Nils Agdler works mainly in the fields of photography and film/video and is interested in contemporary social phenomena, as well as storytelling in a wider perspective. Exploring and pushing the boundaries of photography/film, both technically and perceptually, and the relationship between reality and representation are topics he constantly returns to. He aims to make visually accessible works of art, which can give the viewer an opportunity to reflect on less obvious associations and deeper underlying meanings – that the works will grow with time.

Some works are based on documentary material, while other works are freer stagings, where he often puts himself in front of the camera in vulnerable positions. In some film projects he has collaborated with other artists. These projects are sometimes shown as short films, sometimes as larger film installations on multiple screens, and sometimes as printed film stills. Natural environments, above all mountain and sea areas, are great sources of inspiration for him and issues related to climate, ecological sustainability, posthumanism and equality have become increasingly important.

Over the past 20 years, Nils Agdler has worked on issues that concern men and masculinities, fatherhood and patriarchy. Within this theme, he has produced a number of of photo and film-based works for solo and group exhibitions. From a pro-feminist perspective, he has mainly focused on the historical and psychological aspects of the white Western man, and how he relates to the expectations and demands of the surrounding society. Instead of getting caught up in issues around male violence and toxic masculinity, Nils Agdler addresses more subtle and elusive aspects of what it is like to be a man today and in the future. For example, it’s easy to see destructive parts of men’s actions around the world, but what exactly is a good masculinity? Are male role models important or are human role models enough? And how will the white man react when his privileges diminish, when he no longer belongs to a chosen ”we” but is mixed up with “the others”?

Contact: nils.agdler[at], +46-708-338484.




Senaste utställningar

SOLO SHOWS: 2018 "Andropaus" at Ahlbergshallen, Östersund (with Timo Menke). 2018 "Donor Portraits" at Pori Art Museum, Finland (with Timo Menke). 2015 "Andrografi – Om män och maskuliniteter" at Galleri Verkligheten, Umeå (with Timo Menke). 2015 "Donor Portraits" at Kalmar konstmuseum (with Timo Menke). GROUP SHOWS: 2023 Group show, book presentation and film screening, The Anthropocene Laboratory, Slipvillan, Stockholm. . 2022 Salong CFF 2022, Centrum för fotografi, Stockholm. . 2022 Litiumfestivalen, Utö, Sweden (with Timo Menke). 2021 Breathturn at Ostrale Biennale O21, Dresden, Germany (with Timo Menke). . 2020-21 Salong CFF Digital, Centrum för fotografi, Stockholm. . 2020 Analogue Funny Weather at Eldhunden/SKF, Stora mossen, Stockholm. . 2020 Videorama 1 at Galleri 54, Gothenburg (with Fröydi Laszlo). SCREENINGS: 2023 Venice Film Week 2023, Italy. 2023 Boston Short Film Festival 2023, US. 2023 New Jersey Independent Film Festival 2023, US. 2023 Sydney Word Film Festival 2023, Australia. 2023 Japan International Film Festival, Tokyo, Japan. 2023 Toronto Indie Filmmakers Festival, Canada. 2023 Martinique International Film Festival 2023. 2022 New York Tri-State International Film Festival, US. 2022 Shockfest Film Festival 2022, US. 2022 London Super Shorts Film Festival 2022, UK. 2022 Los Angeles Super Shorts Film Festival 2022, US. 2022 Obskuur Ghent Film Festival 2022, Belgium. 2022 Defy Film Festival in Nashville, US. 2022 24th edition of the Très Court International Film Festival. Screenings at 10 places in Canada, France and Romania. 2022 Sydney Word Film Festival 2022, Australia. 2021 67. International Short Film Festival Oberhausen, Germany (with Filmform). CV:

Kommande utställningar

UPCOMING: June 10 – October 1, 2023. Group show Kammer_flimmern at Ostrale Biennale O23, Dresden, Germany. September 25 – October 15, 2023. The short film RETARDATION is officially selected for the Obskuur Ghent Film Festival 2023 in Belgium. “OFF ON” Selection, online screening September 29 – October 15, 2023. 2003-2023 Anniversary Exhibition, group show at Studio 44, Stockholm, Sweden.


Nils Agdler (born 1969 in Östersund, Sweden) is a Swedish visual artist, filmmaker and photographer living in Gothenburg. He received a MFA from Konstfack in Stockholm, followed by studies in fine arts at Valand Academy in Gothenburg. In his artistic practice, Agdler is interested in contemporary social phenomena, representation and history, posthumanism and colonialism, primarily working in the fields of photography and film. He has been collaborating with the artist and filmmaker Timo Menke in several film projects such as Fugitives from the Fields (2005), Gifted Men (2015) and Brothers to Sisters (2018). Over the past 20 years, he has worked on issues that concern men and masculinities, and produced several exhibitions related to this theme. Most recently, he has produced the short films Rebirth (2018) and Retardation (2021), both parts of the ongoing series Male Nature Studies. His latest work, The Stone Putter (2024), is about a woman relating to a desert-like environment. His work has been shown at museums and galleries such as The 5th Moscow Biennale in Russia, Ostrale Biennale O21 and O23 in Germany, Pori Art Museum in Finland and Kalmar Art museum and Gothenburg Art Museum in Sweden. Recently also at festivals such as Toronto Film Week, Martinique International Film Festival, New York Tri-State Film Festival, Shockfest Film Festival, Obskuur Ghent Film Festival, Defy Film Festival, 24th Très Court International Film Festival, Sidney World Film Festival, Kurzfilmtage Oberhausen, 35th Kasseler Dokfest and Exground filmfest in Wiesbaden.


Contact: nils.agdler[at], +46-708-33 84 84




Konstnärlig högskola

Masterutbildning vid Institutionen för konst, Konstfack, Stockholm, 1997-99. Konstlab, Konsthögskolan Valand, Göteborg, 2002-04.

Annan konstnärlig utbildning

Förberedande fotografisk utbildning, Kulturama, Stockholm, 1991.