Below is a selection of some of the artists and works acquired last year. Among them, Eva Gold, Arthur Jafa, Marius Engh, and Lindokuhle Sobekwa are represented in the collection for the first time, while works from other artists further develop existing holdings. A complete list of all works acquired in 2025 is provided at the end.

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Tori Wrånes (b. 1978) combines performance, sculpture, sound, installation, video, and architectural elements in her practice. Her works frequently give rise to dreamlike, ritualistic, and surreal worlds that engage the body, voice, and spatial experience. One of the works acquired for the collection, Mothers and Child II (2025), was included in The Festival Exhibition Moon Bag at Bergen Kunsthall in 2025. The sculpture consists of two oversized, intertwined bodies that appear suspended or floating vertically, with dramatic, exaggerated forms suggesting a moment of tension—an ascent or descent in space. Mothers and Child II is not merely a figurative sculpture but a psycho-spatial exploration of the extremes of human relationships, using scale and surreal form to render visible emotional and physical complexity.

Reviewing the 2025 festival exhibition, Morgenbladet critic Espen Hauglid wrote: “If one is not uplifted by Tori Wrånes in Bergen, one may be suffering from chronic grumpiness.”

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Eva Gold (b. 1994) is a British artist based in London, known for an interdisciplinary practice encompassing sculpture, installation, drawing, video, text, and narrative works. Her practice revisits questions of storytelling, materiality, and human presence, unfolding through atmospheres that are both cinematic and conceptually charged. Gold’s works often draw attention to what remains unseen, unspoken, or just beyond the threshold of perception. 

Cowboys (2022), acquired for the collection, is a key work from The Last Cowboys project, presented as part of her solo exhibition at Ginny on Frederick gallery, London (April–May 2022). The work exemplifies several recurring concerns in her practice, including sexuality, presence and absence, narrative, and material transformation. 

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Wolfgang Tillmans (b. 1968) is widely regarded as one of the most influential contemporary photographers of his generation. His practice ranges from documentary and experimental photography to installation, abstraction, and at times moving image and sound, consistently driven by a deep engagement with how images shape perception, identity, community, and politics.

The work Nizza (1986), acquired for the collection, is an inkjet print on paper. The title refers to the Italian name for the city of Nice, suggesting a geographical or experiential point of reference. The work exemplifies Tillmans’s early artistic interest in place, presence, and the expressive potential of photography, while also anticipating his later position, in which the boundaries between social documentation, fine art, and personal vision are dissolved—always grounded in the conviction that photography is shaped not by neutrality but by intention and experience. 

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Arthur Jafa (b. 1960) is an American filmmaker, visual artist, and cinematographer. His work constitutes a powerful investigation of race, identity, media, and cultural belonging. He is particularly known for experimental moving-image works that remix found footage, documentary material, and internet content into charged audiovisual collages. The 40-minute film The White Album (2018) has been described as a “social critique of whiteness.” Composed of both found and produced video material, the film articulates how Black culture, ideas, and labor have historically been absorbed into white culture through coercion and violence. As a video collage, The White Album functions both as an artwork and a critical confrontation, transforming the logic of found footage and remix culture into a contested space in which whiteness, violence, and love are intertwined. Viewers are challenged not only to consider what they see, but how and why they are seeing it. 

Over the years, Jafa has developed a close professional collaboration with Norwegian artist Frida Orupabo, and was instrumental in introducing her work to an international art audience in 2017. In 2019, the two artists presented a joint exhibition at Kunstnernes Hus in Oslo.  

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Frida Orupabo (b. 1986) examines colonial history, race, and gender through digitally assembled collages and sculptural installations. Drawing on archival photographs, ethnographic imagery, and personal collections, she fragments and reconfigures bodies to expose how Black subjects have historically been objectified and controlled. Her figures often appear divided, suspended, or bound, emphasizing both vulnerability and resistance. Orupabo’s practice reveals the violence embedded within visual archives, while reclaiming the image as a site of agency and opposition.

Four of her works have been acquired for the collection: Black purse (2024), What’s a friend (2024), Of course everything is real (2024), and Two Women (2021). All were included in the exhibition On Lies, Secrets and Silence at Astrup Fearnley Museet (February–April 2025). The exhibition was described by Dagsavisen critic Lars Elton as “a compelling demonstration of artistic weight.”   

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Marius Engh (b. 1974) works across a wide range of media, including sculpture, installation, photography, text, printmaking, and publications. Through a conceptual and visual language, he holds up a mirror to the present in which the past is reflected, casting shadows and inviting further inquiry. Grounded in extensive research and fieldwork, Engh activates historical materials and symbols, allowing them to emerge in new contexts.

Three of his works have been acquired for the collection: Herm (Strange Bird) (2025), Herm (Quadrigeminal Cistern) (2025), and Emblemata (Crossroad) #1–4 (2025). All were included in the exhibition The Sign of Four, presented at Oslo Kunstforening (August–October 2025). 

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Lindokuhle Sobekwa (b. 1995) is a South African documentary photographer whose work explores family, loss, and the enduring aftereffects of apartheid through deeply personal narratives. Drawing on his own experiences, Sobekwa uses photography as a process of searching and remembrance, often combining documentary images with handwritten notes, text fragments, and archival photographs. His projects revolve around absence, addiction, and unresolved trauma. Rather than offering definitive conclusions, his works resonate with an unresolved uncertainty. The images are quiet yet emotionally charged, expanding the field of social documentary into an intimate and ethical practice that acknowledges both the power of photography and its limitations when confronted with grief and history.

Five of his works have been acquired for the collection: Smoking Break, Thokoza Johannesburg I & II (2022); Promised Land, Thokoza Johannesburg I & II (2022); My Grandmother’s Kraal, Cofimvaba Eastern Cape (I) (2023); My Grandmother’s Kraal, Cofimvaba Eastern Cape (II) (2023); and My Grandmother’s Kraal, Cofimvaba Eastern Cape (III) (2023). 

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New acquisitions to the Astrup Fearnley Collection in 2025:

 Suleman Aqeel Khilji  

Back & forth, 2024   
Oil and pigments on linen  
217 x 360 cm  

Remains of the day III, 2024 
Pigments, oil, and patina on found book cover mounted on panel  
21 x 31 cm  

Remains of the day II, 2024   
Pigments, oil, and patina on found book cover mounted on panel  
19 x 26 cm  

Remains of the day I, 2024 
Pigments, oil, and patina on found book cover mounted on panel  
22 x 35 cm  

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Frida Orupabo  

Black purse, 2024   
Collage, paper, and paper clip mounted on aluminum  
93 x 123 x 2 cm  

What’s a friend, 2024   
Collage, paper, and paper clip mounted on aluminum  
177 x 88 x 2 cm  

Of course everything is real, 2024 
Metal 
Dimensions variable  

Two Women, 2021 
12 movable individual objects overall dimensions 
129 x 215 x 15 cm 

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Diamond Stingily  

Bulwark (I), 2025 
Cast iron and paper cups 
185 x 300 cm  

diamond (I), 2025 
Plywood  
180 x 120 x 40 cm  

Repass of Sandra’s, 2022 
Glossy C-print 
26 x 35 cm  

not yet titled, 2023  
Glossy C-print  
26 x 35 cm  

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Merlin James  

Near, 2024   
Acrylic on canvas  
41 x 51 cm  

Enclosure & Trees, 2003 – 2009  
Acrylic on canvas  
46 x 63 cm  

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Hanne Borchgrevink   

Husflate, rød, 2025   
Acrylic on canvas  
120 x 120 cm  

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Gerda Scheepers  

ROOF (III), 2024  
Acrylic roof paint and acrylic ink on canvas  
300 x 220 x 5 cm  

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Isabella Ducrot  

The Visited Land IV, 2025   
Pigments, meteorite pigment and collage on Japan paper  
245 x 394 cm  

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Franco Fontana  

Ibiza, 1972   
Chromogenic print on Kodak paper  
22 x 34 cm  

Adriatico, 1975  
Chromogenic print on Kodak paper  
17 x 26 cm  

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Luigi Ghirri  

Harlem, 1973 
Chromogenic print 
19 x 29 cm  

Venezia, 1978  
Chromogenic print on glossy paper 
30 x 20 cm  

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Matthew Barney  

Wall Rack: sanguine, 2024  
Ceramic and two synthetic dyed NFL jerseys  
105 x 79 x 36 cm  

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Virginia Chihota  

Munoonei kana makanditarisa nhai Mwari? What do you see when you look at me ohh God?, 2025   
Serigraphy, indian ink and fabric ink on canvas 
240 x 300 cm  

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Ser Serpas  

Untitled, 2025   
Oil on canvas  
287 x 244 cm  

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Moyra Davey  

Interest, 1989 – 2012 
C-print 
72 x 101 cm  

Purse Strings, 1989 – 2012   
C-print  
72 x 101 cm  

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Kristin Nordhøy  

Inverted Drawing No. III, 2025  
Charcoal on paper 
102 x 92 cm  

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Tori Wrånes  

Mothers and Child II, 2025 
Bronze, aluminium reinforcement, textile, plastic, leather, foam 
420 x 220 x 260 cm  

Mussles 4, 2025  
Steel frames, cement and mussels  

Mussles 5, 2025 
Steel frames, cement and mussels  

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Marius Engh  

Herm (Strange Bird), 2025  
Pine plywood, acrylic paint, glass box, shoes, silver-plated cast of postage stamp motif  
190 x 59 x 40 cm  

Herm (Quadrigeminal Cistern), 2025 
Glass sheets, water tap, drain, cast and patinated bronze, cnc-carved mdf, aluminum rods, spray paint, silver-plated cast of postage stamp motif 
185 x 40 x 50 cm  

Emblemata (Crossroad) # 1-4, 2025  
Relief, cast tin 
40 x 40 x 1 cm 

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Arthur Jafa  

White Album, 2018  
Video (color, sound)  
29:55  

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Josiane M.H. Pozi  

me in bed 3, 2025   
Soft pastel, oil paint, acrylic paint, graphite and felt-tip pen on paper  
42 x 30 cm  

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Vegard Vindenes  

Front LXV, 2023 
Acrylic on MDF  
80 x 64 x 2 cm  

Front LXVIII, 2025  
Acrylic on MDF  
52 x 62 x 2 cm  

Front XIV, 2012   
Acrylic on MDF  
70 x 60 x 2 cm  

Front XXIX, 2016   
Acrylic on MDF  
68 x 64 x 2 cm  

Front XXX, 2016   
Acrylic on MDF  
74 x 64 x 2 cm  

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Christopher Williams  

Mustafa Kinte (Gambia)   
Camera: Makina 67 506347   
Plaubel Feinmechanik und Optik GmbH   
Borsigallee 37   
60388 Frankfurt am Main, Germany   
Shirt: Van Laack Shirt Kent 64   
41061 Mönchengladbach, Germany   
Dirk Schaper Studio, Berlin   
July 20, 2007, 2008 
Gelatin silver print  
51 x 41 cm   

Model #105M – R59C   
Keystone Shower Door   
57.4 × 59 ̋ Chrome/Raindrop   
SKU #109149   
#96235. 970 – 084 – 000   
(Meiko)   
Vancouver, B.C.   
April 6, 2005 (No. 2), 2005  
Gelatin silver print  
41 x 51 cm  

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Wolfgang Tillmans  

Nizza, 1986 
Chromogenic print mounted on Dibond in artist’s frame  
206 x 145 x 6 cm  

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Miriam Cahn  

gezeichnet, 2022 + 15.1.24, 2022 – 2024   
Oil on canvas 
121 x 76 x 2 cm 

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Eva Helene Pade  

Opløst (Dissolved), 2025   
Oil on canvas  
40 x 30 cm  

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Lindokuhle Sobekwa  

Smoking Break, Thokoza Johannesburg I & II, 2022   
Inkjet print on Baryta  
50 x 40 cm & 40 x 50 cm  

Promised land Thokoza Johannesburg I & II, 2022   
Inkjet print on Baryta  
100 x 80 cm & 100 x 80 cm  

My Grandmother’s Kraal, Cofimvaba Eastern Cape I, 2023   
Inkjet print on Baryta  
40 x 50 cm  

My Grandmother’s Kraal, Cofimvaba Eastern Cape II, 2023   
Inkjet print on Baryta  
80 x 100 cm  

My Grandmother’s Kraal, Cofimvaba Eastern Cape III, 2023   
Inkjet print on Baryta  
40 x 50 cm  

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Eva Gold  

Cowboys, 2022   
Rubber roofing membrane  
Dimensions variable  

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Albert Oehlen  

Bügel, 2005   
Oil and acrylic on canvas  
180 x 230 cm  

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Eline Mugaas 

Green Tiles, 1998 
Inkjet print 
40.0 x 60.0 cm 

Cherries, 1995 
Inkjet print 
40.0 x 60.0 cm 

Underwear, 1996 
Inkjet print 
60.0 x 40.0 cm 

Oranges, 1994  
Inkjet print 
60.0 x 40.0 cm 

Chloe in the Hallway, 1995 
Inkjet print 
45.0 x 60.0 cm 

Peaches, 2019  
Inkjet print 
60.0 x 45.0 cm 

Matching Pants, 1995   
Inkjet print 
40 x 60 cm  

G. behind curtains, 1996 
Inkjet print 
40 x 60  

Abandoned shoes, 1997  
Inkjet print 
40 x 60 cm 

Car hood, 1997                
Inkjet print 
40 x 60 cm 

Yellow Curtain, 1997     
Inkjet print 
40 x 60 cm 

Towel in the Sand, 1996 
Inkjet print 
40 x 60 cm 

Touching the Setting Sun, 2014 
Inkjet print 
111 x 149 cm 

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Per Inge Bjørlo 

Vekta av lunge og kråkelyd: Tanke rekke (1-9), 2011 
Pencil on paper 
23.0 x 23.0 x 1.0 cm 

Vekta av lunge og kråkelyd, 2011-17  
Stainless steel, wax, textile, glass, mirror, electric light   
Dimensions variable