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Mankovsky Gallery

Hem
Sverige
Gothenburg
Mankovsky Gallery

Limited, unique and affordable art for a new generation of collectors.

29/08/2026

RADICAL ROOMS - Curated by Roland- Philippe Kretzschmar [ Roland-Philippe Kretzschmar | The Art Bystander ] - Ongoing exhibition at Mankovsky Gallery - Linnégatan 13 - Stockholm

Nobody argues with a room. You walk into one and become the version of yourself it has already decided on. The chair fixes your posture, the sofa decides how close you may sit, the shelves determine what deserves to be seen. We call it taste, though it behaves more like instruction.

Gufram and Memphis argued with the room anyway, and they did it by being funny. Gufram began in Turin in 1966 with foam developed to insulate buses, handed to artists without telling them what to make. Memphis arrived in Milan fourteen years later, putting cheap laminate onto furniture you were supposed to admire. Both were laughed at. Both outlasted much of what was taken seriously at the time.

Sweden, meanwhile, became exceptionally good at the quiet, correct room. From Ellen Key to Gregor Paulsson and the Stockholm Exhibition of 1930, good design became almost a national instruction. A discipline sustained for ninety years eventually stops being a decision and becomes a reflex.

Which is how there comes to be a cactus on Linnégatan that punishes anyone who hangs a coat on it, and a pair of lips where the sofa ought to be.

Alongside them, Lovisa Sköld paints synthetic gloss in oil, while Niall Campbell Strachan fills cardboard, wood and aluminium with beings that have neither names nor zoological relatives.

I am not proposing that anyone give anything up. Sit down, notice what the room is asking of you — and enjoy how badly it asks.

Stockholm was told to accept.

With considerable affection, we suggest that we play instead.

Photos by Victor Alexander Apelgren / KANPAJ

11/08/2026

Nobody has managed to name the animals in Niall Campbell Strachan’s paintings, including the man who paints them.

They have faces, which is where the trouble starts. A bird that might be a dog. Something with too many teeth looking mildly embarrassed. The expressions are simple and the feelings underneath are not. What keeps returning is a low-grade confusion about what is going on, which anyone who has stood too long at a private view will recognise.

Strachan is Scottish, born in 1986, and works on whatever the studio has lying around: cardboard, wood, aluminium panel, spray paint under acrylic. He lets the panel dictate the picture, an eye surfacing first and the creature arriving behind it.

The rise was fast. In 2017 he was in a group show at the museum in Inverness, and the following spring was hanging in a railway club in Glasgow, in an exhibition of artists who make music and musicians who make art, sharing a wall with Martin Creed and David Shrigley. Then came two annual shows at the Royal Scottish Academy in Edinburgh.

2022 is when the map opened up. Madrid, New Jersey, Brussels, Seoul, Shanghai, with fairs selling out along the way. By 2024 he was at Maddox in London in a group show alongside George Condo. Jay-Z owns one.

He showed with Mankovsky in Gothenburg in 2024 and returned for Tomorrow’s Masters last May.

There is a reason he sits well beside the furniture. Sottsass built a bookcase where nothing stands straight, and Gufram poured a cactus to hang your coat on and a rock soft enough to sit in. Strachan paints beings no zoologist could file and asks you to live with one. Forty years between them and the same instinct: an object ought to have a personality, preferably an inconvenient one.

This August, Memphis Memphis Milano is at Mankovsky Gallery in Stockholm, shown with Gufram Gufram and new paintings by Niall Campbell Strachan Niall Campbell Strachan and Lovisa Sköld Lovisa Sköld

Curated by Roland-Philippe Kretzschmar Roland-Philippe Kretzschmar | The Art Bystander for Mankovsky Gallery Mankovsky Gallery

Opens 22 August. Linnégatan 13, Stockholm.

06/08/2026

RADICAL ROOMS

Lovisa Sköld paints shine.

Puffer jackets in lilac and in pink, hung as a pair. Patent boots. A gold armchair and its silver twin. Boxing gloves. A fake fur in green. The Swedish titles are as plain as a shop receipt, Guldfåtölj, Svart dunjacka, Grön fuskpäls, and the surfaces are lacquered to the point of hallucination.

She grew up in Bredaryd, a village in Småland, studied at HDK-Valand in Gothenburg and taught art in a school before painting full time. The teaching is where the working hours come from. She is at the easel the way other people are at a desk.

Photorealism is a dangerous place to stand. A centimetre off and it collapses into kitsch. Sköld holds it because the shine is the subject, borrowed from fashion, sport and the feed, where a polished surface works as a language, a shield and sometimes a form of manipulation.

Her first museum show, Glossy Worlds, ran at Jönköpings läns museum until March. One reviewer noticed that the real green coat placed in the room had a loose thread in the seam and a lapel hanging slightly crooked, and found it a relief. Göteborgs konstmuseum has bought her into its collection. Room57 in New York has shown her, and there are public commissions for Vasakronan and Göteborgs Stadsteater. Seventy-one thousand people follow the studio on Instagram, which she treats as the cost of getting back to the canvas.

Memphis coated its furniture in plastic laminate, the material of café counters. Gufram poured foam and made a cactus you could hang a coat on. Sköld paints polyester and lacquer at a scale where the stitching shows. Three ways of insisting that the surface is the argument.

This August, Memphis Memphis Milano is at Mankovsky Gallery in Stockholm, shown with Gufram Gufram and new paintings by Lovisa Sköld Lovisa Sköld and Niall Campbell Strachan.

Curated by Roland-Philippe Kretzschmar Roland-Philippe Kretzschmar | The Art Bystander for Mankovsky Gallery Mankovsky Gallery

Opens 22 August. Linnégatan 13, Stockholm.

28/07/2026

Save the date.

RADICAL ROOMS brings the playful design legends Gufram and Memphis Milano to Stockholm and puts them in the same room as contemporary painting by Niall Campbell Strachan and Lovisa Sköld

Design that was always art. Art that takes up the whole room.

Saturday 22 August.
Linnégatan 13, Stockholm.

Curated by Roland-Philippe Kretzschmar for Mankovsky Gallery

21/06/2026

On Friday 26th, we open the doors to our Stockholm- gallery with the exhibition Where Thought Stops, lead by two incredible artists; Anna Brandt and Alexander Erikson.

Anna Brandt started painting in 2019. No art school. She picked it up because she needed to, not because she planned a career in it. It was a way to process things, to slow down, to let a painting carry what she couldn’t say.

Her father was an artist, so she grew up close to it. The studio is where she sorts things out. Colour and gesture build up without being pushed. You can tell she’s working something out on the canvas rather than just showing you a finished thought.

The paintings are slow. There’s no story to follow. They put you in a reflective mood and keep you there, instinctive on the surface but holding a lot underneath.

For Brandt, painting is how a life takes shape.

Alexander Ericsson paints figures who won’t quite show themselves. They stand in front of you with their eyes painted over or blurred out, the detail dropping away into flat colour. You’re looking at a person, but you don’t get to know them. The portraits are about distance and self-protection more than likeness.

Ericsson never trained as a painter. He studied interior design in Glasgow and spent years working as an interior architect before coming back to painting after a long break. You can see the old job in the work, in how he handles space and how a figure sits in a room. But painting is a different thing for him. No brief, no client, no function. Just music, time alone, and attention.

He calls his figures people in the corner. In the room, watching everything, never in the middle of it. The paintings work the same way. They don’t perform. They sit quiet and ask you to notice what’s been left out.

He came back to it because he had to. Painting is the part of the day where the outside world drops off and time goes loose. The work holds both calm and pressure. Nothing is being declared. These are encounters: with memory, with being alone, with the parts of yourself that are hard to say out loud.

We invite you to take part in this exhibition and experience these raw, emerging artists for yourselve

12/05/2026

Last days of MORPHEUS in our gallery in Stockholm. Wednesday and Thursday offers final chance to see the exhibition in full before being shipped to clients.

Welcome 🥂

05/05/2026

On the 22nd we had a small get together with friends. Almost 400 of you beautiful souls showed up for the unveiling of our Stockholm gallery as well as a first hand look of our inaugural show MORPHEUS. We couldn’t have been received in a better way.

Thank you to all who made it possible and for performing for us all this special night!

You’re all amazing, thank you, thank you, thank you! 🥂❤️

MORPHEUS is ongoing until the 14th of May, welcome!

04/05/2026

Happy to welcome Princess Sofia of Sweden to a private tour of our Stockholm gallery just hours ahead of the launch last week.

Julius Nordvinter’s work “Familj på besök i vattenpalats” became focal point of discussion and interest and remains on display until the 14th of May at the inaugural show MORPHEUS at Linnégatan 14.

04/05/2026

MORPHEUS - Exhibition at Mankovsky Gallery Stockholm until 14th of May.

Artist in spotlight: Shigeki Matsuyama (Tokyo - Japan)

Every beginning requires a shift in perception.

Morpheus marks the opening of Mankovsky Gallery Stockholm, a space between states, where realities are shaped, questioned, and reimagined. The exhibition draws on the idea that perception is never fixed, but constructed through the frameworks that surround us: how art is curated, presented, and ultimately valued.

Dreams resist control. They unfold unpredictably, revealing fragments of truth beneath what appears stable. Elsewhere, a choice is offered: remain within the familiar illusion, or step beyond it and see differently. Morpheus exists between these positions, where established structures can be questioned, and new perspectives begin to emerge.

As a new- generation gallery entering the Stockholm art scene, Mankovsky resists narrow definitions and predictable narratives. Instead, Morpheus embraces multiplicity. It brings together a group of emerging artists whose practices are not only distinct, but indicative of a future still in formation.

Working across materials, ideas, and visual languages, the exhibition does not seek cohesion. Instead, it treats distance, contrast, and tension as a curatorial method—allowing each practice to exist on its own terms while contributing to a wider dialogue.

For us, curation is a way of navigating: creating space for new voices and unexpected encounters. Morpheus is a beginning shaped by openness, friction, and a belief that emerging artists have the capacity to redefine the structures that frame them.

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Vallgatan 15
Gothenburg
41116

Öppettider

Tisdag	10:00 - 17:00
Onsdag	10:00 - 17:00
Torsdag	10:00 - 17:00
Fredag	10:00 - 17:00
Lördag	11:00 - 16:00
Söndag	11:00 - 16:00

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