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Art review: Hemvävt, harnessing the steel and internal conflicts

It was by putting himself on the game as the artist Linnéa Sjöberg, now one of two of the Maria Bonnier Dahlin-fellows, made itself known.

Already during the training, she went into the stereotypical role of karriärkvinnan. The transformation took place gradually, from the pearl earrings and designer clothes to the modification of the voice.

It is rare Cindy Sherman-the genre today resulting in something in addition to the decorative photographs and reasoning about the female role and the female body (where Anja Niemis current exhibition at the Fotografiska is a case in point). Linnéa Sjöberg drove it all the longer. The high-profile project was underway around the clock in a year and a half. Then cut her apart karriärkvinnans designer clothes and began to weave.

In the following project Salon Flyttkartong tattooed she in the open the performances of himself and others with a mobile tatueringsapparat. The work crossed performancekonstens temporary nature with the permanence and discussed the ceremony and aesthetics. Salon Flyttkartong balanced on a moral limit to no training get to tattoo other people in the name of art? Yes, you may say, so long as it's for an adult, a voluntary and sufficiently sober audience. At the same time built the work on the forbidden and subversive in the act, where the strong reactions was a part of the work.

Linnéa Sjöberg ”Lets talk about wormholes” Photo: Jean-Baptiste Beranger /Bonniers Konsthall

at Bonniers konsthall is much more homespun, in the double sense of the word. Sjöbergs oeuvre seems, maybe thanks to her dramatic exploration of the different characters, having landed in a deeper digging inwards.

”Four generations of darkness” is the name of the fourteen-meter long rag rug that hangs from the ceiling, made of dark fabrics from Sjöberg's childhood home. The carpet speaks in several layers. Long have women given the end-of-life new life in the form of carpets where the textiles and the memories will be for protection against cold floors. But the mat also contains symbols of pain and oppression, as sårliknande tears, a dog leash, and the words TIG/HIT.

the Importance of old clothes and memories become even more powerful in the series ”Inälvornas dance”. In these works, she has sewn together slaughterhouse waste in the form of cowhide to tarmliknande artifacts, stuffed with clothing and other residue.

this universal physicality. The thoughts both for the abundance in my own ungraded wardrobe and what memories and waste things in a larger perspective. Simply an apt portrayal of the baggage that all of humanity lagging on.

In contrast to Linnéa Sjöberg's fleshy inälvsdans seems to Liva Isakson lundin's Swedish works ”To hold sway” first sterile. She is the second of the Maria Bonnier Dahlin-fellow and with the help of thin black rope choreographed tempered steel strip. The steel krumbuktar and the glare of the sculpture seems to want to rip apart the ropes and push the walls outward.

Liva Isakson lundin's Swedish ”To Hold Sway”. Photo: Jean-Baptiste Beranger/Bonniers Konsthall

Liva Isakson Lundin has since his graduation devoted himself to large-scale installations with industrial materials. One of the closest to engineering work, which is all about strength and voltage, such that holds together the physical communities. Just as in architecture working Isakson Lundin often with pairs, and allows the materials ' appearances and traits contrast each other. But one difference is that she does not strive for building a harmonious expression.

on the sculpture, the more exciting and living becomes it; like a wild horse that Isakson Lundin is trying to tame. With panic in his eyes throws the uncontrolled movement to and fro in order to escape captivity. It brings to mind on to the human struggle against nature, which frequently makes to storms and outbreaks. But also to mankind's inventions, like the steel, which when released can become difficult to control.

Also in Torbjørn Rødlands exhibition, which has the largest space at Bonniers konsthall in spring, are motsatsparen. A drop of something kletigt on a sofa. A naked old man clinging to a young man's leg. An older woman hugging a young fashion model.

Torbjørn Rødland, ”The Man in the Moon is a Miss”. Photo: Torbjørn Rødland

Time and ageing is an important theme. The title ”Fifth honeymoon” suggests a life that had begun on several times. In a video recorded in Rødlands two countries Norway and California, singing to a young boy the existential lines of soundtrack to the exhibition: ”What are you supposed to do when everything is up to you?”

similar at first glance, them I daily washed by on different screens, often with pop culture references.

Of Rødland is the most tangible of his interest in the feelings the images evoke.

in fact, the ”Baby”. The thing that gets me to stop in front of yet another foreign bebisbild it is where the contradictory. The baby puts his hand over the chest. It is to cover themselves, or is it a gesture from the powerful to the child in the future will be? Probably added the gesture of a chance, but caught on the picture is not neutral.

Rødland is a master at that, with simple means to create an internal conflict, a little uncomfortable mood.

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