| Thomas Broomé, Shimmering Shadows, 2012, image: Galleri Magnus Karlsson |
Partially inspired by a three-month residency in the summer of 2011 at Hammars, Ingmar Bergman’s isolated estate on the Swedish island Fårö, Thomas Broomé’s latest exhibition seems to walk in the iconic director’s footsteps, with works that celebrate and reveal the intimate dwelling, room by room, as it appears in the films Hour of the Wolf (1968) and Faithless (2000). More »
| Tommy Støckel, In My Mind This Goes On Forever, 2012, image: Tensta Konsthall |
This exhibition examines the abstract from multiple perspectives: formal, economic, and the contemporary artist’s “withdrawal strategies”––a manipulation of already existing spaces in order to create a “space apart” from the rest of society. More »
| Ragnar Kjartansson, Scandinavian Pain, 2006, image: i8 Gallery |
This year at the Armory (and Volta), take a trip to the icy North. The Nordic focus features Scandinavia’s promising art scene, curated by Malmö Konsthall’s director Jacob Fabricius, with a selection of galleries from Denmark, Iceland, Sweden, Norway and Finland. More »
| Christian Saldert, The Politics of the Unpolitical, 2011, image: Christian Saldert |
Only a little by way of explanation is provided about the artist Christian Saldert on his site or on Galleri Kleerup’s site representing him or his recent digital-poetic solo exhibition “Bodies of the Unreal” inspired by found, appropriated web images of American nudists from the mid-twentieth century. More »
| Annika Larsson, Animal (in 14 Movements), 2012, image: Andréhn-Schiptjenko |
Annika Larsson’s fourth exhibition at a gallery located in what Stockholm refers to as their “art palace” in Vasastan, “Animal,” is a curious display focusing on the rapport between the human and animal from multiple angles: anthropological, psychological, theoretical, political—to name a few. More »
| Liisa Lounila, The Everlasting, 2005, image: Liisa Lounila |
Finnish artist Liisa Lounila (b. 1976) produces art ranging from oil paintings to moving images to textual explorations to sculpture. Further, she uses glitter to create large-scale images (solo, triptychs, series of multiples) which are primarily black and white with shades of grey—with one exception being Vandal, 2003 which incorporates red. More »
| Helen Broms Sandberg, Unlocking Passages, 2011, image: Kulturhuset |
A dual video projection displaying the fantastical world of Queen Christina Alexandra (1626-1689) as imagined by a confined writer who suffers from amnesia is coupled with an unhindered view into this same writer’s personal, imprisoned space. More »
| Nicola Bergström Hansen, Alla till Salem! / Everyone to Salem!, 2011, image: Nicola Bergström Hansen |
Stockholm, Dec. 2011: Through appropriation, remixes and collages, Nicola Bergström Hansen examines stories about exclusion and violence. Her work often explores male subcultures and the more hidden parts of the Internet. More »
“Abstract Possible” Addendum
To ‘pick’ an exhibition to highlight for Artforum does not translate into my tacit approval of Maria Lind’s decision to associate with Bukowski’s Auction House which is in turn associated with Lundin Petroleum More »
Published on March 30, 2012.
Art Commentary
Tags: Maria Lind, Tensta, Tensta Konsthall