Exhibitions 2016

  • Staffan Nihlén

    21 Sep 2016

    Staffan_Nihlen

    Staffan Nihlén, Sculpture
    Artists´Books


    Lunds konsthall 1 October-27 November 2016

    Lunds konsthall is very pleased to open two exhibitions now. One is about Staffan Nihlén and is in response to requests from many visitors. It takes place in the lower galleries. The other is an in-depth presentation of artists’ books and is shown in the upper gallery.

    Nihlén’s stone sculptures appear to be both well-planned and instantaneous. It is as if the stone shapes are incubating hidden stories—ones that the artist coaxes out of the stone mass. Nihlén describes how he stopped using ready-made blocks of stone and instead sought out rocks in natural settings. In these irregular shapes he finds an appeal that is nature’s own. “It is not always obvious what already existed in the stone and what I have brought forth from its interior myself,” he says, affirming an open work process in which artistic expression and Nature’s own deposits meet in the finished work of art. A similar process is found in the earlier wood and metal sculptures that reuse remnants of the industrial age.

    This exhibition focuses mainly on Nihlén’s sculptures and includes both new and older works. A separate artist’s book, produced for the parallel exhibition, presents the artist’s many years of work with texts and drawings.
    Artists’ books are an art form practised by many artists. An artist’s book can appear in many guises but its key characteristic is that it has been compiled by an artist and is sometimes completely handmade. The edition is limited and there may only be a single unique copy. An artist’s book is more than just a book with illustrations by an artist; the entire product is a cohesive work of art.

    We are now exhibiting over 100 artists, a handful of whom have contributed completely new works. The exhibition also includes historical material that stretches back to the period after World War II, when the world seriously began to regard bookmaking as an artistic form of expression. The curator is Thomas Millroth.

    The exhibition coincides with the 250th anniversary of the Swedish Press Act, which guaranteed freedom of the press in Sweden. In view of this we would also like to draw attention to our small book room of literature relating to the gallery’s exhibitions.

    Participating artists in the Artists' Books exhibition are: Patrik Aarnivaara, Mette Aarre, Lene Adler Petersen, Bengt Adlers, Leontine Arvidsson, Mats B, Kristina Bengtsson, Vilhelm Bjerke-Petersen, Robin Blom, Håkan Blomkvist, Marie Bonfils, Bo Cavefors förlag (Bo Cavefors), Annelise Bock, Nadja Bournonville, Nina Canell, Inger Christensen, Andrea Creutz, Kajsa Dahlberg, Sven Dalsgård, Nanna Debois Buhl, Guillermo Deissler, Drakabygget (Jørgen Nash m.fl.), Axel Ebbe, Gerhild Ebel, Ed. Sellem (Jean Sellem), Ditte Ejlerskov, Celie Eklund, Lars Embäck, Elke Erb, Leif Eriksson, Linnéa Eriksson, Karolina Erlingsson, Fabrik (Sara Gunn, Jenny Rosengren), Maria Finn, Johan Furåker, Förlaget Gestus, Meng & Hald, Sara Gunn, Owe Gustafsson, Karin Hald, Christel Hanson, Maj Hasager, Helhesten Forlag, Jens Henricson, Hour Editions, CO Hultén, Hyena (Celie Eklund, Ella Tillema, Emma Tryti, Robin Blom), Anna Högberg, Image Förlag (CO Hultén), Gabriella Ioannides, Peter Johansson, Sven-Åke Johansson, Asger Jorn, Helena Jureén, Kalejdoskop (Nordgren), Per Kirkeby, Mathias Kristersson, Tom Krøjer, Kvinder på Værtshus, Eric Lennarth, Axel Lieber, EvaMarie Lindahl, Jeannette Lindstedt, Jonas Liveröd, Bertil Lundberg, Annika Lundgren, Angus MacInnes, Carl Magnus, Martin Bryder, Lena Mattsson, John Melin, Cecilie Meng, Harry Moberg, Sirous Namazi, Jørgen Nash, Annelie Nilsson, Anna Nordquist Andersson, Thord Norman, Officin (Louise Hold Sidenius), Vera Ohlsson, Papi (Woodpecker Projects), Carl Henning Pedersen, Gert Petersson, Gunnel Pettersson, Pist Protta (Jesper Fabricius), Lea Porsager, Publikation () (Annelie Nilsson, Susann Rönnertz), Marie Raffn, Leo Reis, Torsten Ridell, Cia Rinne, Jenny Rosengren, Susann Rönnertz, Katya Sander, Marika Seidler, Vassil Simittchiev, Wolfgang Smy, Hardy Strid, Trine Struwe Hansen, Lisa Strömbeck, David Svensson, Johan Svensson, Lasse Söderberg, Magnus Thierfelder, Ida Thunström, Ella Tillema, Ulf Trotzig, Emma Tryti, Fredrik Værslev, Sara Wallgren, Uwe Warnke, Robin Watkins, Wedgepress & Cheese (Leif Eriksson), Lars Vilks, Mette Winckelman, Gro Vive (Richard Winther), Ruth Wolf Rehfeldt, Woodpecker Projects (Ditte Ejlerskov, Jens Henricson, Jerker Knape), Richard Årlin, Anders Österlin

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  • SUPERFLEX

    17 May 2016

    Superflex 

    SUPERFLEX: Superfake/The Parley
    28 May – 18 September 2016


    SUPERFLEX’s exhibition ‘Superfake/The Parley’, specially produced for Lunds konsthall, originated in a presentation earlier this year at the Arizona State University Art Museum in Tempe, Arizona, USA. It was based on the discovery that one of the museum‘s key works, the painting Pioneer and the Indian (1903) by the famous American artist Frederic Remington, was a fake, and on the wide-ranging political and economic consequences of this disclosure.

    The painting depicts a peace offering before a meeting between two men on horseback, who here represent the native population and those more recently arrived. It is an image of a mythical and fictionalised Wild West, a historical motif that has been endlessly copied and reproduced. Yet today’s spectator is sure to pick up its problematic undertone: the Old West as a constantly encroaching territorial power. Remington’s depictions of ‘Indians and Cowboys’ are so well known and so widespread that they have helped shape the perception of the great American West throughout the world.

    The exhibition at Lunds konsthall is specifically spun around this painting’s specific destiny of having been degraded to the status of fake copy and how the well-known American vision of history the painting represents may be transferred to a Swedish context. Swedes migrated in great numbers to the United States a hundred years ago, but what is their relation to American culture today? What is the problematic around this? Which migrations do people in Sweden experience today? How does Sweden address issues of national belonging and identity? How does it define authenticity and value?

    Such complex questions around identity, provenience and authenticity are asked insightfully, in-depth by SUPERFLEX, and with the warmth and specific humour that we have come to associate with them. The group consists of Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen. It was founded in 1993 in Copenhagen and has subsequently enjoyed considerable international attention. SUPERFLEX work consistently with issues related to the economy, democratic principles and self-organisation. The main ambition is to visualise the problems of economic imbalance, but also to indicate possible solutions. SUPERFLEX have, for instance, developed alternative methods for producing energy: a bio-gas system that has been realised in several countries across the globe.

    Selected solo exhibitions: ‘It is Permitted to Permit’, Museum of Tomorrow, Rio De Janeiro (2016); Mori Museum, Tokyo (2014); ‘The Corrupt Show and Speculative Machine’, Jumex Art Museum, Mexico City (2013); ‘Modern Times, Forever’, 1301PE, Los Angeles (2012); ‘Free Sol LeWitt’, Van Abbemuseum, Eindhoven, the Netherlands (2010); ‘Black Box: Superflex’, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC (2010; ‘Social Pudding’ (with Rirkrit Tiravanija), GFZK, Leipzig, Germany (2007);‘Guarana Power’, REDCAT Gallery, Los Angeles (2004). Selected biennials: Shanghai Biennial, China (2010); Gwangju Biennial, Korea (2006); Istanbul Biennial, Turkey (2005); ‘Utopia Station’, Venice Biennale, Italy (2003); São Paulo Biennial, Brazil (1998). Selected realised public art projects: Oil Fountain (2012), Haugesund, Norway; Superkilen (2011), Copenhagen; Contract: 2000 Watt Society (2010), Zurich; Power Toilets/UN (2010), Heerhugowaard, the Netherlands.

    SUPERFLEX are currently working on a public art commission for the Tunaskolan/Östervångsskolan school in Lund, which will be ready 2017.

    Read more in the exhibition catalogue SUPERFLEX: Superfake/The Parley

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  • Our Work

    09 Feb 2016



    Lunds konsthall 23 January – 8 May 2016

    Our Work

    Maja Bajević, Berwick Street Film Collective, KP Brehmer, Revital Cohen & Tuur Van Balen, Jeuno Kim, Michala Paludan, Esther Shalev-Gerz, Mladen Stilinović, Oliver Walker  

    Lunds konsthall is very happy to be able to present ‘Our Work’, an exhibition that investigates how work organises our existence and defines our characters. Today salaried work determines not only the working time; Contemporary work creates roles and modes of being that have a deep impact also on what may be called leisure, values, life. The exhibition reflects how work regulates how we live but also how it may be used as a political tool.

    The exhibition title, ‘Our Work’ references the history of Lunds konsthall. In 1978 a group exhibition with this title was produced, but then the emphasis was on the worker’s body and the perspective mainly Swedish. In 2016 ‘Our Work’ incorporates two points of view: that of contemporary reality and that of the 1970s. The exhibition moves between the dichotomy that dominated the Cold War period and today’s globalised outlook, between the pioneers of women’s liberation and contemporary feminist consciousness.

    There is a long tradition in art of depicting and influencing how we work. Here nine rather different artists are brought together, each with a specific approach to the theme of work. Some of their works are ongoing projects, which started before this exhibition and will continue after it is over.

    Lunds konsthall wishes to first thank all the artists for their extraordinary works and our excellent collaboration. We also warmly thank all the lenders for their generous contributions to the exhibition, among them Sebastian Brehmer at KP Brehmer Sammlung und Nachlass in Berlin, Galerie Peter Kilchmann in Zurich, René Block in Berlin, Galerie nächst St. Stephan in Vienna and The Hasselblad Foundation in Gothenburg. We also thank the Labour Movement’s Archive in Malmö and the City Archives of Lund and Malmö. Special thanks to Inter Arts Center in Malmö.

    Maja Bajević, born in 1967 in Sarajevo, former Yugoslavia, lives and works in Paris, Berlin and Sarajevo. Berwick Street Film Collective, active in 1970–78 in London, consisted of Marc Karlin, 1943–1999, and James Scott, born in 1941. The film Nightcleaners was a collaboration with Mary Kelly, born in1941, and Humphry Trevelyan, born in1944; KP Brehmer, born in 1938 in Berlin and deceased in 1997 in Hamburg; Revital Cohen, born in 1981 in Jerusalem and Tuur Van Balen, born in 1981 in Leuven, work in London; Jeuno Kim, born in 1976 in Seoul, works in Berlin and Malmö; Michala Paludan, born in 1983 in Copenhagen where she also works; Esther Shalev-Gerz, born in 1948 in Vilnius, works in Paris; Mladen Stilinović, born in 1947 in Belgrade, works in Zagreb; Oliver Walker, born in 1980 in Liverpool, works in Berlin.

    Related information

    Read more about the exhibition in the catalogue Our Work.

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Changed: 10/05/2016