| 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 »
| 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 »
| Jesper Ulvelius, Red, image: Jesper Ulvelius |
Swedish artist and photographer Jesper Ulvelius, born 1984, presents a series of photographs titled Red where the viewer sees a balding, bespectacled middle-aged man, presumably Swedish, situated in rooms which appear to be either living rooms or patios or fenced off backyards in connection to the man’s presumed apartment. More »
| Hreinn Fridfinnsson, Second House, 2008, image: Galerie Nordenhake |
Born 1943 in Baer Dölum, Hreinn Fridfinnsson is an Icelandic artist who is sometimes placed in the same camp as Bas Jan Ader, Robert Smithson and Richard Long due to the conceptual underpinnings and minimalist tendencies present in many of his works. More »
| Martin Jacobson, Allegorical Dogs, 2009, image: Martin Jacobson |
Swedish artist Martin Jacobson creates a voluptuous scene illustrating that the fanciful can be more attractive than reality. The temptation to escape, to leave home to join any circus, to create a parallel universe, to be a tireless, invincible creature in a carnival of tricks, diversions and illusions—this could be the essence of what it means to live. More »
| Ann Lislegaard, Time Machine, 2011, image: Momentum |
Norwegian artist Ann Lislegaard presents an off-kilter installation Time Machine, 2011, at the 6th Momentum Biennial which is both alluring and disturbing to anyone entering the windowless room on Gallery F15’s ground floor level. More »
| Ragnar Persson, När Mörkret Faller, 2011, image: Gallery Steinsland Berliner |
In Ragnar Persson’s När Mörkret Faller/When Darkness Falls, 2011, the artist devises a roaming pack of wild dogs or wolves alongside an equally untamed coterie of human beings—long-haired, solitary, holding piercing gazes—in a northern forest populated with somewhat secretive animals: falcons, snakes and nocturnal creatures. More »
| Peter Ern, Electric Light, 2011, image: Peter Bergman |
Peter Ern’s solo exhibition “A Place Called Home” displays new, large scale paintings predominantly focused on dry or wintry landscapes which many could argue are devoid of a detectable action or livelihood, as well as others drawing attention to the commonplace, external architectures of Sweden―Soviet-style apartment complexes, tucked away stugas/country houses, kojans/huts in the woods or inner, industrial spaces such as in Ern’s Electric Light, 2011. If Ern’s “A Place Called Home” is approached as a series, Electric Light, 2011 doesn’t follow suit as comfortably as the others, bringing the viewer inside an abandoned space in contrast. More »
Max Ronnersjö, Untitled (% work)
A Symbol Is As a Symbol Does
Now hangs Swedish artist Max Ronnersjö’s large-scale, percent (%) painting in my apartment—as if one shops for ½ priced boots or a practical winter coat this spring. More »
Published on maj 12, 2016.
Art Commentary Polaris Series
Tags: Max Ronnersjö