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Christine Ödlund “Music for Eukaryotes” in Galleri Riis

“Bullet train towards art”. Highlights from the Stockholm’s gallery-round 0

Alida Ivanov from Stockholm

The goal: see everything. The motto: chop chop. I ended up with this: a round-trip through Stockholm and 14 gallery-visits in three hours. I was the epiphany of efficiency. The new gallery season is in full gear and most of them opened on the same day. I began my “bullet train towards art” (as a friend put it) in Östermalm, continued to The Art Academy close to the Central Station and then ended at Hudiksvallsgatan. These are some excerpts of those hours.

Leif Elggren  “A Dormitory for Celebrities” 
Gallery Niklas Belenius
August 22 - September 29, 2013 

Leif Elggren’s exhibition “A Dormitory for Celebrities” at Gallery Niklas Belenius is hard to grasp. The gallery space is filled with objects, or rather filled with symbols. Elggren is a Swedish artist, based in Stockholm, who has been active since the end of the 70’s as a performer, composer, writer, but also as a visual artist. His music, which ranges from quiet electronic tunes to abrasive noises, is often conceived as a complement to an installation or experimental stage performance. His body of work involves dreams and subtle absurdities; social hierarchies turned upside-down, hidden actions and events taking on the quality of icons.

Christine Ödlund  “Music for Eukaryotes”
Galleri Riis
August 22 - September 29, 2013 

Christine Ödlund’s (b.1963) first solo show at Galleri Riis is entitled “Music for Eukaryotes”. The gallery is filled with nettles; the smell is almost intoxicating and meditative. She combines this with sound, circuits and visions of the future, greenhouse- and laboratory environments, occultism and science. Ödlund thinks interdisciplinarily in her work and ends up somewhere between a harsh language of science and a mystical notion of nature. In this show she was inspired by attempts to decipher the chemical language of plants through studies conducted at the KTH Royal Institute of Technology in Stockholm. She also works with the myth of Atlantis, which is the foreground for one of the larger works on paper. In this dystopia, Atlantis is seen as a consequence of global warming. Ödlund shows a strange landscape that is similar to the topography of the brain, with different channels and densities. She creates a world in which you enter and leave your own reality.

Love Lundell  “BrändaArv” (Burnt Heritage)
Galleri Anna Thulin
August 23 - September 21, 2013 

Love Lundell (b.1981) is showing for the second time at Galleri Anna Thulin. The exhibition “BrändaArv” (Burnt Heritage) deals with the child's need for adjustment when growing up, through a mix of painting, collage and drawing. Lundell relies on memories of dreams he had as a child. In dreams, we can’t keep impressions from merging, and we also have a concentrate of images and emotions; it is chaos, and nothing is linear. To visualize or write down dreams are ways to get free from them. In Love Lundell’s world we are met by different fables, based on a wish for liberation from past dreams. It becomes like a limbo of the absurd and rational with a comical twist. He invites the visitor to submerge into his or her own past.

Meriç Algün Ringborg “A Work of Fiction” 
Galerie Nordenhake
August 22 - September 29, 2013 

Meriç Algün Ringborg’s (b. 1983) “A Work of Fiction” is her first exhibition at Galerie Nordenhake. The work was conceived through a systematic approach: that it has to be exclusively made up from the exemplifying sentences found in the Oxford English Dictionary. With references to writers like Georges Perec and other members of the Oulipo group, Algün Ringborg wants to explore the act of writing and that of creating by not writing. The project not only explores the concept of authorship, but also the role of the writer and thereby, the notion of the artist. The exhibition is comprised of three main bodies of work: an environment; a list of objects that manifests physically in the space and creates an air of homeyness in the gallery; an audio narrative called “Metatext” that echoes in the space and meditates on the act of writing; and then a manuscript for a romantic detective novel.

Matts Leiderstam

August 22 - September 29, 2013 

Matts Leiderstam (b. 1956) shows his fourth exhibition at Andrehn-Schiptjenko. He continues to work with the personal viewing experience of historical paintings. He conducts research on these paintings, which then results in a series of works that often span over a long period of time and are equally as much the process of an artist, as that of an art-historian. Leiderstam critiques how the concept of seeing has changed due to the technological developments over the past three centuries, and counters that with our concepts of art museum, landscape and portrait. He is also interested in the museum’s archives, inventories and catalogues – where the institution sorts its collections by artist, genre, technique, size and time of acquisition, and which is usually done in a very specific hierarchy. Leiderstam’s most recent series, “Unknown Unknown”, is made up of historical portraits of unknown people, made by unknown artists. Most of them come from The Collection of European Painting at the University of Uppsala, and the collection of the Stiftung Museum Kunstpalast in Düsseldorf. In the gallery space, they are installed in such a way that the relationship between the model and the artist is underscored. As a spectator, we are invited to identify with either of these and meet their gazes for the first time.

Viktor Rosdahl “Outskirts”
Christian Larsen
August 22 - September 29, 2013

Viktor Rosdahl’s (b.1980) solo exhibition “Outskirts”, at Christian Larsen, at first glance seems to have its roots in an urban landscape. The large black and white paintings show cities in an almost apocalyptic state: in a busy chaos that is unlivable for humans, like in his piece “In a Network of Lines that Intersect”.These are almost the opposite of the smaller pieces in the show. Here we see a tree’s intricate system of branching, set against a dusky blue background. People are almost always present, in a way. They have either left their mark, or are in the picture explicitly. Rosdahl fluctuates between removing people, and focusing on them and their everyday life.

I was surprised at how cohesive everything was. I met with tales of dystopia, with soul-searching done through objects, and with attempts at trying to understand a past that might not make sense – almost as a hopeful darkness and an acceptance that summer has ended.