Aida Chehrehgosha, Black thoughts 2 från serien I can't stop thinking, pigment print, 124 x 156 cm

AIDA CHEHREHGOSHA
I can't stop thinking
24 april - 11 maj, 2014
Vernissage showroom torsdag 24 april klockan 16 - 19

Sehr geehrte Ladies und Gentlemen,

diese Woche geht die Ausstellung von Stefan Behlau zu Ende, bis Samstag gibt es also noch die Möglichkeit die Bilder im Original zu sehen. 

Lotta Hannerz, Enhet, Unité, Unit, 2013, oil on canvas, 97x139,5 cm

 Lotta Hannerz was born 1968 in Stockholm, Sweden and lives and works in Paris. Hannerz has attended the University College of Arts, Crafs and Design in Stockholm and the Royal Institute of Art in Stockholm. She graduated in 2002.

In the beginning of the 2000s Hannerz made several water sculptures, which have been on display in various locationas, such as in the water outside of the Royal Palace in Stockholm. Hannerz has participated in a number of exhibition both in Sweden and aborad, for example at Nationalmuseum, Stockholm and in the Luxembourg Gardens in Paris.

Hannerz works make part of several collections such as Moderna Museet, Göteborg Art Museum, Malmö Art Museum and Kunstmuseum Bonn. 

Lars Axel Söderberg on Lotta Hannerz:

Andy Warhol once said, “Nobody really looks at anything; it’s too hard.” I think he solved this problem by making a movie that constantly showed the same view of the Empire State Building, forcing the audience to sit staring at the same building for more than eight hours!

“Surely nothing has to listen to so many stupid remarks as a painting in a museum,” alleged the Goncourt brothers. Perhaps this is true not only of what is said but of what is written about art. As an artist, I have often heard from colleagues how art critics don't see what they are doing but instead write that their works remind them of some other artist’s work, or simply repeat what someone else already wrote about their art. However, in these financially difficult times for the newspaper industry, art criticism tends to be reduced to verdicts in the form of one to six dots, which, ironically, gives the impression of a random throw of dice. 

I would nevertheless like to emphasise that I do not believe that artists are better judges of art than anyone else. In my experience, most artists don’t actually care much for other people’s art. Furthermore, many of the good artists I know are uninterested in the very concept of art. 

One thing I feel safe in saying about the artist Lotta Hannerz, however, concerns not the artistic form but the actual contents of her works. Unlike, say, Auguste Renoir, who painted his sensual women over and over again, some artists have a pronounced antipathy to repeating themselves. I myself am one of them. Everything we do is a portrayal of something we want to express once and for all. Lotta Hannerz, I believe, belongs to this group. 

Anneè Olofsson, In between the Bird-sherry and the Lilac - Frövi view #1, 2014, 300x137 cm, unique, C-print

ANNEÈ OLOFSSON

Until tomorrow doesn't always come

Stockholm, April 5 - May 11, 2014

Exhibition opening on Saturday, April 5, at 5-8 pm in presence of the artist in our gallery in Stockholm. The opening is part of Stockholm Gallery Night. Welcome!

More about the exhibition at www.gsa.se

Anneè Olofsson, Mourning, 2014, 160x125 cm, ed. 3, C-print

MARKET ART FAIR 2014

4-6 April, Liljevalchs konsthall

Galleri Andersson/Sandström will show new works by Anneè Olofsson, Jan Håfström and Lars Nilsson in an exhibition that centers on the threshold between existence and demise. A sculpture by Tony Cragg will be presented in the Market At Large section.

Anneè Olofsson’s (b. 1966) art has a penetrating quality which makes it unforgettable. In her work she repeatedly returns to her own body as an unrestricted artistic tool. In Mourning (2014), on display at Market, she is floating between two vitally crucial elements, air and water. Her body might be sinking into unknown darkness or calmly resting on the quiet surface. The feeling of an unclear exit permeates the piece and brings an uncanny feeling to its tranquility.

Jan Håfström’s (b. 1937) work has alternated between figurative and abstract painting. His artistry molds a universe of its own, based on the artist's associations and representations of the elements of our common culture. This theme is palpable in the new large painting by Håfström that will be on display at Market.

Lars Nilsson (b. 1956) consistently explores the human cipher in his work: our impulses, intentions and obscurity. Recently he has approached the great questions of life through the creation of suggestive visions. At Market a new sculpture from the upcoming series Ghosts will be presented. The whole series will be exhibited at Galleri Anderson/Sandström in Stockholm during autumn 2014.

Anneè Olofsson, Jan Håfström and Lars Nilsson are all internationally acclaimed artists, each with their own strong artistic expression and each with a central position on the Swedish Art scene. Saturday April 5th, 5-8 pm, Galleri Andersson/Sandström Stockholm will open its first solo exhibition with Anneè Olofsson. “Until tomorrow doesn´t always come” focus on life’s unpredictability and man’s involuntary confinement. The opening is held as a part of Stockholm Gallery Night.

Welcome to our booth no 35!

 Tony Cragg, Point of View (detail), 2012, 215 x 63 x 82 cm, stainless steel

Market At Large, Tony Cragg

Tony Cragg’s (b. 1949) sculptures have a pivotal place in the art world, being nothing short of a global phenomenon. In experimenting with three-dimensional composition, Cragg is expanding volume into almost primordial forms, with a kinship to stalagmites or shadow-like phantasms. Point of view, a 2,15 meter high sculpture in stainless steel. it's almost as if the pieces originates from a different time, and have been designed by nature over thousands of years.

Please visit Market At Large to see Tony Cragg's work.

Further information about the fair on www.market-art.se