Belenius

Ulla Wiggen — Solo Exhibition

18.01—17.02.2018

I think all paintings are somewhat self­portraits.
“There’s so much within one’s own, you’ve not yet put into words, what you’re aware of is a small tip of everything that’s in it”
Silently, the brain spins dexter on the wall in Ulla Wiggens studio in Lidingö. Operated by a motor of a microwave, sort of like a clock that brings time into the artwork. The rotating appliance is a cultivation of the depictions of electronic devices that has been a central part of her imagery as of the 60’s.

As a 20­year­old, Wiggen began to depict the insides of machines. After over 20 or so electronically influenced works, she turns her eye outwards, and towards people.
“Ulla Wiggen makes me think of the child who breaks the clock to see what time looks like inside”
Carin Nilsson, in her review of the show “COOL”. The body is a point of orientation from which the world asserts itself: from where I stand looking back at the account of her artistry and especially in her scarce production, forth treads an artist who works slowly, with the smallest of brushes, meticulously.

In the studio, midday. Leaning against the wall, three irises in different sizes; and along the same wall hangs two joined incisions of the cerebellum, one of the layers looks like the colour of sweetbread, the other grey more of a shadow. “But it’s not like a specific brain or iris – Ulla insists, I think of how it looks like being a human”. The human in Ulla’s pictures is a specifically selected and depicted excision or detail, a component of a body. The brain constitutes the ruling part of the central nervous system, two halves with distinct characteristics, between them sits a connection which makes them a functioning unit. The body’s anatomy and technology correlate and have several equivalents: just like a camera adjusts conditions of light the iris adjusts the pupil depending on the surrounding intensity of light. It is through the iris we behold the world, but where is this we that looks through and imbibes it? Where are we in the space of our inner selves?

Ulla Wiggen’s works makes visible the dark network within, the empty angles and the way in our innermost. The body we live in becomes an atlas over the quiet place that moves beyond speech and word.

Just like the whorling of the brain, Ulla Wiggen’s pictures are comparable to a mind map, and there’s nothing that brings us closer to the question of where we are looking through an iris. Everybody get to watch and experience on one’s own.

Reviews:
SVD
Kunstkritik

More about this exhibition

Julia Peirone – Girls, Girls, Girls
4.11.2017 – 18.03.2018

Julia Peirone is one of the most interesting Nordic artists today. Since her debut at the turn of the century 2000, Peirone has explored identity and the photographic image, often with a focus on young women, in series that mirror aspects of vulnerability, shame and sexuality connected to childhood and the transition to adulthood.

Above all, Julia Peirone is interested in how reality exists through the image and how we encounter ourselves in images. She poses questions about what a photographic image can be and what it can do, what its strengths and limitations are. In an age that is heavily influenced by social media and a visual culture that not seldom is used to create identity and shape the person one wants to be, the uncontrollable and vulnerable become important themes. And the gap between the world and our thoughts about the world.

It is a great honour for the Gothenburg Museum of Art to present Julia Peirone’s first major museum exhibition comprising around one hundred works, both newly produced works and loans from private collections, in the media of photography, video and sculpture, among others.

As part of the process of increasing the knowledge about artists who are represented in the museum’s collection, the exhibition is accompanied by a richly illustrated catalogue.

Read more here

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