The exhibition highlights the two artists’ distinct styles, but at the same time shows how they together bring out something previously unknown in each other’s work. By putting Eriksson and Munch together in a free way, the idea of a linear art history is loosened up. The images are detached from the contexts we are used to. When their works from different times hang close to each other, a relationship is established in both directions.
It is not only the living artist who takes up where the older one leaves off, Munch’s pictures unfold and get to speak with Eriksson. It is not a question of wanting to see a development, rather of trying to create a remake. By shifting between contrasts such as the figurative and the abstract, the sensed, something new can be made visible and bring life to the rooms. Sometimes the works rather mirror each other. A tree made by a young Eriksson, Untitled (1993), meets Munch’s Oak from (1903), the same questions have been asked over the years.
