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Emma Hartman, Fades, 2017 oil on canvas, 153 x 150 cm

EMMA HARTMAN

SLINT

5.10–11.11, 2017

Galleri Andersson/Sandström is proud to announce the third solo exhibition with the Stockholm based artist Emma Hartman. In this exhibition she will show new paintings on canvas and paintings on copper plates.

In Emma Hartman's paintings there is a movement between the abstract and the figurative. The narrative elements derive from the meeting of colours and associations spring from their contrasts. The soft, creamy sky touch over the dissolved or crisp horizon in a boundless way continuing into elements like clouds, mountains, plains, meadows, beaches and moores. Some parts resemble shallow watercourses, others seem to depict the sea where colours are layered, muddy and opaque. In these dark fields, Hartman emphasizes a sense of weight and a movement towards an experience of reaching the bottom and an end.

At the same time, the weight gives the paintings a tangible, almost sensual sensibility.

 Reima Nevalainen, Side-view, 2017, Brass, Acrylic, collage and pen on canvas, 165 x 240 cm / 64.96 x 94.5 inches

Reima Nevalainen at Art Berlin 2017

September 14–September 17, 2017

Stand 2.A04

Galerie Forsblom is pleased to participate in Art Berlin 2017 with a selection of works by Reima Nevalainen, who employs a multi-layered collage technique combining paint with materials such as sand and paper, or scraping away the paint to reveal contrasting surfaces underneath. Humans and nature serve as the subject matter of Nevalainen’s paintings – not as conflicting elements, however, for human figures and nature coexist as equals in his compositions.

Art Berlin

Station – Berlin, Luckenwalder Straße 4 – 6, 10963 Berlin

berlinartfair.com

 Antony Gormley CRITICAL MASS II, 1995, Cast iron 60 life-size elements; dimensions variable. © Antony Gormley

NEWS:

Antony Gormley: STILL MOVING

The Long Museum, Shanghai, China

September 9 - November 26, 2017

Galleri Andersson/Sandström is happy to announce Antony Gormley's solo exhibition STILL MOVING at the Long Museum in Shanghai. This is the first major presentation of Antony Gormley’s work in China. The center piece is Gormley's Critical Mass II (1995) an installation of 60 life-size cast iron body forms. 

Monika Thiele Draußen suchst du dich hinter dem Draußen, 2016,

Yarn on organza, 160 x 180 cm

GALERIE SUPPER is pleased to announce its first participation at this year's POSITIONS Art Fair, which is centrally located at Arena Berlin during the Berlin Art Week. Within the context of international exhibitors with a focus on modern and contemporary art, we will be presenting selected positions and recent works from the gallery's program.

Monika Thiele's (b. 1966, Erfurt, lives and works in Baden-Baden) new thread paintings stand out through their special kind of luminance and intensity of colour. By the exclusive use of straight lines, the artist creates complex worlds with needle and thread. She weaves personal stories and cultural historical references into a dense net of associations and allusions.

VIVA SCULTURA VIVA!

Group exhibition

SEAN HENRY, MARIA MIESENBERGER, JAUME PLENSA

August 24 - September 30

Galleri Andersson/Sandström starts the season with VIVA SCULTURA VIVA!, a tribute to the sculptural media. All of the contributing artists have a highly personal body of work that treats human existence as the everyday life, spirituality, the present and the passed, the relationship of the body to different forms of space, the psychological as well as the physical.

Sean Henry depicts anonymous people, the unglamorous, controlled, thoughtful and serious. Henry's sculptures are closing in on themselves, perhaps hiding something, and while their expressions often are ambiguous or difficult to interpret, they always have a tremendous psychological presence. And they are never quite like us - the proportions are shifted so that the characters are either too large or too small. "I try to depict some essential truths. My figures are often on the edge of action - passive, but acutely aware of their surroundings, as well as their inability to affect or change them." (Sean Henry)

After working mainly with photography Maria Miesenberger felt a longing for the three-dimensional which made her start with sculpture in the middle of the 1990s. In Moment in Motion, Holding On (2014), which you also can see in Enskede Gård’s metro station in Stockholm, the figure is holding on to the roof with a lean, strong, androgynous body as it’s constantly ready for whatever might come. The sculpture’s surface is covered with a relief pattern, like corneal nerve threads they form a sensible kind of bodily topography. The duality of it’s appearance is striking; strength and fragility in one, just as human life itself.