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Sweden – the land that stopped being enough

The museum of modern art+ FÖLJSverige – the land that stopped being lagomUlrika Stahre see the new moderna exhibition”Here is the border”, Knutte Wester, 2016.A

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Sweden – the land that stopped being enough
The museum of modern art+ FÖLJSverige – the land that stopped being lagomUlrika Stahre see the new moderna exhibition”Here is the border”, Knutte Wester, 2016.ART

”. There goes the border.” In the Knutte Westers film This is the limit ladders the little papperslöse the boy around in an open ruralt landscape, pointing up to the intersection that is so far away he can go. Here is the boundary. This year's edition of the moderna exhibition is the fourth, and perhaps the most controversial, judging by the criticism published so far.

the Border seems to go around where the art becomes painfully obvious, if I understood right. However, övertydliga works of the exhibition's hallmark, without sprawling the width. Politically correct? Absolutely, but pretty interesting if you think past the worn out labels.

Modernautställningens original idea is to analyse the Swedish art scene. It has basically helped me to pick out the leading artists and the most influential works, put their wet finger in the air and embrace the trends – but there does not seem to have been co-curated Joa Ljungberg and Santiago Mostyns approach. Rather than focusing on american art in the day, stressed Sweden as a subject for art look and work. A Sweden whose boundaries are both clear and unclear – they can go away at the nearest intersection, or somewhere where the Landscape meets Russia.

the Years that have passed since the first edition in 2006, has changed the idea of the Swedish, of Sweden. The country just aired their racism, financial crisis reinforced that other crises, a downward movement. In the summer burned the forest, again. A part of political and societal woes to say the least. This is, of course, visible in the exhibition, artistic processed.

On the floor, often in the shelter of the nearest wall, is Éva Mags the large kroppslika dolls, traumatized. They express a pain that not only are somatic. Across the exhibition, they form pairs with Anna Uddenbergs fusions of machine and body, powerful also, in hallucinatioriskt they sew the together, the repulsive, the functional and non-functional, the sensual, the oppressive.

Conversation going on between these works is not the only one. Historical analysis in the form of film, as the Donald Brolins I Skåne, an elegant diagram of how coal and sugar are interrelated in a community building, or in painting; Anders Sunnas passionate series of paintings that deals with the conflict between norrland and the Swedish state. The nature, the history, the body and identifying a new way to live – so can the exhibition's themes are summarized.

1 of 2 Land Frygell, Hero, 2018.

deep ristar into the Muhammad Ali the large suite of drawings from Damascus – deformed, smärtfyllt – Britta Marakatt-cannot be predicted within reason in the small format monumental Events in time, which unites the massacre on Utøya and the old nazistämplade vetesäckar with the slow broderandet.

With the future behind us, aims in aymaras (a language and ethnic group in the Andes) perception of time which is to say backwards. The future is behind their back, the past is grasped forward. The image is everywhere, even here – life can be compared to ro if you want. Ideas of both individuals and communities need to understand their history to understand the present and the future is fair, and I'm not entirely sure that this show really drills so much deeper than the other. But the likelihood is engaged, and engaging – for those who want.

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