SOLO SHOWS 

Runo Lagomarsino · Silence Answers All · Marabouparken konsthall

When Picasso painted his monumental work Guernica, a Nazi officer allegedly asked him: “Did you do this?” To which Picasso replied, “No, you did."

Runo Lagomarsino’s exhibition Silence Answers All at Marabouparken konsthall takes Guernica as a starting point: not only the painting itself, but also its circulation and the importance it has had, and the symbol it has become. In a larger sense, the exhibition sets in motion questions of the potential of images, or rather of the image as a site for memory, as a site for struggle. Can images continue to live, to affect, and to transform each time they are exhibited, replicated, documented, and reproduced.

Central to the exhibition is a newly produced film. In the film, we see a replica of Guernica and the artist sweeping and mopping the floor of the pavilion in front of the painting. The rhythmic movements of the clean­ ing points toward the deep scars that history has etched into our collec­ tive memory. If Guernica condemns the horrors of war, the cleaning – the act of washing away dirt and dust – is a reminder of the impossibility of erasing the past. The image haunts us and should haunt us. 

RUNO LAGOMARSINO is one of Sweden’s most renowned artists. He has exhibited at institutions such as Reina Sofía, Madrid, LACMA, Los Angeles and Moderna Museet, Stockholm. He has also been rep­ resented at the São Paulo Biennial, The Istanbul Biennial, The Venice Biennial and The Gwangju Biennial.

- Marabouparken konsthall 

Installationview, Runo Lagomasino, Silence Answers All (2024), Marabouparken Konsthall Photo: Johan Österholm

 

SOLO SHOWS 

Michael Kvium · WETLAND · The Nivaagaard Collection

 

Kvium’s trademark humour mingles with menacing undertones of danger in his latest renditions of nature, people, faith and gender. Created especially for the Nivaagaard Collection, the new exhibition constitutes a total, immersive installation that presents all-new works and revisits a previous installation, all set in a poignant and disturbing WETLAND. Michael Kvium pulls no punches when he observes and paints the world. There is no flattery, no retouching here. And he firmly maintains that reality is far worse than any image. Perhaps his pictures are not as caricatured as one might think?

In WETLAND, he invites us to enter a simultaneously touching and disturbing world that engages closely with major issues of our time. Rich in sensory stimulation, the exhibition addresses people, nature, faith, reality and gender. In WETLAND, the welcome return of an installation last shown in Norway in 1998 joins all-new sculptures and paintings done on canvases small and large – even directly on the museum’s walls. A technically phenomenal painter, Michael Kvium is also a finely tuned seismograph, picking up the signs of the times and observing human folly. He continues to surprise and shock, all while new observations of nature, menacing undertones of danger and a sense of humour both crude and affectionate evoke emotional responses in those who view his pictures.

For WETLAND, Kvium has nurtured his creative urge by gazing upon wet land, encroaching bodies of water at our coastlines and mountains of waste. Upon everyday people closing their eyes to all threats. Unattainable women and lonely lads. Flowing tears and scattered flights of birds. All as responses to our current times.Taking the form of an immersive installation created especially for the Nivaagaard Collection, the exhibition is set in the original part of the museum building, in founder Johannes Hage’s small temple to art. Kvium has closely studied the museum’s collection of Renaissance and Baroque art, not least the religious scenes, as well as the Danish Golden Age landscapes which constitute a historical precursor and sounding board for his WETLAND. The Nivaagaard Collection always likes to bring nature inside. With this exhibition, the museum welcomes nature in a Kviumesque world as the artist sees it in the year 2024. 

The exhibition is open from the 5th of October 2024 until the 16th of February 2025 

SOLO SHOWS 

FOS · ABOGADO · Museo Anahuacalli

A site-specific intervention by FOS at the Anahuacalli Museum in Mexico City.   

The project combines sculpture, architecture, design, and music to create a space that fosters reflection and discussion on the concept of Justice and the creation of laws as manifestations of social cooperation.    

Architecturally, ABOGADO is conceived as a 10 x 10 meter plan volume that symbolizes the structure within which we organize ourselves as a society. Inside, it houses enough space to carry out activations through the public program and the presence of visitors. The pavilion is oriented in the space in relation to the Anahuacalli museum building. The entrance of the pavilion welcomes the public entering the esplanade, and the exit coincides with the main entrance of the museum, connecting both buildings.    

For this intervention, artist FOS was inspired by one of the multiple facets that the Anahuacalli and the City of the Arts project conceived by Diego Rivera had in their origins: to provide space for reflection on relevant topics and artistic and cultural expressions of the contemporary world, as well as to provide a space where different crafts and disciplines could coincide. Taking this as a starting point, FOS sought to create a space to think about our coexistence in freedom under the law, as well as our ability to re-imagine and redesign a future based on our past and present, maintaining ourselves as a free society.   

The roof of the pavilion is composed of magnified fragments of Mesoamerican pieces belonging to the Anahuacalli museum collection, thus integrating the history of the place and the original vocation of housing Diego Rivera’s collection.    

As in most of FOS’ previous works, this space conveys the history of the place through signs and references. When entering the pavilion, the public will be covered by fragments of artifacts from their own history.

The exhibition is open from July 20 to August 11, 2024

    

SOLO SHOWS 

Tove Storch · Hearland Festival

For Heartland Festival 2024, Tove Storch created a site-specific installation for people to interact with while washing their hands at the festival site.⁠ ⁠

With this work, Storch set the stage for a grand communal ritual performance, where the audience could rub their wet hands up and down soft, smooth sculptural forms. Storch emphasized the sensory experience, highlighting the intense interaction between the body, hands, and imagination with the object.⁠ ⁠

Photo: Anne Mie Bak 

SOLO SHOWS 

Eduardo Terrazas · Multiple Balance: Works and projects 1968–2023 · The Museum of Contemporary Art of Monterrey

 

The work of Eduardo Terrazas, spanning five decades from 1968 to 2023, is currently featured in a comprehensive exhibition at The Museum of Contemporary Art of Monterrey (MARCO).

“The Museum of Contemporary Art of Monterrey presents the exhibition Eduardo Terrazas. Multiple balance. Works and projects (1968-2023), a retrospective of more than five decades of the career and legacy of the Mexican architect, designer and artist. The exhibition comes from the Museum of the Palace of Fine Arts and is organized in collaboration with the federal Ministry of Culture and the National Institute of Fine Arts and Literature (INBAL). For its presentation at MARCO, projects developed by Terrazas for Monterrey were added to the exhibition, such as Cintermex, located inside the Fundidora Park.

Curated by Daniel Garza Usabiaga, who points out that Terrazas' projects throughout his career “have stood out for their iconic character; Furthermore, their humanist vocation unites them.” And through multiple disciplines, Terrazas has created stimulating and imaginative works, many of them placing the viewer as an important part of the piece. In the exhibition at MARCO, the public will be able to appreciate not only the pieces of geometric and color composition that distinguish Terrazas, with its wool thread technique applied to the surface with Campeche wax, but will also have the experience of enjoying immersive installations, such as Crecimiento exponential (2014) or the recreation of the Imagen México mural, a logo printed on reflective metallic paper that he created in 1969 for the inauguration of the Metro in Mexico City, which was included in the exhibition Graphics 1: New Dimensions at the Museum of Art New York Modern (MoMA) in 1970.”
- MARCO

The exhibition is on view until November 2024

  

 

 

SOLO SHOWS 

SUPERFLEX · Group Therapy

SUPERFLEX' work "It is Not The End Of The World" is part of the exhibition "Group Therapy" at Arken Museum of Contemporary Art, on view until July 28, 2024.

The works on display represent recent acquisitions to the museum's collection.⁠ "It Is Not The End Of The World" portrays the familiar phrase as an LED light sign installation reminiscent of a commercial billboard. The viewer is invited to reflect upon our present role in a world of escalating climate change and an apocalyptic human future while imagining a future world of lively, diverse, and perhaps even humanlike lifeforms.⁠

© SUPERFLEX, Photo credit: Emma Sennels⁠

SOLO SHOWS 

Gert & Uwe Tobias · To Bid the Dog Goodbye

Gert & Uwe Tobias’ solo exhibition “To Bid the Dog Goodbye” at Kunstverein Lübeck, Overbeck-Gesellschaft, is on view through March 19, 2024. ⁠ ⁠

Contextualizing themes of vanitas, memento mori, and votive images, particularly in large still lifes, the artistic duo offers a contemporary take on classic motifs, providing a profound exploration of life's fleeting nature during the COVID-19 pandemic.

The paintings feature a morbidity in floral elements and a mask-like grotesque, evoking a sense of sacredness through suspended individual elements. The spiritual, representing the delicate balance between life and death, emerges as a reflective mirror of life.⁠ ⁠

Photo credit: Fred Dott⁠

SOLO SHOWS 

Ed Templeton · Wires Crossed

Do not miss Ed Templeton's solo exhibition "Wires Crossed: The Culture of Skateboarding, 1995-2012" at Long Beach Museum of Art. ⁠It is on view until 02.05.24.⁠ ⁠

"Through photography, collage, text, maps, and eclectic ephemera from Templeton’s archives, Wires Crossed offers an inside look at a significant facet of youth culture as it was being born."

Wires Crossed is Templeton's 17-year long project documenting the subculture of skateboarding. It culminated in 2023 with a publication and exhibition at Bonnefanten, all under the same title.⁠ ⁠ ⁠ ⁠

Photo credit: Long Beach Museum of Art