Julia Peirone’s serial portraits capture her models in what appears to be unguarded moments; the figures are elusive, yet exposed. These teenage girls look uncomfortable, fragile in their precarious poses, but at the same time paradoxically monumental, filling the pictorial surface, as though they could break free from it if they stood up. The titles, such as ’Sleepy head’ (2016), are from cocktails.
Thu Van Tran’s work is relating to rubber as a historically important raw material in the colonial exploitation of Vietnam. The large wall painting, made of rubber and a chemical pigment, stains the white wall of the exhibition space and seems to spread infinitely. (See the film about the work and artist on our YouTube page. Link in bio.) Overly Forced Gestures (De Récolte à Révolte), 2017, part of the exhibition ’Manipulate the World – Connecting Öyvind Fahlström’. #ModernaMuseet#ThuVanTran
Wermke/Leinkauf staged a secret action on the Brooklyn Bridge in New York, replacing the two American flags on the towers with white flags. The work ’Symbolic Threats’, 2015, consists of recordings of the media and political reactions to this unexpected event. In the exhibition ’Manipulate the World – Manipulate the World’. #ModernaMuseet#ManipulateTheWorld
Although the models in this painting were his close friends, Francis Bacon preferred to paint their portraits from photographs. Bacon collected reproductions of masterpieces, along with photographs and medical encyclopaedias. Together with classics from cinematic history and childhood memories, this image bank was essential to his artistic practice.
Francis Bacon, Double Portrait of Lucian Freud and Frank Auerbach, 1964, in the Collection. Free admisson!
Georges Braque spent the summer of 1909 in La Roche-Guyon. In a letter to the art dealer Kahnweiler he wrote: "Delighted to be here. The landscape is really beautiful. I beg you not to reveal my address to anyone." This desire to paint and the self-chosen isolation paid off: eight paintings of the village were produced, five of them showing the medieval castle.
As Chief Curator for the Abu Dhabi Museum, Hanan Hilwé purchased an art collection for Sheikh Zayed in 1979. The Sheikh hated the works and Hilwé herself doubted their “authenticity”. She tried to give the works back but kept failing – mysteriously the artworks kept returning to the storage in Abu Dhabi. Upon receiving advice that the works might be undead she started to paint “mirror images” to keep them away. It worked. These crates are copies of the original crates which remain in Abu Dhabi.
In 2000, Natascha Sadr Haghighian was nominated for an art award given by a federation of German industries. She relocated the jury’s studio visit to a bus stop in Berlin Mitte, situated in a triangle of three institutions of art and science. She gave a lecture and supplied instructions for a series of actions. Two ‘undercover agents’ documented the situation, framing the jury members as protagonists of a joint performance. Included in the exhibition ’Manipulate the World – Connecting Öyvind Fahlström’. #ModernaMuseet#NataschaSadrHaghighian
The word devrim – revolution – is often written in the streets by left wing activists in Turkey. But nationalists routinely add a few lines and scribbles to the letters to make the graffiti abstract and illegible. One action in turn triggers a counteraction.
Asli Çavusoglu, A Few Hours After the Revolution, 2010 in the exhibition ’Manipulate the World – Connecting Öyvind Fahlström’. #ModernaMuseet #AsliÇavusoglu
Slips of paper, newspaper cuttings and sooty scraps of wood are combined into poetic observations of the overlooked objects. Louise Nevelson in the Collection. Free admission! #ModernaMuseet#LouiseNevelson
When exploratory blasting was carried out for mineral prospecting in Gállok/Kallak outside Jokkmokk in northern Sweden 2013, this provoked protests in the region. Katarina Pirak Sikku took part in the protests. During a police intervention, she spread large, white geotextiles in front of the protesters. When the police, demonstrators, the prosecutor and representatives of the mining company walked or drove across this surface, their tracks were documented. The textile thus became contemporary frottage, bearing the marks of the ground underneath and the events above it: the “earth’s testimony”. Katarina Pirak Sikku, Gállok-Kallak, 2013, in the exhibition ’Manipulate the World – Connecting Öyvind Fahlström’. #ModernaMuseet#KatarinaPirakSikku
Maria Hedlund contemplates the state of things, inviting us as viewers to see and rediscover everyday life. The series ’Some kind of knowledge’,2014, concerns objects she has collected and cared for.
In the Collection. Free admission! #ModernaMuseet#MariaHedlund