Picturing a Forest (Om du tänker på en skog)
11.10.2014 – 04.01.2015
autumn Gustavsberg Konsthall is presenting Inger Andersson’s
solo exhibition Om du tänker på en skog (Picturing
a Forest). As part of her Pause project, for which she received
Värmdö Municipality’s cultural award for the
year 2013, Inger Andersson has interviewed people living in
an old-people’s home in Gustavsberg about how it feels
to be nearing the end of one’s life. What do people who
are about 90 years old want to talk about? What do they think
about their lives in the past and at the present time? Do they
reflect on their lives and, in that case, how? What has gone
and what remains? Inger Andersson describes her conversations
as persevering attempts at gaining an insight into the elderly
people’s thinking. Her artistic method involved using
wood, glass and cardboard to describe her efforts:
something transparent in something solid.
Sawing along a damp spot in a tree trunk.
Creating an image of the structure using cardboard.
Slicing up an ancient tree.
Boring holes in glass so close together that the material disappears.
The narratives of the ninety year-olds were concrete. They talked
about love, death, childhood and work. Abstract questions were
something they did not understand; especially not the concept
of “Pause”. By the time of the second interviews
the divergent aspects of the narratives had been identified
and the conversations continued. The works to be shown at Gustavsbergs
Konsthall seek to describe the differences between what was
expected and what diverged and what this can contribute. A large
object deals with the conversation; a large, democratic tool
that one can sit down on.
her art that explores the possibilities of ideas and materials
Inger Andersson shapes a species of spatial philosophy. Over
the years her art has expanded both with regard to scale and
method. Her artistic treatments for the public domain have aroused
considerable interest. They often make use of architectural
elements to create new spatial dimensions and new ways for these
to communicate. One such example is the large sculpture currently
showing at Gustavsbergs Konsthall that she has designed for
a permanent site at an elementary school in the town of Örebro.
At the present exhibition she invites visitors to sit down on
the sculpture and listen to sound recordings of conversations
at the home for the elderly. In the school grounds the sculpture
will provide a venue for outdoor lessons and for play during
breaks; a site for different sorts of dialogue.
ALVAREZ: THREAD WRAPPING ARCHITECTURE
24.5.2014 – 14.9.2014
the summer of 2014 Gustavsbergs Konsthall will present Thread
Wrapping Architecture, a solo exhibition and performative installation
by the internationally regarded designer Anton Alvarez. The
project is based on a development of Anton Alvarez’ invention
which he calls the Thread Wrapping Machine. In its latest version
the machine will be able to produce objects and architectural
elements on a monumental scale. Throughout the duration of the
exhibition, visitors to the gallery will be able to follow the
creation of a large-scale installation made of wood, metal and
plastic, and assembled using thousands of metres of yarn.
Thread Wrapping Architecture activates new encounters between
technology, craft skills, design, architecture and art. It also
poses questions about how craft processes can be developed –
what happens in the artistic investigatory process and how do
alternations between a controlled order and pure chance influence
the result? Anton Alvarez is developing a completely new type
of craft, a task that he started working on while studying for
a master’s degree at the Royal College of Art in London.
He calls his invention the Craft of Thread Wrapping and he describes
the technique as “The art of using the tool and of practicing
the craft is still at an early stage and is in a state of constant
development. By working with my invention I am constantly learning
new ways of creating objects using the thread-wrapping technique.
I can assemble wood, plastic and metal without using nails,
screws or traditional methods of assembly. The object is held
together by fine yarn which is covered with glue during the
wrapping process. Repeated wrappings create strong, load-bearing
joints at the same time that the item being created is covered
with a decorative surface of differently coloured yarns”.
The exhibition is produced with support from the Swedish Arts
Grants Committee and Innovativ Kultur.
Gustavsbergs Konsthall welcomes visitors to an experimental,
active, visually changing and enthralling summer.
June 27, July 5, July 19 and August 2, open 11 am - 4 pm
Matlida Haggärde, Report from within, 2013,
photo Magnus Natschki
– Do – Know
31.1.2014 – 27.4.2014
Bellander, Johan Bjärntoft, Lo Eklöw, Matilda Haggärde,
the spring of 2014 we are presenting five craft artists who
have either recently completed the master’s programme
at HDK, the School of Design and Crafts at Gothenburg University,
or who are currently enrolled in the programme. The exhibition
will focus on ceramic processes and the way in which experience
of these processes is used in developing an artistic identity.
The five craft artists present different approaches and results
based on a profound exploration of the possibilities offered
by the material – in this case clay. The exhibition is
the result of collaboration between Gustavsbergs Konsthall and
Mia E Göransson who is Professor of Ceramics at HDK.
Ahl, Family Outlet, © Zandra Ahl
5.10.2013 – 5.1.2014
autumn, Gustavsbergs Konsthall presents Family Outlet, a new
solo exhibition by Zandra Ahl. Family Outlet poses questions
about notions of security and happiness, and how these notions
are conveyed in our commercialised everyday lives. Zandra Ahl
bases her exploration on the “unprivileged objects”
– objects beyond the cultural establishment – and
puts them in a new context. The exhibition will be complemented
with an anthology later this autumn, containing new and previously-published
material by and about Zandra Ahl.
Zandra Ahl is a craftsperson, writer and participates frequently
in public debates. Since 2009, she has been a professor of ceramic
art at Konstfack University College of Arts, Crafts and Design
in Stockholm. She has long been a seminal voice in the ongoing
discussions and developments in Swedish design that started
in the late 1990s. Her achievements and her energetic participation
in design-related issues have impacted on an entire generation
of crafts artists, designers and debaters. Zandra Ahl has contributed
extensively towards changing the Swedish design scene from 15
years ago into the one we have today. She has also been recognised
internationally and is described as a key person in contemporary
collaboration with SOFT – the Norwegian Textile Artist’s
Association’s gallery in Oslo – enables us to present
a striking collection of Norwegian textile art to a Swedish
public. Textile artists in Norway are renowned for the excellence
of their work and for the ground-breaking way in which they
have developed textile art to address pressing social issues.
The exhibition at Gustavsbergs Konsthall reflects the leading
position of of textile art in contemporary Norwegian crafts.
A group of curators, representing both SOFT gallery and Gustavsbergs
Konsthall, has selected eight textile artists who represent
both a wide range of artistic expression as well as different
generations of Norwegian textile art. An outstanding example
is that of Unn Sønju whose often highly political tapestries
have led to her being regarded as the heir to Hannah Ryggen
(1894-1970) who pioneered the use of textile art to comment
on social and political themes. The exhibition at Gustavsbergs
Konsthall will provide a unique opportunity for experiencing
this vibrant Norwegian contribution to contemporary textile
Cox, Hanne Frey Husø, Løvaas & Wagle, Sidsel
Palmstrøm, Astrid Runde Saxegaard, Kari Steihaug, Unn
Sønju, Borghild Rudjord Unneland
Blank (GER), Peter Hoogeboom (NL), Hanna Liljenberg (SWE), Dorothea
Pru˜hl (GER), Lucy Sarneel (NL)
Substance, curated by Hnoss Initiative, presents five leading
exponents in the international jewellery field: Dorothea Prühl,
Peter Hoogeboom, Lucy Sarneel, Alexander Blank and Hanna Liljenberg.
The first three have long enjoyed international careers while
the last two come from a younger generation. What they have
in common is their strong roots in specific materials as well
as the fact that they have developed their own approaches to
the relationship between material and ornament. Hnoss describes
the theme in these terms: “Artists often choose the material
or materials that best enables them to describe or communicate
what it is that they want to narrate in their work. This has
been characteristic of the cutting edge of international jewellery
design. Working consciously with a material comes naturally
to jewellery artists. What the artists invited to take part
in Substance have in common is the fact that they use and identify
themselves with a profound knowledge of a specific material
and, in a highly convincing manner, use the material to communicate.
Certain artists have become almost synonymous with a particular
Hnoss has a wide-reaching international network and has gained
a reputation for the quality of its exhibitions. With its gallery
and exhibitions, the society has been responsible for a revitalization
of the art of jewellery in Sweden. Since 2011, when the gallery
closed, the organization has worked on commissions under the
name of Hnoss Initiative.
Is it possible
to question prejudice and xenophobia with jewellery? The brooch
has a particularly strong tradition as the bearer of a message.
Taking this as its point of departure, the ALLA project seeks
to investigate the capacity of the brooch to promote discussion
of identity, xenophobia and notions about what it means to be
Swedish. The exhibition presents 29 unique brooches as well
as photographs and films. The ALLA project, which is now being
shown at Gustavsbergs Konsthall, has been initiated and assembled
by art jewellers Hanna Hedman and Rut-Malin Barklund. “As
an art form, ornamental jewellery has the advantage of getting
close to people and of following them in their daily activities.
Throughout the ages, jewellery has been a way of displaying
cultural identity, affiliation, status or points of view.”
The project has received financial support from the Swedish
Arts Grants Committee.
Petterson, Auli Laitinen, Adam Grinovich, Agnieszka Knap, Annika
Åkerfelt, Catarina Hällzon, Daniela Hedman, Helena
Lindholm, Jacob Nyberg, Jenny Edlund, Jenny Klemming, Kajsa
Lindberg, Karin Johansson, Karin Roy Andersson, Klara Brynge,
Maria Sköldin, Mona Wallström, Märta Mattson,
Pia Aleborg, Sanna Svedestedt, Serena Holm, Sofia Björkman,
Tobias Alm, Tove Knuts, Tore Svensson, Vidar Hertov, Yasar Aydin,
Åsa Elmstam, Åsa Skogberg
Obstacle Course, photo Christian
Jakobsen/Lagombra coined the concept of "radicalsloyd"
and his artefacts have tended to function as fireworks in an
established Swedish design tradition. His methods and his aesthetic
have long been the subject of medial discussion of taste and
of crossing boundaries, but despite receiving so much notice,
this is the first time his work has been presented in a solo
exhibition. Gustavsbergs Konsthall is expanding this autumn
in order to enable Lagombra to present himself as fully as possible.
Architecture, crafts and fitness machines are gathered together
in a site-built obstacle course which offers visitors an entirely
new form of physical art appreciation.
The Lagombra exhibition will be shown in the temporary “Satellite”
premises parallel with the gallery’s normal activities.
It coincides with the centennial celebrations of the National
Association of Swedish Handicraft Societies and will contribute
to a discussion of contemporary crafts. LAGOMBRA: Obstacle Course
is being presented with financial support from Kulturbryggan,
Värmdö Municipality and Gustavsbergs Hamn AB.
"Problems have to be created before you can solve them"
by Markus Degerman
from "Girls Club"
HERMANSSON: GIRLS CLUB
JORUN KUGELBERG: PLACE AS EVENT
Konsthall is presenting two graduation projects from Konstfack
– University College of Arts, Crafts and Design in Stockholm:
Kakan Hermansson’s Girls Club and Jorun Kugelberg’s
Place as event. Both of these are concerned with spatial aspects
but they approach them from very different perspectives. In
Kakan Hermansson’s Girls Club, visitors can acquaint themselves
with a nail salon where the craft of manicure and the situation
create the essential intimacy that conversation demands. The
nail salon is a women’s preserve to which men do not have
entry and where the narratives that develop are largely concerned
with sexual exploitation.
In Jorun Kugelberg’s Place as event the dialogue is with
the place itself. Semi-documentary film of ordinary, urban locations
and what goes on there acquire new significance in the site-specific
exhibition presentation. Both human and spatial boundaries are
reconsidered in her study.
from "Place as event"
photo Viktor Gårdsäter
Mårten Medbo, Kjell Rylander, Caroline Slotte
exhibition Making Knowledge Gustavsbergs Konsthall seeks to
illuminate and highlight craft as a field of artistic research.
The exhibition presents the four artists who have so far been
accepted as PhD students by Swedish and Norwegian universities
offering research programmes in the field of craft: Caroline
Slotte and Kjell Rylander from Konsthøgskolen in Bergen,
Mårten Medbo from HDK in Gothenburg and Frida Hållander
from Konstfack in Stockholm. Through their individual research
projects, they contribute significantly to the rapid development
that the craft field is undergoing. The exhibition displays
works that pose wide-ranging questions about materiality and
making, as well as tradition, power structures and class. The
various projects communicate on many levels covering everything
from how we live our everyday lives to more profoundly existential
issues. By bringing together their projects Gustavsbergs Konsthall
aims to provide a basis for further discussion of artistic research
within the craft field, and an opportunity to investigate what
praxis-based contemporary research might be and mean, and how
it is conducted.
Luck by Chance
February 18 – May 6, 2012
Nervold Antonsen (N), Elisabeth Billander (S), Kina Björklund
(S), Katrine Køster Holst (N), Simon Klenell (S), Erlend
H Leirdal (N), Pontus Lindvall (S), John K Raustein (N), Märit
Runsten (S), John Skognes (N), Signe Løvland Solberg
(N), Jakob Solgren (S)
Luck by Chance, which is the 2011 thematic exhibition by the
Norwegian Association for Arts and Crafts, investigates how
chance and the fortuitously accidental operate in the artistic
process. Allowing luck and coincidence a part in this process
involves balancing order and chaos, planning and spontaneity.
To an arts and crafts practitioner for whom the material process
is fundamental, the unpredictable can intervene and become a
path to an unexpected – sometimes better – final
outcome. In creating a meeting point for the arts and crafts
of these two countries, the exhibition examines a range of different
material modes of expression, brought together by a common goal.
SLUMP - Luck by Chance is co-produced by Bomuldsfabriken Kunsthall,
Arendal and Gustavsbergs Konsthall and is supported by the Norwegian
Association for Arts and Crafts, the Arts Council Norway and
the Swedish Arts Council. The exhibition has been curated by
Harald Solberg, Agneta Linton and Maj Sandell. It was initially
presented at Bomuldfabriken Kunsthall and is now presented to
the Swedish audience at Gustavsbergs Konsthall..
David Clarke, Tracey Rowledge, Clare Twomey
British artists who comprise 60|40 are silversmith David Clarke,
bookbinder Tracey Rowledge and ceramicist Clare Twomey. Their
joint manifesto challenges traditional craft rules and argues
for an expansion of the theoretical and physical contexts of
the craft arts. With their joint projects they exploit their
respective materials to the uttermost limit, examining how these
communicate in contemporary space. In executing their projects
the trio take their starting point in the architectural character
of the place with its specific intensity and history. The actual
site may be a private apartment or premises that are normally
the province of art, in which existing artefacts and interior
furnishings correspond with the works that the group installs.
Each of their exhibitions thus poses new questions.
This is the first time that 60|40 have jointly presented their
work outside the UK. The exhibition at Gustavsbergs Konsthall
will include new work as well as site-specific installations
or reworkings of earlier projects.
PER B SUNDBERG
two decades of rapid developments in Swedish craft arts, Per
B Sundberg has played a leading role. His work is central in
any discussion of contemporary design. After a long period designing
glass for Orrefors, he has again focused on ceramics. His forthcoming
exhibition at Gustavsbergs Konsthall presents entirely new work
as well as summarizing his development over recent years and
illustrating his studio production. Visitors to the gallery
will come face to face with a universe of drastic collisions
between aesthetics, ethics and design history.
iDiana Orving, installation, detalj,
BERGSTRÖM / DIANA ORVING
Curator: Märit Runsten
Konsthall is proud to present two of the avant-garde fashion
world’s most celebrated Swedish designers, Martin Bergström
and Diana Orving. These two highly personal fashion artists
share an approach in which there is a focus on the relationship
between body and space and a particular concern for textile
craft. Martin Bergström shows an in stallation, based on
his Sandbox collection and using photographs by Thomas Klementsson.
Diana Orving presents a site-specific encounter between moving
image and textile sculpture.
- Jewellery sites
(Swe), Celio Braga (NL, Bra), Liesbet Bussche (Be), Lin Cheung
(GB), Gemma Draper (Spa), Lauren Kalman (US), Kajsa Lindberg
(Swe), Yuka Oyama (Ger), Karen Pontoppidan (Ger) och Miro Sazdic
Curator Anders Ljungberg
Konsthall presents Embraced - Jewellery sites, an exhibition
of contemporary and international jewellery art. The curator,
Anders Ljungberg has invited ten prominent jewellery artists,
aiming to give the audience new insights into the dynamic scene
of contemporary jewellery. Anders Ljungberg describes the theme
of the exhibition in the catalogue: "Jewellery has a history
that relates to personal narrative and to corporal experience.
When the item is worn, this narrative appears within a framework
constructed by the surrounding society. The exhibition Embraced
– Jewellery sites investigates this framework based on
what can be described as jewellery’s own different rooms:
in this instance defined as the bodily room, the architectonic
room and the social room. All of the participating artists have
something important to say about our contemporary situation
with regard to one or more of these rooms."
from the Marl Hole project, photo Johnny Magee
by Johnny Magee and produced by Neil Brownsword
Looped video projection (25 minutes)
two centuries North Staffordshire gained recognition as a world
centre of ceramic manufacture. The origins of this success evolved
out of a pre-industrial exploitation of the area’s mineral
wealth; long flame coal - ideal for firing, and excellent red
burning clays for potting. Opencast sites of excavation known
as ‘marl holes’ where the latter is still quarried,
formed the basis of the artistic project documented in this
film. Four international artists: Neil Brownsword, Alexandra
Engelfriet, Torbjørn Kvasbø and Pekka Paikkari,
were invited to create a series of site specific interventions
at Ibstock Brick’s Gorsty Quarry. Displaced from the familiar
comfort zone of their studio, the artists sought to re-initiate
a primordial curiosity into one of humankind’s oldest
synthesised materials. These transient modes of practice were
intimately documented by film artist Johnny Magee.
"A Moment in Time", Photo: Helena
A Moment in Time
ceramic art has many resonances. Stylistically it is often reminiscent
of the direct and forceful imagery of comics but behind this
seemingly light-hearted surface there is a deeply serious aspect.
Death, Love, Bamse the little bear, those who are vulnerable
and lonely – they have all played their parts in Jakob
Robertsson’s art. For his exhibition at Gustavsbergs Konsthall,
he has been working with a new series of ceramic sculptures.
He comments on the exhibition in his own words: “It is
about what is good in life: the events and moments of contentment
that act as a sort of blessed release from all that is laborious
or dull. It deals with the large and genuine emotions and the
positive element in being pathetic…”
has been an active member of the group known as WeWorkInAFragileMaterial
for many years and has taken part in numerous exhibitions. A
Moment in Time is his first solo exhibition since 2002. His
return to the Swedish crafts scene is one that many people have
looked forward to.
"Layers", detalj, Photo: Vegar Moen
uses a time-taking technique of needlework to sculpt her textile
art. Somewhere in the space between organic irregularity and
controlled rhythm her works find their final form. What can
appear to have grown up out of itself simultaneously reveals
fragments of everyday human culture like the fabric and the
seams of what were once a pair of jeans. Her exhibition “Layers”
was shown at Kunstnerforbundet in Olso in the spring of 2010.
Selected items from that exhibition will now be on view at Gustavsbergs
has been critically acclaimed in Norway and her work is now
being shown in Sweden for the first time. We are pleased and
proud to be able to introduce her work to the Swedish public.
Mia E Göransson,
Photo Gustavsbergs Konsthall
MIA E GÖRANSSON
Mia E Göransson
is one of Sweden’s leading craft artists. Her style is
highly characteristic yet she lifts materials and form to new
aesthetic levels in her constant striving to give expression
to new ideas. Mia E Göransson’s solo exhibition at
Gustavsbergs Konsthall is a further development of a series
of exhibitions under the shared heading of “New Nature”.
In the current exhibition her portrayals of nature spill over
into abstractions; organic forms that follow their own mysterious
paths. Bone china provides a literal base for her art, a secure
vessel from which startling ideas emerge in material form.
Mia E Göransson, written by Petter Eklund, is released
at the opening of the exhibition. The book presents a historical
review of Mia E Göransson as well as recent photo by photographer
Parousia: Sari Liimatta, "Inaudible", Photo Gustavsbergs
Konsthall. Byggstudio "Mundiskåp", Photo Gustavsbergs
A new body for the figurine
PAROUSIA – A new body for the figurine, presents Sari
Liimatta, jewellery artist from Finland and the two graphic
designers that make up Byggstudio. Sari Liimatta has won international
recognition for her unique and bold designs and this is her
first major show in Sweden. Her objects have roots in the tradition
of sculptural jewellery, Fabergé for example, but in
her own work she mixes precious materials with paste jewels
and everyday items. Her animal sculptures create narratives
which, despite their human character, never lose site of the
animal’s own perspective.
consists of Hanna Nilsson from Sweden and Sofia Østerhus
from Norway. They were invited to provide a visual comment on
Sari Liimatta’s art as well as the overall theme of a
new body for the figurine, using two and three-dimensional means.
They have chosen to work with the exhibition form and the presentation
of Sari Liimatta’s sculptures. With PAROUSIA, curator
of the exhibition Päivi Ernkvist has taken her figurine-dialogue
another step forward into a new context.
Aldrich (USA), Joel Andrianomearisoa (FR), Johanna Gustafsson
Fürst (SWE), Jenny Magnusson (SWE), Bella Rune (SWE)
Konsthall presents Off the Wall, an exhibition devoted to
thoughts about the place of crafts in contemporary art. Most
artistic processes involve craft skills in some form or other
while the relevance of crafts and materials in interpreting
a work of art is coloured by the context. Off the Wall looks
at what happens when there is a shift in the anticipated perspective.
Can one, by illuminating material processes, introduce new
meanings into the visual arts? Can these, in turn, provide
new entries into an understanding crafts? With a background
in the discussion of how crafts relate to the visual arts
the exhibition investigates how context influences both the
discussion and the interpretation of specific works.
wall presents five noted visual artists who are all close
to their materials and to material processes in their work.
Artist and curator Hans Isaksson is responsible for the selection
and has designed the exhibition in close collaboration with
project, Transformen, is developed during the exhibition.
The project discusses materiality and the meanings of different
materials. Visitors are invited to practically and visually
comment some of the questions raised in Off the wall.
TUMULT– dialog om ett konsthantverk i rörelse, miljöbild
och "Det är resultatet som räknas", WWIAFM
(bildspel). Foto: Gustavsbergs Konsthall
–a dialogue on craft in movement
- a dialogue on craft in movement is the product of an extended
collaboration involving Gustavsbergs Konsthall, art-historian
Christina Zetterlund and the craft group WeWorkInAFragileMaterial.
The point of departure for this collaboration was the politically
committed crafts scene in Sweden in the years around the 1970s
and the exhibition addresses both that period as well as the
present day. There are two parallel parts to the exhibition,
one contemporary and one historical. Together with an extensive
publication these aim to present and analyze the material as
well as initiating a dialogue between two generations of craftspeople.
The similarities are noted – for example the collective
processes and the desire to stimulate change – as are
the significant differences. It becomes clear that both represent
periods of notable expansion in the range of craft expression
– in a mixture of tumult and precision.
of the 1960s and 1970s on display in the historical part of
the exhibition is represented by various artworks from the period
as well as documentary photographs, written materials and catalogues.
The exhibition does not claim to illustrate the full complexities
of the art scene of the period but sheds light on various aspects
of the times, notably in the form of politically committed crafts.
It includes a tapestry by Hannah Ryggen, who was an inspirational
figure in the 1970s, and there is an installation devoted to
gallery-owner Petra (Ebba Konstantia Petterson) who made an
important contribution to art crafts over a long period. There
is a certain geographical concentration to the presentation
of the 1970s with Gothenburg and the Röhsska Museum of
Design and Decorative Arts playing a central role.
room at the gallery contains a site-specific work entitled It’s
the Result that Counts produced by the group WeWorkInAFragileMaterial.
The work is constructed as a three-dimensional game board within
which the group has acted. The group has used paintball to decorate
the work in a violent process that challenges contemporary aestheticization’s
understanding of both violence and surface. As with earlier
works, the group has developed the installation during a joint
working process though within a given structure. In this instance
the structure take the form of the gallery itself as rules for
a game in which it is the result that counts. This represents
process-based crafts taken to their absolute limit.
crafts perhaps open the way to a new reading of history: and
vice versa? Gustavsbergs Konsthall welcomes you to find your
own answer to this question during a visit to the exhibition
– and a perusal of the accompanying publication TUMULT
- a dialogue on craft in movement. The book is on sale at the
Expo in the gallery or can be ordered
from our website.
”The Day is Two Feet Long” Sabrina Gschwandtner
11.06.2009 – 13.09.2009
with the American craftsman, curator and writer Sabrina Gschwandtner,
who participated in the exhibition Motion Blur – American
Craft at Gustavsbergs Konsthall earlier this year. Sabrina is
invited by IASPIS to work in the G-studio this spring and will
show new work at Gustavsbergs Konsthall.
to reality” Stina Persson
30.05.2009 – 13.09.2009
Signe Dalsgaard · Kakan Hermansson · Simon Klenell
· Oona Linke · Haidar Mahdi · Stina Persson
the spring of this year Gustavsbergs Konsthall has been following
the final-year students in the Department of Ceramics and Glass
at Konstfack – the University College of Arts, Crafts
and Design in Stockholm. This has resulted in our major summer
exhibition Stills in Repeat in which the students have been
challenged to present their work in a new context while also
creating a unified design for the exhibition.
With its focus on crafts, Gustavsbergs Konsthall is concerned
to bring greater understanding to the concept of craft art and
it sees this collaboration with Konstfack as a fruitful way
of challenging the accepted notions about crafts. The fearless
approach to the material displayed by the participants and the
issues that they have chosen to work with have resulted in an
exhibition in which the artistic and narrative elements achieve
both depth and height. The settings or still-lifes that appear
in the exhibition contain obvious traces of traditional craft
items, though in this instance the works are not looking for
domestic usage but seek, rather, to fulfil other needs of contact
and communication. Words and concepts must constantly be filled
with new content if they are not to become flaccid and stagnate.
And so we are very pleased to be able to present six new graduates
from Konstfack’s Department of Ceramics and Glass who,
with their various points of departure, converge in a single
ur filmen ”I Will Keep Giving Myself To You Until I Am
No More ( AS ENDLESS AS IS MY LOVE)” Maria Vuorinen
30.05.2009 – 13.09.2009
Magnus Carlsson · Frida Hållander · Anders
Jakobsen · Albin Karlsson · Katarina Lund ·
Made by · Gustaf Nordenskiöld · Jakob Robertsson
· Erika Sjöberg · Charles Stern ·
Maria Vuorinen · Sissi Westerberg
Eye is a unique exhibition dealing with crafts and film. The
exhibition is produced by Gustavsbergs Konsthall with the intention
of highlighting the trend among craftspeople, designers and
artists with a professional interest in the crafts sector who
make use of the film medium to express themselves and to visualize
their ideas. The phenomenon of crafts and film has a brief history
but merits its own chapter in the contemporary crafts field.
Whereas crafts occupy a position somewhere between domestic
objects and art – between affirming usefulness and the
questioning object – the exhibition Hit My Eye is situated
somewhere between documentary, performance and animation.
Hit My Eye comprises ten items, ten films that express a desire
for change yet that represent a change in themselves. As a medium,
film ensures that the focus is moved from the finished product
to the process itself
– American Craft. Beverly Semmes ”On the Lake”
and Ian Hundley “Blumenhagen” and “Bierbergen
Photo: Gustavsbergs Konsth
BLUR - AMERICAN CRAFT
Jim Drain • Sabrina Gschwandtner • Elana Herzog
• Ian Hundley • Beth Lipman • Nava Lubelski
• Beverly Semmes
Blur – American Craft is an exhibition of contemporary
American crafts. It has been initiated and produced by Gustavsbergs
Konsthall with the aim of updating our understanding of American
art crafts from a Scandinavian perspective. The exhibition
presents items by seven prominent American artists whose work
touches upon sculpture, pictorial art, crafts and installations.
A common denominator is a strong relationship with handwork
at the same time that their approach to different craft traditions
oscillates between esteem and lack of respect. We hope that
the exhibition will give the Swedish public new experiences
and new insights into a dynamic sector of the art field. The
title of the exhibition alludes to the accelerating development
of craft art and the blurred borders between different forms
Blur – American Craft has been produced in close collaboration
with Sabrina Gschwandter in her roles as Artist Consultant
and participating artist. Her serious commitment and her profound
knowledge of the field have been decisive in the creation
of this exhibition.
BEAR GREEN GOAT
11.10.2008 – 11.01.2009
studio glass has never really adhered to the modernist aesthetic
that has made our factory-made art glass famous throughout the
world. Ever since its origins at the end of the 1960s, Swedish
studio glass has largely had other concerns with a platform
coloured by social commitment, politics, humour and narrative
Red Bear Green Goat is a display of contemporary Swedish studio
glass and glass art. With the exhibition, Gustavsbergs Konsthall
hopes to shed light on the various strands of the discussion
on the aesthetics of glass and the place of glass in contemporary
culture. The participants – glassmakers, designers and
artists – represent a broad spectrum of approaches but
are linked together here by the common theme of the seven deadly
sins. The exhibition questions how we regard sin in contemporary
society. Is it, perhaps, the case that the deadly sins are all
about what it means to be a human being? The title, Red Bear
Green Goat, is taken from some of the colours and animals that
we associate with the seven deadly sins.
Zandra Ahl • Susanne Allberg • Inger Andersson •
Carina Seth Andersson • Anna Berglund • Andreas
Bernheden • Ulla Forsell • Margareta Hennix •
Annika Jarring • Gunilla Kihlgren • Fredrika Linder
• Ulrika Bratt Ling • Christian Maldonado •
Mårten Medbo • Sylvia Neiglick • Annika Oskarsson
• Per B Sundberg • Karin Törnell
11.10.2008 – 11.01.2009
exhibition Diggy Diggy, Gustaf Nordenskiöld shows newly
created “archaeological” ceramic objects which are
reminiscent of fragments of domestic wares from earlier times
and other finds dug up by archaeologists. To varying degrees
the objects reveal the ravages of time or the forces of nature
in the form of lichens, rust and erosion.
Gustaf Nordenskiöld has a special interest in things that
have long been forgotten and which, when rediscovered, are given
new meaning and placed in a context very different from their
Gustaf Nordenskiöld is one of the Swedish craftspeople
who have revitalized and developed domestic ceramic wares in
recent times. His work has won him recognition at a succession
of exhibitions in Sweden and abroad.
the Woodlands © Pasi Välimaa/BUS 2008 foto: Håkansson
ABOUT THE WOODLANDS
07.06.2008 – 14.09.2008
his monumental textile works Pasi Välimaa creates a spatial
unit of light and colour. His exhibition About the Woodlands
might be likened to a textile garden which is both wild and
yet disciplined. It is cultivated with elements of extreme airiness
and delicacy, fine silks, voiles and downy feathers. This lightness
contrasts with a weighty brownness taken from the earth’s
own palette. Earth is also the fundament of the exhibition,
our earthly contact that binds everything together. Pasi Välimaa
works with aspects of contemporary art that are just about taboo:
things that are beautiful, that are lovely to behold and that
make us happy. Though without the blackened edges of grief and
grime goodness does not make itself visible. In reaching the
heights we are dependent on the deep chasms.
Välimaa has established himself as one of Sweden’s
leading textile artists. He has had numerous exhibitions both
in Sweden and abroad and has undertaken various commissions
for public works of art. The inspiration for About the Woodlands
comes from a poem by A.E. Housman which has also provided the
title for the exhibition.
Noire, Skull © Ludvig Löfgren/BUS 2008
07.06.2008 – 14.09.2008
attitude to death is something that profoundly marks our culture.
We illustrate and dramatize death in an effort to understand
and come to terms with it. The exhibition L’Ile Noire
builds on ideas about our theatrical and often romanticized
picture of death. Ludvig Löfgren gives expression to a
sort of death narrative that refers to the history of our own
culture, to vanitas paintings of the 17th century and to the
decorated urns of classical antiquity. By linking the aesthetic
of dramatic narrative with that of glass he explores and evaluates
his stylistic ideal. The characteristics, inherent possibilities
and innate aesthetic of glass are an important foundation of
Ludvig Löfgren’s art. His notable skills as a craftsman
and the care that he lavishes on the material are evident in
his work but they also provide the platform from which he challenges
the traditions of glass art.
Löfgren joined Kosta Boda as a designer in 2007. He has
previously worked as a glassmaker and independent craftsman
and has contributed to a number of exhibitions, some of them
as one of the nine members of the craft group We Work in a Fragile
Material. His exhibition L’Ile Noire at Gustavsbergs Konsthall
is Ludvig Löfgren’s first solo exhibition.
© Gustavsbergs Konsthall foto: Håkansson & Mannberg
can be welcome, eagerly awaited, intrusive or unwanted. The
exhibition Gift presents work by seventeen European craftspeople
who comment in different ways on our relationship with the things
that we exchange among ourselves in the form of gifts. The exhibition
has been put together by Think Tank: A European Initiative for
the Applied Arts, which is a network of critics and scholars
from eight countries.
Christoph Zellweger (CH) • Marianne Eggimann (D) •
Karin Seufert (D) • Ted Noten (NL) Clare Twomey (UK) •
Robert Mittringer (AT) • Canan Dagdelen (AT) • Thea
Grastrup-Hansen (DK) • Christin Johansson (DK) •
Kim Buck (DK) • Paul Scott (UK) • David Clarke (UK)
• Gemma Draper (ES) • Monika Strasser (D) •
Nina Bondeson (S) • Bettina Dittlmann/Michael Jank (D)
© Gustavsbergs Konsthall
foto: Håkansson & Mannberg
05.04.2008 – 25.05.2008
: David Clarke
are students at Ädellab/Metal Department, Konstfack
or hollowware art, because its history is linked with everyday
usage, embraces huge and partially unexamined opportunities
for posing relevant questions regarding our contemporary culture
which is so strongly influenced by our relationship to things.
The works on view at this exhibition cannot primarily be regarded
as practically oriented objects but, to a greater extent, as
imbued with numerous emotional aspects that touch upon our own
time in various ways, often with the usable object as the point
Senior Lecturer at Ädellab, Konstfack
© Gustavsbergs Konsthall
is an essential condition for all the forms of existence that
we are aware of; an ever-present force that constantly acts
Gravity is also the title and the theme of a group show of contemporary
metal art and associated crafts at Gustavsbergs Konsthall. Each
of the six artists/craftspeople – from four European countries
– contributes a highly distinctive artistic approach to
this pioneering exhibition. The theme stimulates associations
that address existential issues from both a poetic and a scientific
perspective. The works that make up the exhibition create a
narrative that speaks of universal forces, of distance and proximity,
of the inescapability of gravity and of its destructive power
Konsthall is pleased to be able to present:
David Clarke (GB) • Idiots (NL) • Albin Karlsson
(SWE) • Anders Ljungberg (SWE) • Wiebke Meurer (CH)
• Emma Rapp (SWE).
who cares for me (detalj) © Ljus/BUS 2008
WHO CARES FOR ME
East Wing, Gustavsbergs Konsthall presents Someone who cares
for me, an installation by the artist duo Ljus (Maria Olevik
and Maria Larsson)
The audience is invited to walk through rooms where everyday
objects correspond with elements of nature. The installation
speaks of memories mutual to humans and to nature, of time and
how it influences us and our planet.
Frida Fjellman/BUS 2007
Konsthall presents Nocturnal Dreams, a site-specific exhibition
by Frida Fjellman
In Frida Fjellman’s installations, human culture enters
into a symbiosis with nature and its fauna. Nocturnal Dreams can
be seen as a materialized scenario from a dream with its frictionless
encounters between realism and fantasy. The animals of the night
and domestic objects find each other in Frida Fjellman’s
naturalistic composition. Owls, beavers, hares and foxes take
part in a fable that, for them as well as for anyone who is prepared
to listen, are undeniably true.
Frida Fjellman is based in Stockholm. She has had a succession
of exhibitions, both solo and with others. Glass and ceramics
are her basic materials and her art often involves meetings between
these and other craft materials.
stillbild ur Stills and Motions
© Moa Lönn/BUS 2007
STILLS AND MOTIONS
and Motions, an exhibition by Moa Lönn, is being shown
in the East Wing of Gustavsbergs Konsthall.
Moa Lönn’s clay animations find their references
in the traditional craft of ceramics. The animations develop
from everyday situations into narratives that are strongly influenced
by the characteristics of the clay and the impressions of the
hand. Moa Lönn sees her work as a synthesis between animation
and craft in which the material fertilizes the content of the
Moa Lönn is based in Stockholm and is a student at Konstfack,
the University College of Arts Crafts and Design. The exhibition
Stills and Motions was shown at the Odenplan subway station
in the summer of 2007.
© Gustavsbergs Konsthall
02. 06. 2007—16. 09. 2007
Kristoffer Hoshino • Susanne Larsson • Irene Nordli
• Jakob Robertsson • August Sörenson •
The exhibition Illuminations, with which the Gustavsberg Gallery
opened its doors to the public, shows sculptural ceramics by
six craft artists. The title of the exhibition reflects the
narrative and illustrative approach of the artists. The exhibitors
make use of phenomena and events from their immediate surroundings
and present them in a new light. Entirely new dimensions to
everyday experiences are presented in their works of art. With
the exhibition Illuminations, Gustavsbergs Konsthall is proud
to present Kristoffer Hoshino, Susanne Larsson, Irene Nordli,
Jakob Robertsson, August Sörenson and Kristine Thenman.
The exhibition has been designed by artist Karin Johnson and
architect Fredrik Stenberg.
Linda Karlsson/BUS 2007
02. 06. 2007—16. 09. 2007
• Pernilla Jansson • Linda Karlsson • Pamela
Karlsson • Zhou Lu • Yoko Yamano.
Master students from Konstfack, ceramic and glass department,
ehibit their final projects.