Belenius

Moderna Museets Vänners Skulpturpris tilldelas konstnären Johanna Gustafsson Fürst. Det är tjugotredje gången sedan 1950 som priset på 300 000 kronor delas ut. Pristagaren hedras även med en utställning på museet som öppnar i samband med prisutdelningen 14 november.

Johanna Gustafsson Fürst (född 1973) bor och arbetar i Stockholm. Hon innehar en Master of Fine Arts (2003) från Kungliga Konsthögskolan i Stockholm och är verksam som lektor på Konstfack. I sitt konstnärskap utforskar Gustafsson Fürst individen i förhållande till världen – det vardagliga i förhållande till sociala strukturer, hierarkier och politiska system. Hennes konst tar sig ofta uttryck i skulpturala assemblage, men även i text, performance och platsspecifika installationer.

Juryns motivering:
”Johanna Gustafsson Fürsts skulpturala verk har en air av självklarhet över sig, trots att man inte alls förstår varför de egentligen måste vara som de är. Hon ryggar aldrig tillbaka från att göra någonting väldigt invecklat. Hon ifrågasätter materialen, deras egenskaper och vanliga användningar för att skapa en inverterad, suspenderad, även motsträvig skulptural annanhet. Samtidigt som hon uppenbart jobbar med det skulpturalas grundelement är det inte bara i det fysiska rummet objekten ska uppfattas. Genom sina former tycks objekten vilja få betraktaren att sluta röra sig, de får gärna vara i vägen. Skulpturerna verkar vilja upprätta en egen språklighet med betraktaren; där finns en insisterande friktion som vill gå mellan verkens artegna kroppslighet och den betraktandes egen ordlösa sensibilitet. Å andra sidan är den där relationen inskriven i ett socialt rum, vilket gör hennes mer performativa och relationella verk till social skulptur. Hennes objekt är framförallt startpunkter för rörelser i massan i och kring oss.”

2017 års skulpturprisjury:
Daniel Birnbaum, överintendent, Moderna Museet
Stefanie Hessler, curator och skribent
Lars-Erik Hjertström Lappalainen, curator och konstkritiker
Kristina Jansson, konstnär
Lena Josefsson, ordförande, Moderna Museets Vänner

Not yet an absolute figure in the context we usually call “the (art) scene”, Timothy Wilson operates in the borderlands between light design, sculpture and performance. This brings him a measure of independence as well as determination. Shown previously at Söderdepån 2041 in Södermalm (a run down old central garage and workshop for the city’s public transportation buses, an extensive building taking up a whole block, now beautifully decayed), industrial size laser installations provided us with the visions and aesthetics of Wilson: they are dark and dystopian, with the futuristic connotations that his medium suggests.

A feeling of dextrous precision while mastering these directions of light provides a striking effect. Even more so when presented sculpturally. It is also a requirement when he creates landscapes and futuristic patterns. Wilson will be showing five sculptures consisting of glass, water and sand presenting an inverted spatiality, making one think of underwater gardens.

Timothy Wilson (b. 1988 in Stockholm) is the guardian of the night and at the same time the champion of light. With installations at the Swedish Museum of Performing Arts and Söderdepån 2041 behind him, he makes his debut exhibition at Belenius.

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Mörkt och smutsigt. För många år sedan det bultande, mullrande hjärtat för stadens linjetrafik. Idag står maskinerna som skulpturala rester, ett minne av en manuell värld, omkring 2031. Vid tiden för Det Stora Omstörtandet, när det totala kaoset rådde; började Stråldepartementet utvinna energi genom att från pol till pol skicka och förädla koncentrerat ljus. En känsla av obehag, och samtidigt en galaktisk eufori. Världen en spillra av sitt forna jag.

https://vimeo.com/232968867

Timothy Wilson (f. 1988 i Stockholm) är nattens och på samma gång ljusets väktare, tillika mästare. Med ljus och laser som redskap skapar han landskap och futuristiska gestaltningar. I Söderdepån visar han fyra stycken massiva installationer i den unikt spatiösa miljön. På Scenkonstmuseet gör han en installation den 18-30/9 följt av en separatutställning som öppnar den 21/10 på Belenius.

Articles:
Vice
Allt om Stockholm

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Crazy drawing room is based in the creative flow that can occur when someone draw. Monica fills the gallery with paintings and drawings to create the manic inspiration and depending feeling drawings can generate. A free association process where an idea leads to another and where the drawings of roofs, walls and floors are united in a creative jumble. Viewers thrown back and forth between unexpected place. Details, which at first sight seem familiar, it proves full of surprises.

Crazy drawing room is Monica was second exhibition at Gallery Niklas Belenius. 2008 demonstrated the installation TWIST who took over the entire gallery space. In the 600 meter spring, stretching between the floors, walls and ceilings, floating chairs sloping and a house of steel.

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Monica Höll — Twist

13.03—16.03.2008

With Twist, Monica Höll takes over Gallery Niklas Belenius with a conceptualized minimalist work inspired by childhood games. By attaching elastic walls, ceiling and floor stretches do the body memories of power and control needed to jump twist.

In meetings with slightly since childhood acquaintance, information may be stored suddenly picked up and companies are born through flashbacks. Recurrence was held in work is a playful drama of the familiar, room and the home.

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Johan Strandahl — Kök

19.01—24.02.2013

The artist Johan Strandahl is a devoted explorer in a world where everything already is discovered. His field of interest is the familiarity of everyday objects and standardized products.

Strandahl is indifferent to prestigious brands and high-end products. He focuses on low-budget consumer goods, the category of products that we hardly ever notice, since there are so many of them. Things like cheap power drills and coffee makers that we think we know everything about, things we are actually completely oblivious to. We don’t know where they come form, which components or materials they are made of, or how they are constructed.

It doesn’t bother us, since we are perfectly happy to know how to make a cup of coffee or drill a hole in the wall. But it sure bothers Johan Strandahl, who has spent the last 1,5 years of trying to comprehend an ordinary kitchen.

The result of his exploration is now exhibited at gallery Niklas Belenius: a handmade and fully functional reproduction of a complete kitchen from Ikea. All the components and parts are manufactured by Strandahl himself, including the oven and refrigerator as well as the ceramic tiles, chipboards, screws and hinges …

In comparison with the Ikea kitchen, which is also shown at the gallery, Strandahl’s replica lacks the perfection of the original, but also the passive anonymity. Strandahl’s kitchen is active and impossible to ignore, it stares back at the spectator, demanding something in return.

Strandahl’s work is not only an act of re-producing, but also of re-understanding. In the process of making he returns the lost pieces of meaning to the object, thereby pointing out the possibility of a different kind of understanding, where, in Immanuel Kant’s words “the hand is the window on to the mind.”

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Johanna Gustafsson Fürst

02.03—07.04.2013

Johanna Gustafsson Fürst could be described as a linguist of space, striving to bring forth the grammar hidden in our surroundings and encouraging us to participate in the re-writing of space. Her work is parasitic to the extent that it enters a space and tampers with its functions.

In her third solo show at Gallery Niklas Belenius she is using space as a notebook.

The sculpture ”NO” is composed by equal parts of control and desire, with a faded and torn garment exposed on a stand coated with copper. This precious metal is playing a central role in the global market, with the hedge funds and speculators at its centre and the thieves in its margins, searching for copper plumbing, wiring, cables and sculptures

Juxtaposing copper is an anonymous green colour, frequently used in public spaces. As copper prices skyrocket, the value of the commonly owned is declining. While copper is being protected, public green is being painted over with corporate colours.

Doubt, trial and error is expressed through the art works. The thoughts are not finished, but they are embodied in works such as the Frankenstein-like “Europe” and in “Words” in which the copper and public green meet joined by a halfway fastened screw.

The high density and complexity of meaning in the works do not aim for completion. Johanna Gustafsson Fürst is aspiring to make the unfinished permanent. The thoughts in her three-dimensional notebook are drafts, to be developed in collaboration with the visitors.

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