Art Basel June 16-19 2016

Magazzino D'arte Moderna is showing the video work Music Box (installation view above) in Hall 2.1, Booth P02, and Galerie Nordenhake is showing the photo series Birds in Hall 2.1, Booth S13. Previews June 14-15.






Bristol Arena

Scheduled for completion in 2017. Public commission, Lead Artist for the new Arena in Bristol. In collaboration with Populous Architects, Fielden Clegg Bradley Studios, BuroHappold Engineers, Vanguardia and Field Art Projects.



22 July Memorial Sites

Scheduled for completion in July 2017. Winning entry in invited competition, organized by Public Art Norway (KORO).



The concept for the Memorial Sørbråten proposes a wound or a cut within nature itself. It reproduces the physical experience of taking away, reflecting the abrupt and permanent loss of those who died. The cut will be a three-and-a-half-meters-wide excavation. It slices from the top of the headland at the Sørbråten site, to below the water line and extends to each side. This void in the landscape makes it impossible to reach the end of the headland.


Visitors begin their experience guided along a wooden pathway through the forest. This creates a five to ten minute contemplative journey leading to the cut. Then the pathway will flow briefly into a tunnel. This tunnel leads visitors inside of the landscape and to the dramatic edge of the cut itself. Visitors will be on one side of a channel of water created by the cut. Across this channel, on the flat vertical stone surface of the other side, the names of those who died will be visibly inscribed in the stone.


The names will be close enough to see and read clearly—yet ultimately out of reach. The cut is an acknowledgment of what is forever irreplaceable. This experience hopes to bring visitors to a state of reflection through a poetic rupture or interruption. It should be difficult to see the beauty of the natural setting, without also experiencing a sense of loss. It is this sense of loss that will physically activate the site. People will find their way around the landscape surrounding the cut, looking down at the channel and to the names from a higher perspective, or looking out to Utøya, establishing their own private ways of seeing and remembering.


The stone excavated from Sørbråten will be transferred to Oslo and used in forming the Government Quarters Memorials. These designs, for a temporary as well as a permanent memorial, are currently (Spring 2016) being revised in relation to the ongoing urban redevelopment project for the site.


For press inquiries, please visit the website of Public Art Norway or contact Annicken Vargel.



Verdi's Macbeth at El Liceu in Barcelona

Verdi's opera Macbeth, directed by Christof Loy with set design by Jonas Dahlberg, is opening at the Gran Teatre del Liceu in Barcelona in October 2016.


The Path of the Sun

Public commission. To be completed 2017. A public artwork commemorating the Centenary of Finland’s Independence.


The work consists of a raised and tilted circular structure. It is angled to correlate with the position of the sun as it travels across the sky. Markings in the landscape below the structure notes the time and position on the horizon of the sun at sunrise and sundown on December 6th.


The Path of the Sun addresses both the specific and the eternal conditions that took place on this day in 1917. The piece is directly informed by the exact position of this site in our solar system and on this single day. In this way, the specific day of Finland’s independence will be represented every day, from the moment the artwork is completed. Thus, this is a representation of this important historic moment, and, at the same time, a representation of conditions that are recurring and eternal. Year after year, on the 6th of December, the sun will rise at 8:57 EET at this particular site, just as it did in 1917.


Organized by the Regional Council of Kymenlaakso. The site is located in Virolahti at the endpoint of the E18 motorway, Finland’s main route stretching between St Petersburg and Helsinki.



An Imagined City

2015. Direct Public Commission. Permanent sound installation. 12 ultrasound speakers with directional sound. Produced by The Swedish National Public Art Council in collaboration with the KTH Royal Institute of Technology and Akademiska Hus.


An Imagined City is a permanent sound installation at the new KTH School of Architecture in Stockholm. Concealed in the ceiling of the entrance foyer are twelve ultrasound speakers that direct the sound, so that it can only be heard if you stand immediately under them. Through each of the speakers a quiet voice, up close, describes a memory of a fictional environment from a movie. In total, nine voices recount more than five hundred such recorded memories, collected from hundres of different people and edited by the author Astrid Trotzig. As you enter the building, you encounter an additional layer of invisible architecture.


2015. Photo series. Pigment print on acid free cotton rag.



Malmö Konstmuseum

Group exhibition. Malmö. September 24 2016 - January 15 2017. Malmö Konstmuseum

The Mirror

2015. Direct Public Commission. Produced by Stockholm Konst in collaboration with Stockholm Globe Arena Fastigheter.


The artwork is a large sculpture consisting of a rotating 17-meter circular surface that supports a free-standing 17-meter wide by 10-meter tall mirror-wall. The entire structure rotates slowly and one 360 degree turn takes approximately 15 minutes.


As the mirror-wall rotates, the sculpture reflects its surroundings, constantly representing the immediate time, or the now. When daylight fades, LED lights embedded into the entire surface of both sides of the mirror-wall, light-up and create a moving image depicting (or mirroring) the same surroundings. In other words, the mirror-wall becomes a rotating film screen at night. As the film was recorded in the exact position where the sculpture sits and uses the same movement and pace, the moving image therefore becomes a persistent reflection of the time of its own making, which is immediately the past. As time goes by, the distance between the daylight and present moment of mirroring and that of the nighttime past moment of the film, grow further and further apart. The sculpture becomes a constant reflection of the past while in the same breath of a day, reflects the present.



Press play for 2:39 excerpt of video.

Music Box

2015. Single channel installation, HD video, black and white, sound, 26:55 min (continuous loop).

Produced with help from Konstmuseet i Norr, Kiruna and Göteborgs Konstmuseum/Stenastiftelsen.


In this large-format video work, the viewer follows the camera’s journey through the confined space of a small music box. The tiny mechanisms of the box take on an industrial character in this expanded scale, creating a magnified microcosm. Associations of industrial alienation coexist with the the extreme proximity of the camera and the intimacy of a personal object.

Press play for 2:02 excerpt of video.

Music Box (back)

2015. Single channel installation, HD video, black and white, sound, 01:06 min (continuous loop).

Shadow Room

2011. Single channel installation. HD video. Black and white. Silent. Duration 10:31 min (continuous loop). Projection dimension ~ 4 x 3 meters.


In Shadow Room the camera pans back and forth inside a room, recalling the movement of a surveillance camera. With each successive round, the room fills with tree shadows until the room is completely immersed, and obscured, by shadows of nature. The film references Vampire (1932) by Carl Theodor Dreyer and Nostalghia (1983) by Andrei Tarkovsky.

View Through a Park

2009. Single channel installation. HD video. Color. Silent. Duration 16:58 min (continuous loop). Projection dimension ~ 4 x 2,25 meters.


In View Through a Park the viewer follows a single camera movement from the interior of one apartment, through an idyllic city park, to its facing apartment. Set at night, the dreamlike shot travels endlessly between these two buildings, transforming from a non-physical journey for the viewer through the park - to a furtive, intruding gaze within the private spaces. The work was made by filming in a large constructed set design model of Gramercy Park - the only remaining private park on Manhattan in New York.  Contrary to its appearance, and paradoxical in terms of the history of filmmaking, View Through a Park is in fact a film in color, depicting a setting that is black and white.

Three Rooms

2008. Three channel installation. HD video. Black and white. Silent. Duration 26:58 min loop. Dimensions 46 Inch LCD monitors.


Three Rooms shows three archetypical domestic environments, that during the course of each film, dissolve leaving only a series of bare spaces. Objects which are thin disappear gradually. Other thicker objects whose mass is unevenly distributed involve a process of falling over and breaking before they, too, disappear.

The environments were constructed in paraffin to make the detailed models of each room. When placed into a heated solvent solution, the paraffin melted like ice in warm water, changing the environments from a solid to a liquid form.

Invisible Cities 

2004. Single channel installation. HD Video. Color. Silent. Duration 47:22 min (continuous loop). Projection dimension minimum 4,5 x 3,4 meter.


Invisible Cities depicts a slow, almost weightless flight through what seems to be a deserted city where the only thing that reminds us of some life, are birds flying next to the central square. The sky is clear as the camera passes different archetypical aspects of any small northern European city: private housing blocks, high rises, industrial areas, shopping streets and a railway station leading to a central square.


The work took its conceptual starting point in reflecting that while we often speak of mega-cities that grow and generate new conditions and problems for urban living.  Sometimes, we talk of rural areas and their depopulation, their insufficient or excessive funding. But we rarely talk of the in-between cities. The ones that exist without much change and where a large part of the world's population lives.


In the film, the viewer is guided through one of these Invisible Cities. The Swedish bright summer night transforms the fully functioning city into a ghost town, as the filming of Invisible Cities was done in the middle of the night, when residents were sleeping.


An artist book which reflex on global urbanism was produced in conjunction with a solo exhibition at FRAC Bourgogne in 2006. The book has an essay by Göran Dahlberg and is distributed by les presses du réel.


The work is produced with the help from Konstnärsnämnden - the Swedish Arts Grants Committee & Moderna Museet, Stockholm

Weightless Space 

2004. Single channel installation. Video. Color. Silent. Duration 22:10 min (continuous loop). Projection dimension ~ 4 x 3 meters.


In Weightless Space the viewer follows a potted plant and errant bubbles while they float around, seemingly weightless and unaffected by gravity.  The only light source in the drab 1970s room comes from the slightly opened door.  To make the work, the scene was filmed by placing the room inside of an aquarium filled with glycerol.  The aquarium was then fixed to a gyroscope that when rotated created the weightless effect.

Untitled (Vertical Sliding) 

2001. Single channel installation. Video. Black and white. Silent. Duration 28:26 min (continuous loop). Projection dimension minimum 4 x 3 meters.


Untitled (Vertical Sliding) is a looped 28 min and 26 second video that shows a continuous tracking shot where the camera travel downwards, like in an open elevator revealing hotel corridors, one after another.  The film was shot in a panoptic architectural model where the camera rotates in the centre of the model replacing the gaze of the watchtower in the panopticon. Since the building is constructed in a circle and the camera rotates in the middle it creates both an architectural and a filmic loop.

Lighthouse - The Royal Institute of Technology

Art/architecture concept proposal for the Campus of KTH, The Royal Institute of Technology in Stockhom. By The Swedish National Public Art Council in collaboration with The Royal Institute of Technology and Akademiska Hus.

An Imagined City

Temporary site-specific work on and around the old post office, Postenhuset, on Nybrogatan 57 in Stockholm. The piece was an architectural sound and light installation. October 18 - December 31 2012


During the restoration of the old post office on Nybrogatan 57, I transformed the building into an austere, black facade to use as my backdrop. In daylight the temporarily blackened building became the archetypal image of contemporary architecture, only to be transformed into a seemingly black hole at night.


When darkness fell windows lit up and shone their spotlights down onto the street. The beams were filled with voices that took the viewer on a journey through cities, places and buildings, in stories that are based on an archive of memories of cinematic rooms and spaces. The austere facade, or the black hole, became a screen onto which the audience could project their own memories, thoughts and ideas regarding architecture and what a city can be.


An Imagined City was a temporary staging of public space, a kind of theatre where everything is possible. What kind of city do we want? Which architecture is imaginable in the first place, and what happens when one temporarily dramatizes a quotidian milieu?


An Imagined City was produced by MAP, Mobile Art Production, in collaboration with Oscar Properties, the owners of the building on Nybrogatan 57.

Opera Scenography for Verdi's Macbeth

Premiered on June 13th 2012 (followed by15th, 18th, 21st, 24th, 26th). Grand Théâtre de Genève, Boulevard du Théâtre 11, Geneve. Conductor Ingo Metzmacher, Director Christof Loy, Costume Ursula Renzenbrink. Choreography Thomas Wilhelm, Light Bernd Purkrabek, Dramaturgy Yvonne Gebauer, Choir Ching-Lien Wu.


In 2012, the Grand Théâtre de Genève presented a production of the opera, under the direction of Christof Loy(de) who invited me to create the set design. In my own work I often deal with architecture and film and I designed a set which resembled a black and white film. I used Alfred Hitchcock's, Rebecca, and Carl Theodor Dreyer's Vampyr as key references to dive in the dark and psychic intimacy of the characters. The musical director was Ingo Metzmacher. Lady Macbeth was performed by mezzo-soprano Jennifer Larmore, Davide Damiani sang Macbeth, and Christian Van Horn was Banco.

Silver Screen

 2011. Selected Competition. Ecosoc Chamber, UN building New York.


The United Nations (UN) building in New York was designed by Le Corbusier and Oscar Niemeyer.  Completed in 1953, the building’s large planes of glass communicated openness and clarity, which could be fittingly extended to the task of those working in the United Nations and towards the peace process.


As one of four candidates, I was asked to work on a proposal for the United Nations Economic and Social Council (ECOSOC) chamber, and come up with an idea for replacing a large curtain that was hung to block sight of the delegates while they are inside of the large presentation space, from the view of the East River, as a security function.  My proposal made a connection between the peace process that is dependent on time, growing wisdom, and constant motion, with a solution that poetically invoked this process.  Instead of thinking in terms of a static, mostly decorative solution, I wanted to address time and distance as elements necessary in understanding our human condition, along with light as a constant reminder of what lay just outside of the chamber—the rest of the world.


My proposal for the ECOSOC chamber was based on watching a Polaroid photograph slowly develop.  But the “image” in my proposal would gradually appear over the course of 15 to 20 years. Instead of using a photographic process, I proposed to create a “screen” woven from a combination of silver fiber, and real silver thread.  I devised a way to use silver and its natural oxidization property as it comes into contact with air. In this oxidizing process, silver changes from “white” into “black” as it tarnishes, and depending on the amount of sulfur in the air, this process takes between 15-20 years.


The image that would “develop” on the screen over years, would be an image that was taken in the present - a view of the East River and Brooklyn from the viewpoint of the delegates in the chamber. To put it another way, or more poetically, the image of today would be viewed as part of the past.  It would be like the light seen from a distant star - when the light finally reached our sight, it tells us of an existence that has already passed.  The screen would start out as a purely silver surface, reflecting light into the chamber and suggesting that light is pushing through the screen from the outside, forming the image.  It takes time and distance to see our own time, and when we finally can understand it, it will have become a part of history.

Safe Zones No. 7 - Safe Zones No. 11

2001-2006. Safe Zones  is  permanent site-specific installations consisting of architectural models re-creating the actual rooms where the models are placed, along with surveillance cameras and a monitor that show the live transmitted footage from the models. Safe Zones installations can be seen in The Modern Museum in Stockholm, ZKM in Karlsruhe, Museum De Paviljoens in Almere.


2006. Single channel & split screen installation. Video. Black and white. Silent. Duration 58:15 min (continuous loop). Projection dimensions 5 x 2,81 meters & 10 x 2,81 meters.


The work was produced as site specific single channel installation in conjuction with a group show at Museum Calle Alcala 31 in Madrid and the work is now part of collection Consejeria de Cultura of the Comunidad de Madrid. The work also exist in a split screen installation version.

The film produced for the exhibition uses the old bank space at Calle Alcala which today host an art museum as the location for the film and make a 5 minute and 15 second slow circle around the main hall in the space.


1999. Pavillion 4 x 4 x 4 meter, with wall text and c-print.


The work Memory is a 4x4x4 meter pavilion that was build for a summer exhibition in 1999 in Wanås sculpture park  in south of Sweden. The house is modeled after a house on Sicily. On the left wall inside the pavilion a 50x50 image of the original house from sicily were place. On the wall opposite from the image a 50x50 cm text plate were placed with the following text:


Last summer I walked past a little house. The house lay apart, slant below from where I came walking. In the light from the doorway I saw two men masturbating. They were standing in the middle of the room with their backs to each other.

An Imagined City

2012. 6 channel looped directional sound installation. Duration ~ 21 minute on each channel. The work was produced with the help from Archizoom Lausanne, Göteborgs Konsthall, MAP Mobile Art Production  Stockholm and Oscar Properties.

House, Music Box, Bird, Trees

2015. Photo series. Black and white photographs on cotton paper.

Act 1, Scene 1

C-Print and Inkjet print, 57 x 44 cm (Framed 60 x 80 cm) , 44 x 22 cm (Framed 60 x 36 cm)


School Corridor, 1986

2010. Kinetic sculpture. Aluminium, steel, LED lamps, motor. Dimensions 135 x ø92.5cm


This work is something between a sculpture and a mechanical film. I’ve constructed a series of small, three-dimensional “film frames” creating a horizontal wheel, recalling a film reel. When the wheel rotates, the rooms are fed forward like a film in a projector, creating an animation. The rooms are constructed with imperfections and scratches so that the feeling of early animation mechanisms and early cinema comes to mind.


In the work I’m addressing an idea of how memories and film-animations have a connection to each other by the way they are similarly constructed. To be able to create an animation and an illuminated frame—or in this case a room—it’s necessary to always have a dark interval before the next frame/room. The illuminated image is then imprinted on the retina and is linked by the eye's memory to the ensuing room, creating a continued movement.


The work is produced with the help from Konstnärsnämnden - the Swedish Arts Grants Committee.

The First Minute of the Rest of a Movie


2005. Collaborative work with Jan Mancuska for Bonner Kunstverein and Kunsthalle St Gallen. 1 cinema installation, 2 text/film screens 4 x 3 meters and 1 shadow back projection 4 x 3 meters.


That language can generate images and, vice versa, images language and speech is sufficiently well known. In the exhibition by Jonas Dahlberg (*1970) and Ján Mancuska (*1972), two artists meet, who – the different their work is – both place processes of understanding as subject matter in the core of their practice.

Understanding is always dependent on the point of view that is assumed. While Jonas Dahlberg explores the viewer’s standpoint and its fragility in space with his filmic images, Ján Mancuska deconstructs conceptual understanding, i.e. language, in space. Language and space are essential parameters that are basic to our understanding of the world. Language, image and space enter a bond to break down the processes of understanding and make them available for spatial experience.

In the Bonner Kunstverein, Dahlberg and Mancuska develop an exhibition dispositive that specifies the location of the visitor, his perception of the space he occupies and how it is to be understood in a labyrinthine system. The assumably stable ground beneath our feet and the conferring of associative meanings become physically tangible in their factual instability.

The exhibition is not a groupshow in a traditional sense. Jonas Dahlberg and Ján Mancuska are invited to undertake an artistic dialogue and develop an experimental field within which their body of works literally coincide. The aim of any group show is not only to display art in reference to specific conceptual and thematic topics, but to set up an intellectual and artistic dialogue. The latter is the starting point of the collaborative approach of Dahlberg and Mancuska. This exhibition is the first of a series of dialogical shows which takes place at the Bonner Kunstverein and which aims to question and search for different modes of collaborations.

The institution’s aim is not only to set up a platform for art and mediate it to a public, but also to foster possibilities for artists to develop and think into their practices in modes they otherwise could not.

With his installation “A Cup” Ján Mancuska was represented at Czech-Slovakian Pavilion ("Model of World") at the Venice Biennale 2005. His mostly sculptural works concretize cognition and language, which are otherwise immaterial. Mancuska plays off space, in contrast to many other conceptual approaches that are occupied with assigning meaning. Definitional thinking takes on the spatial form of a sculpturally modulated vocabulary, making cognitive processes physically tangible. What is striking is the "economy" of the means - particularly since the artist’s somewhat laconic approach to meaningful questions of fundamental processes of understanding also boasts an immanently subtle humor.

While Mancuska’s work is not comprehensible until the visitor walks around the room and understanding is itself deconstructed in space, Jonas Dahlberg’s video installations transport the viewer to an insecure state of disorientation. The perception of his own location is destabilized in slow camera swings through deserted cities or houses. Dahlberg constructs scale-model houses that he then films, often playing off cinematographic takes, and thereby developing projected illusionistic and alienating spaces. Physical and psychological instability is conferred on the viewer. Irritated by his own perceptual input of where he is, the viewer will end up at times weightless, at times dizzy. The concept of the uncanny (unheimlich or non-homey), which Freud defined as the collapse of our familiar, at-home feeling, is a characteristic of Dalhberg’s work and inquires into the position of the “self”, of one’s own viewing locale.

Safe Zones No. 1

1996 - 2003. Diptych. Framed offset print 180 x 90 cm and framed c-prints 180 x 90 cm.


Safe Zones no 1 is a diptych of  two 180 x 90 cm frames . The left frame shows three night time images of views inside an apartment where someone has rifles on the wall. The right frame shows a plan drawing with two apartments and a text. The plan drawing shows all possible sight lines between these two apartments and the text is as follows:


In 1995, just after I was settled in a new apartment, I was standing at the window when I noticed that a neighbour on the opposite side of the street had guns on the walls.

I got a lot of ideas, some of them quite silly, and I started to photograph his apartment. I thought that if I were to be shot dead, the police would find the photos and catch the killer. Anyway, with the photos as raw material I then began to reconstruct his apartment and made a drawing, including the parts that were not visible from my view.

A few weeks later I rearranged the furniture to the zones which he wouldn't be able to see from his windows. I also decided to live my life exclusively in these safe zones whenever I was at home, which certainly meant that some of the everyday life situations suddenly got rather complicated. However, from his point of view my apartment now was completely empty.

I never met my neighbour or entered his home, and one day when I came back from a trip his apartment was empty.


  • Public Dialogue (with Magdalena Malm), Public Art Agency Sweden at the KTH School of Architecture, April 21


  • Magazzino D'Arte Moderna (Solo exhibition). Rome, February 12 - May 8


  • Göteborgs Konstmuseum (Group exhibition), Göteborg, December 5 2015 - February 21



  • Kunsthall Trondheim, Trondheim (Solo exhibition), January 22 - March 1


  • Göteborgs Konstmuseum (Group exhibition), Göteborg, December 5 - February 21, 2016


  • Public Lecture, Architectural Association of Architecture, London, October


  • Galerie Nordenhake, Stockholm (Solo exhibition), October 1 - November 7


  • Public Lecture, Oslo Arkitekforening, Oslo, April

  • The Mirror, Direct Public Commission, Stockholm, September

  • KTH School of Architecture, Public Commission, Stockholm

  • Keynote Lecture, ELIA Conference, Tillburg, May

  • Konstmuseet i Norr (Solo exhibition), Kiruna, Gällivare, Luleå, May

  • Ray Photography Triennal, Frankfurt, June 20 - September 20

  • Keynote speaker, Oyster 2015 Stockholm, September


  • Conference Lecture, Creative Time Summit: Stockholm, November


  • Public Lecture, ETH Zürich, October


  • Public Lecture, Konstfack University Collage of Arts, Crafts and Design, Stockholm, December


  • Galerie Nordenhake, (Group exhibition), Stockholm, June 26 - August 28

  • Norrköpings Konstmuseum (Group exhibition), Norrköping, June 6 - January 11, 2015

  • Køs Museum of Art in Public Spaces (Group exhibition), Køge, September 6 - February 22 2015


  • Spacegrids, Telemark Kunstnersenter Group Exhibition. February 14 - 4 April


  • Public Lecture. Architecture Association London. March 22 at 6.30 PM


  • Hall of Mirrors, Archizoom, Lausanne Schweiz. February 21 - March 23 (Solo)


  • Public lecture. Moderna Dansteatern for The Royal Institute of Art. May 25


  • HEIMsuching – Unsafe Spaces in Contemporary Art”, Kunstmuseum Bonn Tyskland, May 9 - August 25

  • Lighthouse - The Royal Institute of Technology, Concept Proposal for KTH Campus, 2013

  • Catalogue, Published in conjunction with the exhibition Hall of Mirrors at Archizoom, Lausanne















Jonas Dahlberg (b. 1970) lives and works in Stockholm Sweden. He studied architecture at Lunds Technical High School from 1993 to 1995. From 1995 to 2000 he studied art at Malmö Art Academy where he received his M.F.A. in 2000. Since 2000 he has developed a series of videos that primarily consist of slow movements through architectural spaces. The videos are created by building miniaturized architectural sets that are filmed through experimental methods.


In addition to video and video installation, his practice includes public art works, sculptures, commissions, book projects and photography. In June 2012, Dahlberg's concept and set design for an opera production of Guiseppe Verdi's Macbeth debuted at the Grand Theatre in Geneva and In February of 2014 Public Art Norway announced Jonas Dahlberg the winner of the invited competition for the 22 July Memorial at Utøya and in Oslo. Other currently ongoing projects include an Integrated Public Artwork for the new Bristol Arena and a commission for the centenary of Finland’s independence, both to be realized in 2017.


Through his work, be they video or otherwise, Jonas Dahlberg works with space. Architecture is addressed as a political place that influences how we understand ourselves, and how the body and mind experience the outside world.


Among other exhibitions

Magazzino D’arte Moderna, Rome (2016), Galerie Nordenhake (2015), Archizoom, Lausanne (2013), Göteborgs Konsthall (2012), Kunstmuseum Bonn (2013), Prospect II New Orleans Biennial (2011), The Lisbon Architecture Triennale (2010), Kunstmuseum Stuttgart (2009), Galería Juana de Aizpuru, Madrid (2009), Kunsthalle Wien (2008), Leeum Museum of Art Seoul (2007), Taipei Biennal (2006), FRAC Dijon (2006), Marian Goodman Paris (2005), Modern Museum Stockholm (2005),  Momentum 04 Moss (2004), Busan Biennial (2004), National representative for Sweden at 26th Bienal de São Paolo (2004), Italian Pavillion at 50th Biennale di Venezia (2003), Manifesta 4 Frankfurt (2002),  Index Foundation Stockholm (2001),


Lectures/workshops/studio talks include venues such as Architecture Association London,  École Polytechnique Fédérale de Lausanne, Bergen National Academy of the Arts,  KTH School of Architecture Stockholm, University College of Arts, Crafts and Design Stockholm, The Royal Institute of Art Stockholm, Valand School of fine Art University of Gotheburg and Beckmans college of Design Stockholm.

Jonas Dahlberg Studio

Gävlegatan 3

SE-113 30 Stockholm



studio (at)




Galerie Nordenhake

Hudiksvallsgatan 8

SE-113 30 Stockholm



t: +46 8 21 18 92

stockholm (at)




Galería Juana de Aizpuru

C/ BArquillo 44 - 1

28000 Madrid



+34 954 211 143

aizpuru (at)





Via dei Prefetti 17

00186 Rome



t: +39 66875951

info (at)




PKM Gallery

The Trinity PLace Bldg B2/B3

416 Apgujeong-ro, Gangnam-gu

Seoul, 135-954

South Korea


t: +82 2 515 9496

info (at)