Vivian Suters and Lars Fredricson’s art get one in a good mood
In recent years Immersive artificial tree – for some reason a lot Van Gogh And Monet – does not seem to be delayed and you can see at the moment Frida Kahlos Art in enclosed, animated, Instagram version. In Malmö. Nice for us others.
The compelling exhibitions, which enclose and often bring in with pompous music to increase the mood, attract emotions, perhaps tears moved, have a questionable value like a throwing art.
You do not know that you would like to watch art/eat too expensive/eat money for obscure activities. Casters are required. And if you have agreed to go inside, you will see an exhibition that pretend, you might want to see a normal, type of analog hug.
What is lucky It is currently being shown in Malmö a kind of compelling analog exhibition!
It is “Vivian Ster: I Am Godzilla” in the Moderna Museet Malmö.
I think it is like a transition between Frida Kahlo and soft symphonies to very ordinary galleries, drawings on crumpled paper, self -portraying in coal or something else that is created and deserves to be seen.
From floor to (very high) ceilings, its paintings, powerful, abstract, are a bit difficult to cod but easy to find. In the middle of the large former turbine hall suddenly a bridge, in simply untreated wood.
The combination thereof Be surrounded by this generous painting, and that bridge – yes, exactly, this is a reaction to the garden of Monet, the compelling, user variant. The bridge that allows you to get a little closer Vivian Suters Working is high and steep. Especially steep. It is not easy to force, it is like the adventurous, the absolutely non -flattering version of the cute garden bridge of Monet. You do not stroll over the shoulder with a parasol and explained the higher class in turn of the last century. On the contrary. It is a struggle.
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The exhibition of Ster is charming and at least makes me in an incredibly good mood. This also applies to the newly opened Lars Fredrikson-The retrospective in Malmö Art Hall and really for a similar reason: here is the surrounding art, the one who leaves his frames and comes out. A large part of the creation of Fredrikson (1926–1997) was technology – especially sound, but also a kind of strange fax drawings – but his funniest is very analogue: large stainless steel screens, manipulated, uneven, sometimes with something similar to bullet holes, they act as mirrors.
The works are of The 60s, then you were about to proclaim the death of the author. Because here it is the viewer who creates the work. The work that extends much further than his limitations, with the help of us, we are reflected.
We who are reflected and we struggle it on a bridge. Somehow these very different exhibitions are linked. Both artists asked themselves and are looking for an extraordinary one. And we visitors? We remain co -creation. Or are we co -dependent?
PS there is much more to say about Lars Fredrikson. This fall the book is on oei -editor DS
Art Pod: In fact
The art of destroying art
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