In recent years, the most interesting art debate in Sweden is the one that has occurred in the wake of growing attention to painters who opts out of the prevailing modernist hegemony.
This figurative school, with the strongest foothold in Norway, where the controversial Odd Nedrum has been a forerunner, shock-started a cultural debate in Sweden with an exhibition in 2009 at Edsviks Konsthall in Sollentuna, north of Stockholm. The exhibition catalogue and the accompanying book attacked the cultural movement of modernism by describing it as hegemonic and oppressive. Instead they put themselves in opposition to the modernist breakthrough of the Dadaists and what followed. The school emphasizes the classical Western tradition of craftsmanship in painting. Neo-Romanticism is put against avant-gardism, tradition against provocation. Unlike the post-modernists, they are not even interested in reinterpreting modernism.
This stirred up a very harsh criticism, or rather anger. One critic compared it to "Nazi art of the 30's which expressed similar ambition and aesthetics"(Sydsvenskan, 2009-07-25). Other, more sane, critics argued that they smashed into an open door, though modernism is no longer a dominant art movement and that figurative painting is not something "new" but had always been there as an undercurrent. This you can partly agree with in the broad perspective.
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Selfportrait with nosebleed,
Odd Nerdrum. |
The way that this art movement, however, breaks new ground lies in the desire to return to the traditional craftsmanship and the Western figurative canon. That is, everything that was abandoned with the breakthrough of modernism. The way in which modernism also retains something out of a stranglehold is that its defenders completely dominate the country's cultural pages and art institutions.
That is why Edsviks Konsthall is so interesting. At the end of last year the gallery housed an exhibition of the Norwegian artist Odd Nerdrum. As early as the 60's he criticized modern contemporary art, where abstraction and conceptualism were the major elements. Instead, he chose to study the old masters techniques. His artistry has resulted in large, melancholic and beautiful, allegorical images, a surreal dream world that flirt with the romance of chivalry in the 19th century.
When Stockholm News visits Edsviks Konsthall there is, among else, an exhibition called ”Det mörka rummet. Realism och narration i nutida skandinaviskt måleri” (The dark room. Realism and narrative in contemporary Scandinavian painting), a joint exhibition with a group of artists working with realistic figurative painting. This is thus another commitment to figurative art beyond modernism.
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Falconer, by Lars Elling. |
Sweden is represented by Christopher Rådlund, Ola Billgren and Roj Friberg. Denmark is represented by Peter Martensen, Michael Kvium, Ulrik Møller and Nina Sten-Knudsen. Norway is represented by Christer Karlstad, Lars Elling och Marianne Wiig Storaas.
The works consistently honours the realism of what is depicted, but not necessarily by an uncritically outline of that which is represented. This since the paintings are not intended to represent an actual reality, and is therefore no substitute for photographs. Instead, it is assumed that the artist should be free to use the aesthetic expression she pleases.
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Montparnasse, by Christpoher Rådlund. |
Lars Elling's paintings, with their austere colours and smudged details, where the faces are often blurred, gives a sense of mystery and panic anxiety.
Christer Karlstad’s paintings depicts humans set out in the nature, often in contact with animals. These people not only feels out of place on a concrete level, their odd and passive postures makes them feel truly unnatural. This creates an incredibly interesting tension in contrast to the animals who are in their natural environment. Humanity is lost, we have turned our back to, and are now strangers to nature.
Roj Friberg depictions of men in power is bordering on caricatures, but rather bear witness of despair than a simple purpose of just making fun. There is a high accuracy in the images in their attempt to find the right emotions, rather than to be perfect representations. Political power showcased in all its misshapen abjectness.
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Tenvik I, by Marianne Wiig Storaas |
Worth noting is also Christopher Rådlund’s paintings that express a kind of existential loneliness. As a viewer you look out to a deserted but beautiful landscape of dark blue colors, freed from humans and movement.
Ulrik Møller and Marianne Wiig Storaas are the closest to a traditional representation in their images. But both of them succeed with conveying interpretations that creates feelings and impressions beyond the actual revelation. Møller captures still images of the human contemporary life and thus directs the viewer's gaze outwards, at shares of society. Wiig Storaas beautiful suite from what appears to be a typical Nordic country house is enchanting with their bright colours and play with perspectives.
In summary, the exhibition is very rewarding. Despite its figurative realism, it is seldom boring, but instead has much room for interpretation and reflection. A visit is highly recommended.
Edsviks Konsthall provides a good complement to the many art galleries in Stockholm, where conceptual installation art, weary provocations, and introspective abstract art still reigns undisturbed. It's nice that there are alternative art institutions in Sweden with its pronounced consensus culture.
The gallery is situated in the former stable and barn of the grand 18th century estate at Edsviken in Sollentuna municapality, around 15 minutes by car from inner city Stockholm. See this map for the location of Edsviks Konsthall.