Enter Willem Anderssons hypnotic world, where there is a another world moving inside. This time, curiosity and orderly randomness prevails. Works being cut apart and separated, information added and removed, all in order to compose a new whole. Andersson releases control and allows the image to systematically, and gradually, emerge. The result is hence a play between dominance and submission of the subject creating a so called “glitch”. Negative images containing warm and cold interstice. One would presume to say, that in our day and age there is a desire and fascination with the analogue method, for example the almost exotic ambience of an old family photo. Some of the works recalls the process of eliciting these old photographs, while others bear a resemblance verging on digital sensation.

A journey that begins in an undeveloped phase recapitulates, accordingly, the connotation of three-dimensional relevance as the conditions are established. Simultaneously, one can presume surrealistic parallels of gentle formalism as the image ripples through and forces the viewer to be pulled into the semi-figurative subject. Like the rings of a tree, the resin seeps through and the phenomena of contrast becomes clear, whilst conveying a poetic undertone. It draws to mind, the conformation of a negative image and it’s elementary aesthetics. A mans face, a woman, and something rather more complex; it is almost impossible to discern, until the complex puzzle is solved and the pieces falls into place.

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Biotop 2017


Group exhibition during Stockholm Art Week at Biologiska museet. A collaboration between Belenius, Elastic GalleryStockholms Auktionsverk, Stockholm Art Week and partnership with Artworks. Free entrance

Exhibiting artists:
Catrin Andersson
Hans Andersson
Willem Andersson
Dick Bengtsson
Miriam Bäckström
Nadine Byrne
Timothy Crisp
Lars Englund
Julius Göthlin
Dick Hedlund
Jone Kvie
Beth Laurin
Bruno Liljefors
Camilla Løw
Andreas Mangione
Julia Peirone
Hilde Retzlaff
Linnéa Sjöberg
Revital Cohen & Tuur Van Balen



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In the exhibition Heart Line, Revital Cohen & Tuur Van Balen present a series of X-Ray photographs of taxidermy specimens from the collection of the Royal Museum for Central Africa in Tervuren, Belgium. A gorilla, half a lion and a leopard killing an impala were taken from the museum’s archive and X-rayed in a local hospital, exposing the sculptural structures within.

The museum was originally opened by King Leopold II of Belgium to showcase the civilising mission and economic opportunities in his Congo Free State, amidst accounts of murder, mutilation and enslavement. It presents a Western view of Africa in which tropical taxidermy roams fantasy landscapes in elaborate dioramas next to statues of naked African children.

The X-ray works explore an excavation of subconscious form: the taxidermists imagined a movement and posture between two animals they had never seen based on empty furs and hunters’ stories. For decades, these particular specimens have shaped national subconscious through childhood memories of the museum. X-raying became a way for the artists to reveal natural history as a cultural practice, a colonial interpretation of nature and wildness.

The title of the show refers to Siberian rock drawings of animals in an X-ray view, which were based on a shamanistic belief that animals can be brought back to life from the portrayal of one line running from the mouth to the vital organs.

In the sculptural incarnations of these images the steel structures uncovered inside the scene of a leopard killing an impala are recreated in rare earth neon, mammoth ivory and natural rubber; reconstructing the imaginary choreography between two animal skins in materials of contemporary mining practices.

The act of mining for Siberian mammoth ivory (a matter between animal and mineral) or rare earth phosphates echoes the image making process as an extraction from below the surface. The surface of the earth, the surface of the body. Mining plays an important role in maintaining a postcolonial reality, extracting resources from deep in the Congolese soil and spread throughout the world.

Revital Cohen and Tuur Van Balen are a London based artist duo whose work is occupied with broad meanings of material and production. They work across objects, installation, film and photography to explore production processes as cultural, ethical and political practices. Their work is in the collection of MoMA in New York, Royal College of Art and Science Museum in London, M+ Museum in Hong Kong.

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Galleri Niklas Belenius is proud to present Lovisa Ringborg’s first solo exhibition at the gallery.

Although Ringborg has often explored narrative and drawn upon the visual language of performance this will be the first time she uses video in her work and it will be the central element in the exhibition. Featuring a film triptych shown on separate screens, the films run simultaneously, ebbing from figuration to abstraction, occasionally falling into sync. Accompanying the film are still images.

The central screening shows two girls who are almost identical in terms of visual appearance. They mirror each other’s actions and take turns in performing CPR. In the next scene the hands of one girl are slowly floating across the other girls neck and it is unclear whether her intention is to strangle or caress her. Black substance is pouring out of her mouth. Sheets are uncontrollably washing over the bodies, morphing into abstract shapes, seemingly possessing a life beyond control. In scenes where the effusive sheets inhabit the world both order and chaos seems to prevail and the captivating effect reaches out towards the tendency of human perception to discover meaning in random structures. All scenes are repeated in an endless loop – each subject forever defined against what it is not.

Ringborg’s work embraces, amongst other ideas, the contextual framework of the binary oppositions mind versus body. As a clear distinction between the two never can be made, we witness a struggle when two opposites assume a role of dominance over the other. There is no clear line of where one stops and the other take over. The dissolving ‘I’ becomes the visual and conceptual measure of reflection where there is room for both dissolution and unity.

Mirror Stage – An attempt to regain consciousness can also be seen to raise questions about subjectivity and identity in terms of relationships with others. How for example in strong friendships, the identification with the other person sometimes become so overpowering that you stop existing in the form you used to know yourself. The title of the exhibition points to the concept in Lacanian theory – the mirror stage – that is the permanent structure of subjectivity and relationship with the body image. It also reflects on the CPR praxis where the body is forced to awaken from an unconscious state. The films present a world that is found within the compounds of psychoanalysis, exorcism and hysteria and throughout the presence of these elements become entwined and floats in and out of focus.

Ringborg makes works that are rich with intrigue and detail but always manages to keep her caution and distance in the storytelling. Her photographic work often describes ambivalent conditions where the subjects portrayed are absorbed by their inner realities and the real action (or non-action) takes place within the subject itself. Ringborg always presents these alternative existences without becoming sentimental. Her images both embody a specific moment in the past as well as a timelessness that keeps her work in a constant state of becoming.

Lovisa Ringborg was born in Linköping, Sweden, in 1979 and lives and works in Stockholm.
She graduated from the University of photography in Gothenburg in 2008. She has had recent solo exhibitions at Harlem Studio Fellowship in New York City and at Kulturhuset in Stockholm. Other solo shows include: Passagen, Linköpings Konsthall, Rotwand Gallery in Zürich. Group exhibitions include: Location One, NYC, The Swedish Institute, Paris, Hasselblad Center, Gothenburg, Norrköping Konstmuseum, Gallery Sun Contemporary, Seoul.

The soundtrack is composed by Jenna One. Editing with help of Viking Jonsson and Karl Fredberg.

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MARKET Art Fair, Stockholm


Bigert & bergström
John Duncan
Carl Palm
Miriam Bäckström
Aids-3D (Keller & Kosmas)
Carl Michael von Hausswolff

Leif Elggren, is a Swedish artist born 1950, who lives and works in Stockholm and New York. Active since the late 1970s, Leif Elggren has become one of the most constantly surprising conceptual artists to work in the combined worlds of audio and visual. A writer, visual artist, stage performer and composer, he has many albums to his credits, solo and with the Sons of God, on labels such as Ash International, Touch, Radium and his own Firework Edition. His music, often conceived as soundtrack to a visual installation or experimental stage performance, usually presents carefully selected sound sources over a long stretch of time and can range from mesmerizingly quiet electronics to harsh noise. His wide-ranging and prolific body of art often involves dreams and subtle absurdities, social hierarchies turned upside

Since the mid-1990s, Miriam Bäckström has been one of the most influential artists in the contemporary art scene in Scandinavia. Her work focuses on the staging of life and on the shifts between what we call reality and fiction. In 1995 Miriam Bäckström started the project Set Constructions, a series of photographs depicting sets built for television productions, film commercials and feature films. Her documentations of staged presentations in museums, such as the IKEA museum in Älmhult and the museum apartments of the Stockholm City Museum, started in 1999 and include a photographic series entitled Museums, Collections and Reconstructions. Miriam Bäckström works with photography, text, sound and film. The unspoken and the implicit are strongly present in her works,where different realities often coexist in the same image. We can never be entirely sure of what we see in Miriam Bäckström’s motifs.