Sunday Morning, 2016, fine art print, 80 x 110 cm

HELENA BLOMQVIST

Florentine

March 17 - April 23, 2016

With an infallible sense of hues and lighting, together with a meticulous craftsmanship, the scenography is made co-star next to the lead, Florentine Stein. There is a touch of melancholy inherent to Florentine, a suite of new works by Helena Blomqvist. The subdued palette that brings late 19:th century Scandinavian painting to mind enhances the sense of melancholy. We are guided by a loosely knitted narrative through the memories and recollections of the former ballerina. The past appears as vivid as the present. How certain can we be that what we are looking at is the actual recollections of Florentine? Would it be truer to describe what is in front of us as the tangled up truth, as it looks through the filters of time and imagination?

The resplendent melancholy visible in the eyes of Florentine turns to deflection in the wider perspective of our contemporary history. The cataclysmic occurrences that are noticed among the headlines in the stacks of yellowed newspapers could be read as references to Blomqvist's earlier body of work. With these shared experiences as backdrop, the personal history of Florentine is set in the foreground. Here we are confronted with more personal, yet common, existential matters, as ageing and loneliness.

Lars Nilsson follows up the Curitiba International Biennal success with solo exhibition at Instituto Tomie Ohtake in São Paolo, Brazil.

As a direct result of his exhibition Ghosts at the Curitiba International Biennal, Lars Nilsson has been invited for a solo exhibition in São Polo, Brazil. The exhibition takes place at well-renowned Instituto Tomie Ohtake and opens on February 20th. Lars Nilsson, who was recently elected member of the Royal Academy of Fine Arts, was one of the artists who got his part of the Curitiba International Biennal extended due to massive demand.

Ever since the opening in October 2015, the queues to Oscar Niemeyer Museum in Curitiba, where Lars Nilsson’s installation is shown together with work by other artists, have shown no signs of dwindling. The Curitiba International Biennal grows constantly and this edition was the largest to date. Due to the extensive crowd pressure the organization decided to extend the exhibition period and as a result of this curator Teixeira Coelho also has contributed to Ghosts being showed as a solo exhibition at Instituto Tomie Ohtake in São Paolo, opening on February 20th. 

Tatjana Valsang, Sund, 2014, acrylic on canvas, 180 x 180 cm

TATJANA VALSANG

SANDBANK

Galleri Andersson/Sandström is pleased to present Sandbank, Tatjana Valsang's first solo exhibition in Stockholm. 

More about the exhibition at our website

WILLIAM WEGMAN

"SELECTED PHOTO PIECES"

William Wegman’s name as an American conceptual artist (*1943, lives in New York) is linked inseparably with his subtle, ironic photographs of his Weimaraner dogs.

Becoming known initially for cryptic photo and video works (with and without dogs), he attained world renown in the 1970s with his discovery of the talents of his first Weimaraner dog, Man Ray, as a gifted model and an ideal interpreter of human idiosyncrasies.

In the mid-1980s, Fay Ray, a born dog diva, succeeded Man Ray and was no less of a star. Fay launched a whole gamut of entirely new motifs. She could move gracefully, assume different positions and poses, arch her neck, turn her head round, and cross her legs. In the interim several generations of her offspring have come to pose before Wegman’s lens.

In 1979, on the invitation of the Polaroid Corporation, Wegman began working with a newly developed camera, the now legendary Polaroid 24 x 20 Inches (60 x 50 cm). A remarkable body of work came about, of singularly precise, large-scale photographs, each a one-off, as only this Polaroid camera is capable of producing. Since Polaroid ceased paper production a number of years ago, pigment prints have become Wegman’s favoured technical medium.

William Wegman’s photographs are shown in museums and international galleries the world over, and have entered all the larger collections. Numerous retrospectives devoted to his work have been on view in many museums of the United States, Japan, Korea, China and Europe.

Eva Hild, Diverge, 2015, stoneware, 160 x 130 x 85 cm

EVA HILD

SINKHOLES

Galleri Andersson/Sandström proudly opens the 2016 spring season by presenting a solo exhibition by Eva Hild. With her characteristic organic forms, Hild has become one of the most successful sculptors of today. She has a strong position in the international art scene and she is represented in major private and institutional collections around the world.

Her sculptures are like cells exposed to pressure and movement. They are constructed by hand by using a thin layer of mud, but it is the voids and empty space in between that defines the contours of the mass. Hild’s unique technique uses the absence of material to define the impression presented. The outside as well as the inside are displayed and the very advanced forms express both fragility and incredible power simulateously. The abstract shapes move in and out of themselves, like a sea shell half worn down by waves. Although the sculptures can be characterized as voluminous, they likewise give a sensuous ease