A5, ”Aeon Profit—Piano Forte”

A5
“Aeon Profit—Piano Forte,” 2010, image: A5

Works which are strictly labeled as either ‘design’ or ‘craft’ should not be segregated from the realm of contemporary art. Despite the trend to quickly locate and categorize one’s practice, creators actually exist in a melting pot which often stems from a shared goal, concern or historical influence. Academics argue that boundaries between spheres of practice are, in essence, blurred—that each ‘context’ has become a moving target. The exhibition “Aeon Profit—Piano Forte” appears to be influenced by Oulipian constraint-based practice—one which has moulded the works of many, such as writers Italo Calvino and Georges Perec, as well as performance artists Vito Acconci and Janet Cardiff. More »

Published on oktober 19, 2010.
Art ArtSlant Exhibition Review
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Sarah Cooper and Nina Gorfer, ”Under Nomadic Surfaces”

Sarah Cooper / Nina Gorfer
Cooper and Gorfer, Women Boats Left, 2008-10, image: Christian Larsen

Based in Göteborg, Sweden, the artists Sarah Cooper and Nina Gorfer began to collaborate in 2006, for they share an attraction to issues of place and the act of site-specific storytelling. “Under Nomadic Surfaces,” the duo’s latest exhibition, presents images from their travels to Kyrgyzstan and Qatar; all of the works depict individuals who crossed their paths. The artists emphasize the personal narratives of each subject, eschewing the obvious political or religious connotations that could be extracted from these pictures. Instead, Cooper and Gorfer attempt to portray the memories of each person to communicate the passage of time. The works also highlight the countries’ ongoing transformations in order to reflect on changes that may not be readily visible. More »

Published on september 14, 2010.
Art Artforum.com Exhibition Review
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”Parkliv”

Paola Pivi
Paola Pivi, Untitled (Slope), 2010, image: Marabouparken

The parks that surround some museums isolate art into objects of formal delectation. Objects in a park suggest static repose rather than any ongoing dialectic. Parks are finished landscapes for finished art.
—Robert Smithson, ”Cultural Confinement” (1972)

Sweden, the land of near perfect summers, lush outdoor environments and carefree activities. The tourist bureau is, rare for tourist bureaus, not lying. Marabouparken’s group exhibition “Parkliv” (“Park Life”) took advantage of the generous expanse that surrounds its Stockholm-suburban art space, sharing a diverse collection of works displayed both inside the gallery and spread among their impressive garden. More »

Published on september 13, 2010.
Art ArtSlant Exhibition Review
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Vee Speers, ”The Birthday Party”

Vee Speers
Vee Speers, Untitled #30, 2007, image: Fotografiska Museet

Children can be forced to grow up at a lightning pace, for both wanted and unwanted exposures plague the false purity attributed to childhood. Vee Speers in her latest exhibition ”The Birthday Party” at Stockholm’s newly opened Fotografiska Museet presents more than a dozen oversized, illuminated portraits of costumed children, decorated in the light of pastels and creams, sharing the stage with well-chosen props, objects of shock and intrigue—even limp feral creatures. Not the cheerful embodiment of innocence, these children often allude to darker actions, discontented realities. Yet, they look as if en route to some fantastical version of a birthday party, even if it turns out to be nothing they’ve yet experienced or imagined. More »

Published on augusti 9, 2010.
Art ArtSlant Exhibition Review
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“Runaway Train”

Jenny Lindblom
Jenny Lindblom, Untitled (Limited Ambition), 2010, image: Bonniers Konsthall

Every spring at Bonniers Konsthall, an effort is made to share the work of emerging Swedish artists  that are considered to be cutting-edge, contemporary, and altogether de rigueur. The curators this round tried a different spin; they chose to focus on the works of eleven Swedish artists who now make work and reside outside Sweden—in other words, expatriates who have chosen to produce work under the influence of other cultures. Which begs the question: what makes these artists Swedish anyway? (Though nationality as an aesthetic construct has long passed out of vogue at places such as the Whitney Museum of American Art or at the Venice Biennale where Liam Gillick last represented Germany.) When examined more closely, does an artist possess a right or responsibility to identify with one’s origin, considering morphing notions of immigration, homeland and patriotism? More »

Published on juni 14, 2010.
Art ArtSlant Exhibition Review
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Tony Matelli, “The Constant Now”

Tony Matelli
Tony Matelli, The Constant Now, 2010, image: Andréhn-Schiptjenko

“The Constant Now,” Tony Matelli’s fourth solo exhibition at this gallery, presents five new sculptures and three paintings that are reminiscent of his previous explorations. For example, there are obvious similarities between his sculpture Josh, 2010, and Sleepwalker, 2001: Both eerily depict displaced human figures and appear to be conspicuous mockeries. This show more fully formulates a question that his earlier work touched on: What particular value can be found in art that overstates a seemingly directionless, wasted state of being? More »

Published on juni 6, 2010.
Art Artforum.com Exhibition Review
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Tom Friedman, “Up In The Air”

Tom Friedman
Tom Friedman, Up In the Air, 2009, mixed media, dimensions variable, image: Christian Saltas

The first solo exhibition in Scandinavia by the Leverett, Massachusetts–based artist Tom Friedman is titled “Up in the Air,” and it asks for a heightened consideration of what consitutes a meaningful experience, in hopes of upgrading the possibilities of artistic production. Although some might find Friedman’s work inaccessible or view it as the output of someone with too much free time, such reactions perhaps bespeak a certain impatience and ingratitude toward what we have and what we are, stances that risk locking us into the predicament of feeling disconnected from current artmaking strategies. It can be difficult to appreciate an artist’s motivations when they seem unaffected by some mutually shared reality. Yet Friedman is sensitive to the gaps that inhere in subjective interpretation, leaving room for self-navigation. More »

Published on april 29, 2010.
Art Artforum.com Exhibition Review
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Fredrik Söderberg, ”We Pray to the Sun and Hail the Moon”

Fredrik Söderberg
Fredrik Söderberg, Mandragora, 2009, watercolor on paper, 28 x 38, with frame: 53 x 43 cm, image: Milliken Gallery

This striking collection of Fredrik Söderberg’s watercolour paintings, entitled ‘We Pray to the Sun and Hail the Moon’, may inspire engaged viewers to question their relationship with infinity and perhaps even dissuade some from swallowing the world’s investment with spiritual redemption or continuing to embrace a detached narcissism. Söderberg’s charm lies in his explorative mapping of self-reflective spiritualisms, as well as in his ability to create provocative microcosms inspired by our own spheres—even if his works may appear cryptic to some. More »

Published on april 20, 2010.
Art Exhibition Review Frieze.com
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“This is Art”

svejsan
Lucky Thief, Various Sculptures, 2005-2009, various sculptures, painted wood, image: Galleri Jonas Kleerup

Curated by Valdemar Gerdin, “This Is Art” is a provocative examination of not just art but more specifically street art in Northern Europe and its variegated relationships abroad. Oddly enough, Gerdin’s show is on no street, but rather: in Tegnérgatan’s Galleri Jonas Kleerup, and though this colorful patchwork hints at its graffiti roots, it is sometimes difficult to imagine the presentations of Sweden’s famed, creative undercurrent—namely represented here by Seen, John Fekner, Don Leicht, Faile, and Bast—thriving on any Stockholm street or elsewhere in Sweden. Yet, this is no fault of any artist in question, for Sweden has a history of frowning upon graffiti art, pushing the genre into awkward invisibility. More »

Published on juli 21, 2009.
Art Exhibition Review Unpublished
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