Cecilia Edefalk is one of Sweden's most important artists. Her first retrospective exhibition was shown at Moderna Museet already in 1999, since then she has exhibited at several museums and galleries abroad and in Sweden. Her most recent retrospective exhibition "Hemkomsten" was shown at Norrköpings Konstmuseum in spring 2020. Prince Eugens Waldemarsudde also had an extensive retrospective October 2016 - February 2017. She is represented internationally by Carlier | Gebauer in Berlin and Gladstone Gallery in New York.

After her first solo exhibition at Galleri Wallner in Malmö in 1988, her public breakthrough came in 1990 with an exhibition at Galleri Sten Eriksson in Stockholm, and since then Edefalk's artistic successes have followed each other. Cecilia Edefalk's work raises questions about time and memory, the spiritual, transience and rebirth. Her oeuvre has developed slowly and dynamically. And yet, the world of motifs that appear on her canvases seems to have a mysterious and coded connection. Helan and Halvan, Dick Bengtsson paraphrases, newspaper pictures and Aphrodite - paintings, installations or photography. There is no distinction between high and low in Cecilia Edefalk's work. Whether it's the most famous drummer in film history or Hilma af Klint, Edefalk's work is based on models and existing images. The method is often repetition or a kind of multiplication, an examination of the conditions of creation in relation to an extensive cultural heritage and contemporary image flow.
Helan and Halvan, this film-historical radar pair. In our collective memory, they will always chase each other, argue and fall over. Edefalk has executed several motifs on this theme. Most of them are oil paintings on canvas, but here she has taken the moment of repetition one step further and, with the help of the camera, transferred the image to a gelatin silver photograph.