Retroactive glance at Rolf Hanson’s artistic work

In the summer and autumn of 2021, it is the Swedish painter Rolf Hanson (born 1953) and his painting that is the artistic focal point at Artipelag. The exhibition Rolf Hanson – Retroactive opens June 5th and will be the most comprehensive exhibition ever made with Rolf Hanson’s art including works from four decades. The exhibition has been called a retroactive, which gives a hint on how Rolf Hanson often revisits his own art in new constellations.

Rolf Hanson is one of the most significant artists in Swedish art scene of his generation. He is associated with a Nordic romantic tradition of painting with a starting point in a relationship to the landscape. However, over the years, Hanson’s painting has turned to more and more abstract expressions.

Rolf Hanson was born in 1953. He received his artistic education at the Royal Institute of Art, Stockholm from 1974–1979 and his debut took place in 1981 at Gallery Blanche in Stockholm. Over the years, Hanson has been an arduous exhibitor across the Nordic countries and in Europe, where he is also represented on the most significant museums, to mention KIASMA in Helsinki and the Museum of Contemporary Art in Oslo. In Sweden, he is represented in the collections at Moderna Museet Stockholm, Gothenburg Art Museum, Norrköping Museum as well as numerous others.

During 1982–1983, Hanson spent time in New York as a scholar at PS1 (Public School 1) which today is a part of MoMa (Museum of Modern Art). His museum career started in the autumn of 1985 with an exhibition at the Moderna Museet in Stockholm. A separate exhibition at the most prestigious art institution in Sweden and so close to the end of his education was provocative for the established art life, but it also says something about Hanson’s artistic talent and maturity.

In 1988, Hanson was chosen to represent Sweden at the Venice Biennale, then as now, one of the most important exhibitions in international art life. Same year Hanson participated in the big ROSC exhibition in Dublin, Ireland.

In 1985 it was time for the next museum exhibition, this time at Rooseum in Malmö, where Lars Nittve was head and curator. It was followed up by an exhibition at the Kunsthalle Düsseldorf, which at the time was one of the most vivacious institutions in the German art scene. Following year, Hanson was awarded first price at the Carnegie Art Award. In 2006, another museum exhibition, this time at Dunker’s Kulturhus in Helsingborg.

The exhibition Rolf Hanson – Retroactive at Artipelag, is the largest exhibition ever with works by Rolf Hanson. It comprises his entire career, currently ongoing for 40 years. Often exhibitions like these are called retrospective exhibitions and are usually dedicated to artists with a long and important career, which undoubtedly is the case with Hanson. However, we have  avoided the description retrospective and instead opted to call the exhibition a retroactive, and this to give a hint that Hanson most definitely is not at the endpoint – au contraire his artistry is still in a development phase that constantly result in new constellations and reinterpretations of earlier works.

The music to the exhibition is composed by the violinist and musician Jonas Lindgren, a former member of Fläskkvartetten. Lindgren has been inspired by Hanson’s paintings and created the soundtrack Music for a Painter I Know, which will be made available for purchase in Artipelag’s design shop.

Exhibition catalogue

Artipelag publishes a comprehensive catalogue with pictures of all works in the exhibition as well as exhibition essays by Artipelag’s head of museum, Bo Nilsson and Lars Nittve. The catalogue has been designed by Patrick Waters (Waters Löwenhielm)

Rolf Hanson – Retroactive is planned to open Saturday June 5th, provided corona restrictions at the time requires otherwise. The final day of the exhibition will be Sunday November 28.

Press viewing

A press viewing is planned for Thursday June 3rd. The exact form is yet to be set due to the pandemic and the restrictions it entails, but those who are interested to participate can submit a registration of interest to press@artipelag.se.

Press contact

Gustav Idhammar, gustav.idhammar@artipelag.se, tel +46 (0)70–710 53 55

Above: Rolf Hanson, Eadem Sed Aliter, 2006. Detail. © Rolf Hanson.

About Artipelag
Artipelag is a world-class meeting place where art shows, cultural activities, architecture, music, events, Swedish design, and good food are presented alongside the beautiful Stockholm Archipelago. Artipelag is located at Hålludden, on Värmdö – about 20 minutes by car from Stockholm city centre. The building is 10,220 m² and is carefully placed among pine trees and cliffs with magnificent views over Baggensfjärden. Artipelag was designed by the late architect Johan Nyrén.

”Signature Women – 100 Years on the Swedish Art Scene” is Artipelag’s summer exhibition 2020

On International Women’s Day, Sunday March 8th, the new exhibition Signature Women – 100 Years on the Swedish Art Scene opens at Artipelag. Some 350 works by about fifty Swedish female artists will be presented, well-known as well as previously marginalized names, active from the previous century up to current day.

The selection comprises painting, sculpture, textile, crafts, drawings and graphic prints, photography and film. The artists will be presented based on the century they primarily were productive in, and selection is based on how their art reflects the prevailing social climate at the time.

– A little while ago, I was commissioned by a Norwegian art museum to propose names of Swedish artists to a Nordic art collection. To refresh my knowledge, I turned to art history. I got reminded of how flagrant the male predominance was in most descriptions, the ratio of male and female artists respectively was 95% male and 5% female, regardless of whether the book in question was by a male or female author. It was against this background the idea to an exhibition highlighting this disproportion came about, says Bo Nilsson, Director at Artipelag.

The term Signature Women is an onset to reflect the shifting over a hundred years, when female artists have gone from being dispatched to artistic obscurity to today’s loftiness.

– Our ambition is not to conjure up an ultimate picture of art history, but we chose to present a humble historical writing, rather a topic for discussion than a definitive statement, says Nilsson.

Signature Women – 100 Years on the Swedish Art Scene runs until Sunday September 27th. The curator team consist of Bo Nilsson, head of the Art Dep, Frida Andersson, Jessica Höglund and Iselin Page, curators, Kristina Lindemann, curator of pedagogy, chief technician Johan von Geijer and graphic designer Micaela Wernberg.

Contributions to a Library

Visitors are encouraged to give their view on the selection by donating books and art catalogues with female artists they think should have been represented in the exhibition. This library will hopefully grow during the exhibition and constitute as study material for our visitors. The collected books will then be included in Stockholm Museum of Women’s History and building up a library on women history.

Catalogue

In connection to the exhibition, a catalogue will be produced designed by Samuel Lind, text by Marika Bogren and Bo Nilsson as well as artist biographies by Bo Nilsson, Frida Andersson, Jessica Höglund, Kristina Lindemann and Iselin Page.

Seminars

During the exhibition, seminars will be arranged. The seminars will be presented during the opening Sunday March 8th.

Press Preview

A press preview will be arranged Thursday March 5th at 11.00 followed by a light lunch. After lunch, interviews with several of the participating artists will be made possible. Limited seats, please contact rebecca.foss@bindefeldab.se.

Participating Artists

Mamma Andersson, Ann-Sofie Back, Idun Baltzersen, Emma Bernhard, Helene Billgren, Monica Bratt, Vivianna Torun Bülow-Hübe, Barbro Bäckström, Nina Canell, Agnes Cleve, Siri Derkert, Nathalie Djurberg & Hans Berg , Cecilia Edefalk, Inger Ekdahl, Marie-Louise Ekman, Estrid Ericson, Carolina Falkholt, Eddie Figge, Randi Fisher, Maud Fredin Fredholm, Leonie Geisendorf, Petra Gipp, Denise Grünstein, Annika von Hausswolff, Susanne Henriques, Hertha Hillfon, Sigrid Hjertén, Åsa Jungnelius, Eva Klasson, Hilma af Klint, Greta Knutson, Klara Kristalova, Lotte Laserstein, Maria Lindberg, Tuija Lindström, Tyra Lundgren, Rita Lundqvist, Eva Löfdahl, Maria Miesenberger, Ann-Marie Forsberg + Marianne Richter + Barbro Nilsson (Märta Måås AB), Gunvor Nelson, Vera Nilsson, Signe Persson-Melin, Siri Rathsman, Ingegerd Råman, Astrid Sampe, Lena Svedberg, Nell Walden, Jane Wåhlstedt (Laholmskeramik), Christine Ödlund and Barbro Östlihn.

Press
Press images can be found here >>

Press Contact

Gustav Idhammar, gustav.idhammar@artipelag.se, tel +46 (0)70–710 53 55

About Artipelag

Artipelag is a world-class meeting place where art shows, cultural activities, architecture, music, events, Swedish design, and good food are presented alongside the beautiful Stockholm Archipelago. Artipelag is located at Hålludden, on Värmdö – about 20 minutes by car from Stockholm city centre. The building is 10,220 m² and is carefully placed among pine trees and cliffs with magnificent views over Baggensfjärden. Artipelag was designed by the late architect Johan Nyrén.

Artipelag appointed Leading Hospitality Industry of Värmdö 2019

Artipelag has been voted best Hospitality Industry on Värmdö 2019, arranged by Visit Värmdö. The award was announced during an event at the Bistro Gustavsberg on Wednesday October 2nd.

The other two nominees were Bistro Sågen and Svartsö Logi. The winner was announced in a voting where the general public was encouraged to vote.

The motivation is:

”Artipelag, with its fantastic architectonic building, delivers a very interesting exhibition program, amazing views, excellent food and also offers unexpected meetings with artists and designers from all over the world. Artipelag never ceases to surprise and is an attraction to locals from Värmdö as faraway visitors. A true role model for other entrepreneurs within the hospitality industry on Värmdö.”

– In 2017 we won the Great National Tourism award and now we have been awarded this local award. To us it is a great joy and we are proud to contribute in strengthening Värmdö as a tourist destination, says Anders Arnborger, CEO of Artipelag.

Visit Värmdö is a collaboration between business and associations in Värmdö’s visitor industry and Värmdö municipality. The business idea is built on collaboration between actors within the Värmdö hospitality industry as well as collaboration between the private, non-profit and public sector. Visit Värmdö has around 130 member companies.

Press Contact

Gustav Idhammar, gustav.idhammar@artipelag.se, tel +46 (0)70-710 53 55

About Artipelag
Artipelag is a world-class meeting place where art shows, cultural activities, architecture, music, events, Swedish design, and good food are presented alongside the beautiful Stockholm Archipelago. Artipelag is located at Hålludden, on Värmdö – about 20 minutes by car from Stockholm city centre. The building is 10,220m2 and is carefully placed among pine trees and cliffs with magnificent views over Baggensfjärden. Artipelag was designed by the late architect Johan Nyrén.

Artipelag’s major summer exhibition is an examination of Fornasetti’s creative universe

In 2019, Artipelag will be putting the spotlight on the numerous works of the Italian artist and designer Piero Fornasetti (19131988) by displaying paintings, drawings, graphic design, furniture and other design artefacts, as well as spatial installations. The show will be the first exhibition in Sweden to encompass Fornasetti’s entire output, and it also includes contemporary works made by his son Barnaba Fornasetti. The exhibition FORNASETTI Inside Out Outside In opens on June 14th, 2019.

Piero Fornasetti is perhaps best known as one of the most prominent names in the international world of design, but he has a versatility that encompasses a variety of all aesthetic disciplines such as painting, drawing, graphic design and furniture design. Fornasetti’s creative ideas seem to emerge from a never-ending source and he is considered to be one of the most productive individuals in the history of design, with more than 13,000 artefacts bearing his signature. This versatility is the starting point for his design concept, which is in many respects a philosophical reflection of what it is like to be a human being during the 20th century.

Piero Fornasetti was born in 1913 in Milan, and he remained faithful to the city for most of his life. The duality of Milan, with its historical monuments combined with a modern commercial centre, was an important source of inspiration in Fornasetti’s creative work.

Fornasetti started his career with art studies at the Accademia di Brera in Milan in 1930, which he discontinued prematurely in 1932 since he was unhappy with the tuition. He started to study handicrafts instead but continued to paint for his entire life. His début was in the borderland between painting and handicraft, with printed silk scarves at the Triennale design exhibition in Milan in 1933, which attracted the attention of the architect Giò Ponti. Ponti was one of the most prominent cultural figures of the time, and he was also editor of the magazines Domus and Stile, where Fornasetti was published.

In 1940 Italy was at war, and Fornasetti went into exile in Switzerland from 1943 to 1946. He settled in Switzerland, where he was to focus his interest on drawing, which resulted in pieces including a wonderful series of black and white self-portraits.

After the end of the war, in 1946, Fornasetti returned to Milan, where he resumed his collaboration with Ponti. Together they created an unforgettable number of furniture items, which were designed by Ponti and decorated by Fornasetti. In the period 1949–1952 this collaboration was extended to include full-scale interior design assignments for, among others, Casino San Remo and the cruise ship Andrea Doria.

After his collaboration with Ponti, in the years 1950–1952 Fornasetti further developed his own iconography, not only on furniture and interior furnishings, but also on plates, cups and a variety of other everyday items. The first plate of the series Tema e Variazioni (Themes and Variations), with the famous opera singer Lina Cavalieri’s face in various appearances, was added to the collection in 1951 and became one of Fornasetti’s most successful motifs.

He opened his own shop in Milan in the 1950s, with the aim of reaching a bigger, international audience to make design more democratic in line with the spirit of the age. This formed the basis of Fornasetti’s international breakthrough during the 1960s.

After a number of successful decades, the company suffered a crisis in the 1970s, although it was only to be a short one. The Post Modernist movement’s interest in decoration and storytelling highlighted Fornasetti as an important role model. The entry of his son, Barnaba Fornasetti, into the company in 1982 was also an important event. Barnaba continued to develop his father’s iconographies, and started working as a curator in the production of exhibitions. This has resulted in a diversity of Fornasetti exhibitions all over the world, including a major retrospective exhibition at the Victoria & Albert in London in 1991–1992. After Piero’s death in 1988, Barnaba took over creative responsibility, and this remains the case to this day.

The title of the exhibition, FORNASETTI Inside Out Outside In, refers to the flowing creativity and rich imagination within the artist, but also to the way he applies technical proficiency to process his visions and depict the modern reality. This dual movement is a central feature of Fornasetti’s entire artistic work.

The exhibition opens at Artipelag on June 14th, 2019 and will continue until January 26th, 2020. The exhibition is a collaboration between Artipelag and Fornasetti.

Press

Press images can be found here >>

Press Contact

Gustav Idhammar, gustav.idhammar@artipelag.se, tel +46 (0)70-710 53 55

About Artipelag
Artipelag is a world-class meeting place where art shows, cultural activities, architecture, music, events, Swedish design, and good food are presented alongside the beautiful Stockholm Archipelago. Artipelag is located at Hålludden, on Värmdö – about 20 minutes by car from Stockholm city centre. The building is 10,220m2 and is carefully placed among pine trees and cliffs with magnificent views over Baggensfjärden. Artipelag was designed by the late architect Johan Nyrén.

Margiela, the Hermès years exhibition extended to Sunday, April 28th 2019

The Margiela, the Hermès years exhibition, which was originally set to close on Sunday March 10th 2019, is now being extended until April 28th, 2019. Artipelag’s opening hours will increase to accomodate this extension, with additional shuttle bus services during museum opening days.

Effective immediately, Artipelag will also open on Tuesday. Consquently, Artipelag’s only day of closure is now Monday. The shuttle buses from Vasagatan (which previously only ran on Saturdays and Sundays) will now depart every day from Tuesday to Sunday.

“It’s always a pleasure to be able to extend an exhibition as popular as Margiela, the Hermès years to give more people the opportunity to experience the creations Martin Margiela designed for Hermès,” says Artipelag’s Art Director Bo Nilsson.

The exhibition is a retrospective of the groundbreaking collaboration between avant-garde designer Martin Margiela and Parisian house Hermès from 1997 to 2003. A collaboration that ultimately proved to be as successful as it was astonishing when first announced.

Press

Press images can be found here >>

Press Contact

Gustav Idhammar, gustav.idhammar@artipelag.se, tel +46 (0)70-710 53 55

About Artipelag
Artipelag is a world-class meeting place where art shows, cultural activities, architecture, music, events, Swedish design, and good food are presented alongside the beautiful Stockholm Archipelago. Artipelag is located at Hålludden, on Värmdö – about 20 minutes by car from Stockholm city centre. The building is 10,220m2 and is carefully placed among pine trees and cliffs with magnificent views over Baggensfjärden. Artipelag was designed by the late architect Johan Nyrén.

Artipelag is showcasing the groundbreaking collaboration between Hermès and Martin Margiela

Photo left: Anders Erdström, Maison Martin Margiela A/W 1996-1997.
Photo right: Studio des Fleurs, Hermès A/W 1998-1999.

Artipelag is devoting its autumn and winter season to a retrospective of one of the most remarkable collaborations in fashion: when cutting-edge Belgian designer Martin Margiela teamed up with Hermès, a Parisian house with a time-honoured heritage.

Between 1997 and 2003, Martin Margiela was appointed by Jean-Louis Dumas, the CEO of Hermès at the time, as artistic director of the Parisian house women’s ready-to-wear collections. This collaboration turned out to be one of the most exciting in fashion history, and it is now presented in the exhibition Margiela, The Hermès Years.

Martin Margiela launched his own fashion house, Maison Martin Margiela, in 1988, and the enigmatic and inscrutable designer soon revealed himself to be the antithesis of superstar designers. Margiela’s deconstruction of traditional fashion concepts in favour of a more artistic approach has established a reputation as one of the most avant-garde faces of the fashion industry. Hermès, on the other hand, was founded in 1837. Comfort, timelessness, sensuality and authenticity are the key words which define his vision of the Hermès woman.

On the surface, one could imagine that a collaboration between Margiela and Hermès would be surprising, but Margiela proved to be a masterful interpreter of the Hermès DNA. In stark contrast to the fashion world’s fixation on eternal youth, his point of departure was the natural, self-confident woman. Margiela dressed women in genuine materials and employed the classic art of tailoring to articulate the architecture of the individual styles. The result was a remarkable fusion of the Margiela’s iconoclasm and Hermès’ timeless quality.

Margiela, The Hermès Years was originally curated by Kaat Debo and Martin Margiela, for the MoMu (Fashion Museum Antwerp) in 2017. Creations from Martin Margiela’s own label and his designs for Hermès are juxtaposed as two different translations of the same vision. The display features a succession of themed sequences with over 100 outfits, photographs and short films in a circuit in which Hermès orange interacts with the white of the Maison Martin Margiela. This helps visitors to understand the creative process that navigates seamlessly between the two houses and their identities.

The exhibition will be on display at Artipelag from October 26th 2018 to April 28th 2019.

Press Images

Press images can be found here >>

Press Contact

Gustav Idhammar, gustav.idhammar@artipelag.se, tel +46 (0)70-710 53 55

About Artipelag
Artipelag is a world-class meeting place where art shows, cultural activities, architecture, music, events, Swedish design, and good food are presented alongside the beautiful Stockholm Archipelago. Artipelag is located at Hålludden, on Värmdö – about 20 minutes by car from Stockholm city centre. The building is 10,220m2 and is carefully placed among pine trees and cliffs with magnificent views over Baggensfjärden. Artipelag was designed by the late architect Johan Nyrén.

Sculpture exhibition opens at Artipelag

This summer, Artipelag expands its artistic offering.The main exhibition, Bloomsbury Spirit, which is currently on show inside the art gallery, is now complemented by an outdoor exhibition called Detour.Here, the forests, meadows and water provide a natural backdrop for the sculptures. Visitors have the opportunity to explore the magnificent setting and how it interacts with the artwork.

Since its inception six years ago, Artipelag has established itself as an art museum with a special relationship with nature. The museum building’s sedum roof, tarred wooden walls and large panoramic windows all speak of an openness to the outside world. Thus, we usually describe our art gallery as a “green room”, a kind of greenhouse for art.

Nature has become a prominent part of Artipelag’s philosophy of art. Several of our exhibitions have focused on different aspects of the Nordic romantic tradition. Platsens själ (Genius Loci), Ingen människa är en ö (No Man is an Island) and Earth Matters are just a few examples. We’ve also had Bigert & Bergström’s I stormens öga (The Eye of the Storm), which focused on ecology and sustainability. By arranging an outdoor art installation, we’ve taken a new step towards exploring the symbiosis between art and nature.

 

Here, neither the Swedish title, Omvägar, nor the English title, Detour, revolves around roadworks or an obstacle to reaching the goal. For us, these words are associated with positive experiences, such as interesting diversions and unusual moments that we may have experienced when travelling.
– Bo Nilsson, Director of Artipelag.

Each of the artists participating in the first part of Detour has a special relationship with nature, and their work is characterised by an ability to see a living creature in it. But while they share this ability, their works are markedly different from each other in terms of approach, material choice and size (the exhibits range from 50 cm to 10 m tall).

Most of the artists are Swedish and include Charlotte Gyllenhammar, Maria Miesenberger and Kennet Williamsson. Our neighbouring Nordic countries are represented by Per Kirkeby, Tal R and Idun Baltzersen. Even though Eva Schlegel and Jaume Plensa may not have a direct link to Nordic identity, they do have a relationship with the Nordic romantic tradition and approach to nature.

The exhibition will be in a constant transformation: some works will have a long exhibition life, while others will be replaced by new ones. The purpose of this is to create a particular dynamic in our surroundings and in the art experience.

By placing Detour beyond the architectural boundaries of the building, it’s an exhibition that is continuously evolving. It explores the relationship between art and nature, and invites you to discover the area surrounding Artipelag. It implies both a physical journey and a fictional landscape, and beckons you to embark on an intricate quest to explore the human aspect of the landscape. It’s a detour off the beaten track, where you can come across everything from geology to biology, astronomy to holistic world views.

About the exhibition

Contributing artists in 2018 are Idun Baltzersen, Joel Fisher, Charlotte Gyllenhammar, Per Kirkeby, Klara Kristalova, Maria Miesenberger, Lars Nilsson, Jaume Plensa, Tal R, Eva Schlegel, Ulrika Sparre and Kennet Williamsson.

Detour opened on June 7 and closes on November 4.

More information and tickets >>

Press Contact

Gustav Idhammar, gustav.idhammar@artipelag.se, tel +46 (0)70-710 53 55

About Artipelag
Artipelag is a world-class meeting place where art shows, cultural activities, architecture, music, events, Swedish design, and good food are presented alongside the beautiful Stockholm Archipelago. Artipelag is located at Hålludden, on Värmdö – about 20 minutes by car from Stockholm city centre. The building is 10,220m2 and is carefully placed among pine trees and cliffs with magnificent views over Baggensfjärden. Artipelag was designed by the late architect Johan Nyrén.

Fredrik Roos Foundation in Cooperation with Artipelag

On March 28th, 2018, Fredrik Roos would have been 67 years old and for that reason, on this day we remember his great contribution to contemporary art – now manifested in the foundation bearing his name. The Fredrik Roos Foundation allocates a scholarship annually and this year it will amount to SEK 600,000 – making it one of Sweden’s largest. The scholarship, now being awarded for the seventh time, has previously been presented at the Modern Museum in Malmö where the scholarship exhibitions also have been presented. This year sees the presentation ceremony and exhibition moves to Artipelag in Stockholm.

In close collaboration with the country’s five art schools, two graduates from each respective school are nominated. The foundation then designates one or more fellows who receive a scholarship for artistic education in the form of further education or travel opportunities. The scholarship has a high prestige factor, not least because the fellow’s work is exhibited at an established art institution.

The Fredrik Roos Foundation scholarship has previously been awarded to artists such as Paul Fägerskiöld (2013) and Idun Baltzersen (2015).

This year, the scholarship will be presented at Artipelag in Stockholm’s archipelago on Thursday, September 27th and the accompanying exhibition will take place here.

“We are thrilled that the foundation has chosen Artipelag as a place for Fredrik Roos’ scholarship. For us, this will be an opportunity to show the very best of the younger generation of artists” – Bo Nilsson (Art Director)

Recipients of these scholarships should be “artists who – in the spirit of Fredrik Roos himself – are prepared to take risks in their artistry. One who believes in himself and who has his own unique expression. The artist should be no more than 35 years old, come from a Nordic country, and preferably work with painting and/or sculpture”.

“As an entrepreneur, Fredrik had a penchant for change. This property is a place that we as a foundation are constantly inspired by and we are looking forward to working with Artipelag. Our hope is that this new location will further strengthen the focus on the fellows and their artistry,” said Axel Roos (Chairman of the Foundation and grandson of Fredrik Roos).

In connection with the grant award, a catalog with works by this year’s recipients will be published. This year’s recipients will be announced after the summer.

Links

Fredrik Roos press photo >>
Fredrik Roos Foundation website >>

Press Contact

Gustav Idhammar, Artipelag, gustav.idhammar@artipelag.se, tel +46 (0)70 710 53 55

About Artipelag
Artipelag is a world-class meeting place where art shows, cultural activities, architecture, music, events, Swedish design, and good food are presented alongside the beautiful Stockholm Archipelago. Artipelag is located at Hålludden, on Värmdö – about 20 minutes by car from Stockholm city centre. The building is 10,220m2 and is carefully placed among pine trees and cliffs with magnificent views over Baggensfjärden. Artipelag was designed by the late architect Johan Nyrén.

All aspects of the Bloomsbury group are on display in next year’s grand exhibition at Artipelag

Artipelag is to be the first in Sweden to present an extensive exhibition of the mythical British Bloomsbury group. Bloomsbury Spirit is based on the group’s boldness, optimism and anti-authoritarian approach and inspires new ways of thinking. To showcase their inclusive modernism, the creative range of painting, photography, interior design, textiles, patterns, literature, furniture design, books, graphics, dance, garden art and fashion will be represented. Bloomsbury Spirit runs between March 23rd and September 30th, 2018.

One of the exhibition’s rooms is transformed into a gallery of paintings by Roger Fry, Vanessa Bell and Duncan Grant in a layout and environment characterized by exactly the ideals they revolted against. Another room is dedicated to Omega Workshops, a studio that was started by the same trio where they, together with other artists, designed furniture, clothing and furnishings.

An important venue that will be recreated is Charleston, Vanessa Bell’s summer house in Sussex, which became the hub of the entire Bloomsbury group. At Artipelag’s entrance courtyard, before even entering the art gallery, visitors walk through a Charleston-inspired garden that continues in the gallery, complete with ivy, roses and boxwood.

The exhibition discusses the Bloomsbury group’s utopias, such as the overall conversation, Gesamtkunstwerk and nudity. The Cadena Café, which Omega Workshops renovated in London in 1917, is recreated and will function as a reading room and gathering place.

About the Bloomsbury Group

The Bloomsbury group’s ideas, characterized by immigration, fundamentalism, salvation and violence, challenge us as much in our own time as in they did in the early 1900s.

By the time of the First World War, Sweden was isolated, and it wasn’t until the thirties that modernism broke through. It was a technical, “hard modernism” that became prominent, and with the Stockholm exhibition in 1930, rational functionalism was the political sway of the new Swedish welfare society. The Bloomsbury group, on the other hand, stood for an alternative, a third way: “soft modernism”. The group’s attitude was soft, open and flexible. Its style was bold and pluralistic rather than uniform, hard and shiny.

The group consisted of a loose collection of authors, artists, politicians, economists, historians, critics, mathematicians. At first, they were just friends and students, but later on  they broke through as their time’s new thinkers – Virginia Woolf, John Maynard Keynes, Vanessa Bell, Duncan Grant, Lytton Strachey, Roger Fry, Clive Bell, E.M. Forster and Leonard Woolf. Other more peripheral members were, for example, Bertrand Russell, Ottoline Morrell and Vita Sackville-West.

The members loathed heroism and authority. For them, modernism meant that old and new could be put together in any conceivable patterns and combinations. They celebrated imagination, feeling and creation without rejecting reason. Their crossing of boundaries was a matter of course because, according to them, the meaning of life was discussion, friendship, truth-seeking and aesthetics. It was this that was specifically human.

The group got its name from the London district of Bloomsbury where they were originally based. During World War I, many of them moved to the countryside and practised a counterurbanization lifestyle. Many of the houses are derelict today, but Charleston farm in Sussex remains as a Bloomsbury jewel, characterized by the aesthetics typical of the group: a rough-around-the-edges environment for creative work, play and discussion crossing all boundaries. A slightly chaotic, inclusive atmosphere, where inside and out come together, where everything (worn out or modern, newly built or classical) could be recycled and transformed with a lick of paint. Acrobats and painted sculptures hang on doorposts interspersed with abstract ornaments. And then a burst of flowers – brushed or printed, in wreaths or still life. Or real. In Charleston’s garden, the same gentle and courageous aesthetics as indoors are found. The whole environment was an affront to established norms.

In addition to books, exhibitions and buzzing conversations, the Bloomsbury group ran important networks – the Hogarth Press, the first to introduce Modernist Literature in England, and Omega Workshops, a collective artist workshop and showroom for all of the art of the time, such as painting, textile, design, dance, fashion and decorations.

The radicalism of the Bloomsbury group was based on the fact that everything (except their existential goals) could and should be tried and tested. They ignored conventions. Ideas and creations were central. For the arts were the essence of life and never tools for other purposes. This included Keynes, who in Sweden is mainly known as a world-leading economist. But he was also a passionate hedonist, culture politician and art connoisseur.

The playful attitude and lifestyle of the Bloomsburg group challenges Swedish social morality, where the arts have always been inferior to specialists, social engineers, function and utility.

The greatest artist was Virginia Woolf. She was an author, critic and entomologist. She was also a feminist and heavily involved in the international, modernist paintings, presented by Roger Fry to a shocked London audience at two major post-impressionist exhibitions in 1910 and 1912. Virginia Woolf described them as a catalyst for “a whole new era”.

Bloomsberries have become idols who advocate feminism, sexual freedom, pacifism and intellectual gluttony in everything from science and society to art. But over the years they have also received much criticism – they haven’t fitted into any mold. In retrospect, you can see that they introduced a much more liberal modernism than that preached in the German Bauhaus of the same period, and that they lived according to the ideals of the French Revolution. They were the best of European enlightenment traditions, while at the same time, and in contrast to us today, believing in the future.

About the Exhibition

External curator for the exhibition is the art critic and author Ingela Lind in collaboration with Artipelag’s art department, consisting of director Bo Nilsson, curator Frida Andersson, digital producer and designer Samuel Lind, chief engineer Johan von Geijer, and Kristina Lindemann, pedagogy and program manager. The design of the gardens is by Ia Schildt and the exhibition’s fashion has been created together with Cay Bond.

Next spring, Ingela Lind releases her new book, Ta sig frihet – Bloomsburygruppen, Indien och konsten att leva, “To Take the Liberty – The Bloomsbury Group, India and the Art of Living” (Albert Bonniers Förlag, will be released on March 23rd, 2018) in which she analyzes the group’s alternative and free modernism. Previously, Ingela has written Leka med modernismen – Virginia Woolf och Bloomsburygruppen, “Playing with Modernism – Virginia Woolf and the Bloomsbury Group” (Albert Bonniers Förlag, 2008).

For Bloomsbury Spirit, Artipelag has loaned unique works by, among others, Vanessa Bell, Duncan Grant and Roger Fry from English institutions such as the TATE, Victoria & Albert Museum, Courtauld Gallery, The Charleston Trust and the National Portrait Gallery.

Links

Exhibition presentation, website >>
Press photos, press room >>
The Bloomsbury Group on wikipedia >>

Press Contact

Gustav Idhammar, Artipelag, gustav.idhammar@artipelag.se, tel +46 (0)70-710 53 55

About Artipelag
Artipelag is a world-class meeting place where art shows, cultural activities, architecture, music, events, Swedish design, and good food live side by side with the beautiful archipelago environment. Artipelag is located at Hålludden, which itself is situated on Värmdö, about 20 minutes by car from Stockholm city centre. The building comprises 10,220 m² and is carefully placed among pines and cliffs with magnificent views over Baggensfjärden. Artipelag was designed by the late architect Johan Nyrén.

Creative take on the climate in the upcoming exhibition by artist duo Bigert & Bergström

Recently, the Swedish duo Bigert & Bergström went viral as images of their egg-shaped sauna, Solar Egg, made international headlines. Now their first large-scale solo exhibition, Eye of the Storm, is opening on October 27th at the art gallery Artipelag in Stockholm.

The exhibition consists of interactive installations, mechanical sculptures and films created by the Swedish artist-duo Mats Bigert and Lars Bergström. Eye of the Storm features works looking at the theme of weather and climate and how it threatens and affects the human race – an ongoing theme in their 30 year long careers.

Through the works, visitors can follow the different phases of Bigert & Bergström and their contribution to the Swedish and international art scenes. Eye of the Storm is an exhibition that moves the senses and invites viewers to participate actively. Bigert & Bergström take their starting point from scientific theories and historical events. They create a willful access point to complex issues where creativity and science merge visually.

The exhibition builds on our awareness that natural disasters are something physical and intrusive. How the comfortable can suddenly be turned into something threatening. Extreme natural events are experienced and contemplated during the exhibition at Artipelag. What thoughts go through your head when it disappears in a cloud of steam? And how does it really feel to stand in the eye of the storm?

Bigert & Bergström’s works are like a centrifuge, a rolling point of intersection between man, nature and technology. Their art reflects on deep time as well as the volatile prognosis for tomorrow. In their new installation, The Weather – a Synoptic Battlefield, historical turning points are materialized as sculptural weather maps. They show, amongst other examples, how Napoleon’s attacking forces were severely depleted by the Russian winter in 1812; and how the typhoon Kamikaze saved Japan from a Mongolian invasion in 1281.

In 1986, Bigert & Bergström met at the Stockholm Royal Academy of Art. Since then, they have created a variety of projects, large-scale installations, sculptures and films. In Sweden, they are best known for their large-scale installations such as The Climate Chambers and Tomorrow’s Weather at the Stockholm Central Station, which consists of hanging clusters of atmospheric molecules that change colour depending on the weather forecast for the following day. Also, their much talked about art piece that covered the southern tip of Sweden’s highest mountain, Kebnekaise, with a rescue blanket preventing it from melting. Recently, their egg-shaped sauna Solar Egg received international attention in art, design and architecture press.

Artipelag believes that the work of Bigert & Bergström highlights a current and important topic. They don’t just make us reflect on how humans attack their own climate, but also show the human obsession over controlling it at the same time. The duo exposes the red thread that runs between the increasingly frequent climate disasters and our air-conditioned malls where the temperature is controlled to within tenths of a degree.

As well as guided tours and introductions to the exhibition, young people and children will be able to attend workshops. Participants can engage in creative activities about future scenarios and social solutions to the challenges posed by climate change. In keeping with the spirit of the exhibition, Artipelag will offer free direct buses from Vasagatan in Stockholm on weekends.

Links

High-resolution press images from Artipelag’s press room >>
The exhibition on Artipelag’s website >>
Bigert & Bergström webpage >>
Teaser video >>

Press contact

Gustav Idhammar, Artipelag, gustav.idhammar@artipelag.se, tel +46 (0)70-710 53 55

About Artipelag
Artipelag is a world-class meeting place where art shows, cultural activities, architecture, music, events, Swedish design, and good food live side by side with the beautiful archipelago environment. Artipelag is located at Hålludden, which itself is situated on Värmdö, about 20 minutes by car from Stockholm city centre. The building comprises 10,220sqm and is carefully placed among pines and cliffs with magnificent views over Baggensfjärden. Artipelag was designed by the late architect Johan Nyrén.