Carin Ellberg: Selfportraits
August 24 – September 30, 2017
Starting in September 1985 Carin Ellberg has done more than 600 dated self-portraits, sometimes one a day, sometime one per week, sometimes less often and all resembling one another, a three-quarter profile from the bust upward. Selfportraiture being one of the most important genres in art-history since the Renaissance, it has often been seen as the very appropriation of the identity as artist, the ability to capture an emotional state, to stage one’s image to the world. Ellberg’s portraits, all in the same format, all with the same fixed gaze, leave the viewer with seemingly very little clues to her ego or her personality and have no such ambition. In the era of selfie-culture and curating of the self in the eyes of others, the self-portrait is more than ever a part of our visual culture and self-definition and has lead us to look a earlier work in a new way. A smaller selection of Ellberg’s self-portraits have been exhibited in a touring exhibition in 1994-1995 but the presentation at the gallery will be the largest and most comprehensive to date and include 622 works.
Future Revisited; the fall of 2017 at Andréhn-Schiptjenko
As a celebration of the passing of Andréhn-Schiptjenko’s 25th birthday and in the midst of rapid and sometimes unsettling change that is rippling through society and thus the arts, the fall season of 2017 will be devoted to Future Revisited – a look at the future through a review of the past. The gallery will present three exhibitions reflecting on past seminal projects that were precursors of changes, be they social, technological or political that have taken place in the past 20-30 years. What seemed unpredictable in the present has in hindsight been in the making for a while and what is now hailed as new and inventive may have already taken form many years ago. What can we learn from this, looking forward?
Carin Ellberg: Selfportraits August 24 – September 30, 2017 Starting in September 1985 Carin Ellberg has done more than 600 dated self-portraits, sometimes one a day, sometime one per week, sometimes less often and all resembling one another, a three-quarter profile from the bust upward. Selfportraiture being one of the most important genres in art-history (Read more…)
Nandipha Mntambo’s solo exhibition, Material Value, presents artworks that span an entire career of using cow hide and the cultural, historical, and universal associations we attribute to this medium. The obsessive use of bovine by-products and the complex associations we attribute to cattle allows a multiplicity of readings of Mntambo’s work. The idiomatic and proverbial (Read more…)
Throughout her career, the young American photographer Francesca Woodman (1958–1981) revisited the theme of angels. In On Being an Angel (1976) she is seen bending backward as light falls on her white body. The following year she made a new version – an image with a darker mood in which she shows her face. These (Read more…)
Xavier Veilhan Studio Venezia French Pavilion the 57th International Art Exhibition, La Biennale di Venezia Studio Venezia, Xavier Veilhan’s musical pavilion “I imagine an overall environment: an immersive installation that propels visitors to the world of the recording studio and that is inspired by the pioneering work of Kurt Schwitters, the Merzbau (1923-1937). Musicians from (Read more…)
Museum Boijmans Van Beuningen presents an extensive solo exhibition by Swedish artist Gunnel Wåhlstrand (b. 1974). Wåhlstrand creates extraordinary large-scale ink wash paintings featuring monumental landscapes, compelling portraits and serene interiors with intriguing compositions. The point of departure for Wåhlstrand’s work was a box of family photographs—the only connection that she had to her father (Read more…)