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

The materials in Linnéa Sjöberg’s works meld, fuse together, and layer the past into a non-linear narrative where yesterday is as present as today and where time utterly collapses.

“To see is to enter a universe of beings which display themselves, and they would not do this if they could not be hidden behind each other or behind me…Thus every object is the mirror of all others.” (Maurice Merleau-Ponty, Phenomenology of Perception, 1945)

The ongoing series The Inward Dance consists of objects firmly swathed in, and covered by, soaked parchment i.e. membranes scraped during the manufacture of leather. There’s a certain brutality to the drawn-out process – they are left to dry either hanging or lying, pierced and sealed with metal rods, hung with chains, collars and hooks. The interiors are made up of discarded clothing, debris and twigs, erasing the boundary between intimate souvenirs and waste. Many of the works allude to a human presence – exposed, mummified pieces – saturated in the same crude, dark humour as Michaela Eischwald’s resin-filled rubber gloves or Alina Szapocznikow’s head ashtrays. Each individual work forms an ambiguous memento mori, a reminder of the transience – or the triviality – of life.

Earlier in the year Sjöberg came across the VHS archive of the German public service television channel Deutsche Welle. If her previous weaves have intensively unravelled the memory of the individual – an upbringing in Strömsund, the performance work Business Woman – then German Wave is perhaps more concerned with collective memory. What did the world look like before we could follow a live broadcast, before we could say exactly where we were on September 11? What we see on TV etches itself into our memory, our shared view of reality formed and refined by the information sent out. In the process of weaving these stored memories are literally entwined to the point of complete erasure – no image or sound remains. The room is instead filled with long swathes of weaved magnetic tape and pieces of fur, a monument to the obsolete in an accelerated stage of synthetic fossilisation.

There’s something to Linnéa Sjöberg’s method that has me invariably returning to Joseph Beuys’s work Homogeneous Infiltration for Grand Piano. By covering a grand piano in a thick layer of felt Beuys emphasised the pitfalls of collective silence (in allusion to the thalidomide scandal of the 1960’s). Bound into an all-encompassing whole, the instrument’s parts are subsequently gagged. In an analogous gesture, if not one more personal than critical, Sjöberg wraps fragments of a collective history, compressing them into impenetrable objects. Just like the grand piano the contents are hidden and, sure enough, completely disabled.

The past is brutally wiped out, immortalised by its transformation, no possibility of nostalgic reclamation remains. If those objects that surround us are an extension of our own bodies then what Sjöberg engages in are mental acts of mutilation.

Text Ulrika Pilo
Translation Nicholas Lawrence

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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.

More about this exhibition