out of trivial acts and empty rooms. But there ends all similarities. Both Wermeer and Hammershøi are quite neutral when they approach their motifs; Anna Clarén loads her poetical and beautiful photos with a minor sued sadness emanating from the understanding of the fragility in life and the moment. It is an understanding that gradually has matured after her award winning debut book Holding, a sort of photographic diary starting from the summer of 2006.  The book awoke the curiosity of the journalist Christoffer Barnekow. He wanted to learn more about her life and the art and met her for an interview in 2009. It was published in Konstkatalogen No 1 the same year. Talking about how her photos had become more and more pale and almost ethereal she answered: “I fear the catastrophe. I’m afraid it will come before I even know it is a catastrophe. I see an accident in slow motion. It will blow, but I don’t know where. Maybe it is this pale. Soon it’s over. Soon it’s gone”.

In 2009 Anna Clarén also started the project Close to Home – all in all about 60 pictures. As an epilog she writes: “Most pictures are taken during 2009 to 2012, during a period when an immense lot of beautiful things were given to me. I have had three children and a husband. We are living in a house in the middle of the beautiful Swedish nature”. And the photos are shimmering of light. And sadness.

In Under the tone is quite different. The tender sadness is transformed into a deeper minor and the color scale is much darker than in Close to Home. The evil forebodings seem to have come true. The family is no longer the focus, nor is the home. In some short lines Anna Clarén writes those grave disappointments a couple of years ago which made her life turn, made her disappear under the surface, blindly swimming. More concrete: She fled to Fjärilshuset på Haga where she more or less lived for six long months, delegating her emotions to her camera and filling thousands of photos with a new poetry. Touching, beautiful. Also this form of poetry is fragile but also darker, more troubled and evidently hunting a resurrection and a new life, a new light. And it is coming. In most of the photos there is, far away, a hint of light to be seen. A dawn. A new day and a new freedom wait outside the secured glass walls.

Britte Montigny


I’m not very interested in butterflies. I do not know the latin names of the different species, how long they live or what they eat. I am after the feeling of being in a state of transition. Of being in-between the old, the ingrained and the safe life behind you and the new, without knowing what the new will be like.  Some might call it a crisis. I think most of us have been there. Maybe in having to go through a divorce or having to say good-bye. In moving away or in changing jobs. This gap in-between can be scary and lonely place.

In the winter of 2015 life took me back to that gap. A series of disappointments forced me to change path, to give up much of what had been my identity. Nothing was the same. In search of something familiar or in search of comfort I went to Fjärilshuset in Haga in Stockholm. During 6 difficult months I took pictures almost every day. One hundred rolls of film were exposed in my camera.

Often I had the feeling of swimming under water. I held my breath and focused on swimming. I told myself –almost there, just a little more, you can do it. Maybe you have to sink, to touch bottom before life can turn into something else? I want to tell a story   about rebirth. A larva that becomes a chrysalis and finally a butterfly.

Anna Clarén
2017-01-12, Biskops-Arnö

Anna Clarén was born in Valje and grew up in Lund in Skåne in the south of Sweden. Her breakthrough as an artist came with the series “Holding”. Her book with the same name was awarded “Photo-book of the year” by the Swedish Photographers Association in 2006. She has also produced the series “Puppy Love” and “Close to Home”. The latter project was exhibited in 2014 in Malmö Museum. Anna Clarén also formed a part of the exhibition “A way of life” on the Moderna Museet (Museum of modern art) in Malmö and Stockholm the same year.

Her latest photo-series “Under” is now exhibited in its entirety for the first time.