Nature is blossoming and everything is buzzing. All is astir around the house in Saltsjöbaden where Sven X-et Erixson and his family lived. The artist himself is perched on a ladder, painting. The naïve (Naivisternas) pictures show moments from ordinary days, celebrations or traditions. They painted the scenes around them, or even their own lives, to hold on to an image of something good and peaceful. But the idyll is disturbed by three warplanes in the sky. Europe is at war, and the Swedish armed forces are fully mobilised. X-et was well aware of the contrast between his protected life on the outskirts of Stockholm and the horrors of war.
Sven X-et Erixson, The Painter’s House, 1942, is on display in “Realism and pure-hearted poetry” – one of our 19 new dispalys that will open in the Collection this year. #ModernaMuseet # SvenXetErixson
The Malmö-based artist Johan Röing is first and foremost a sculptor. Röing’s simple and raw sculptures of people or animals may at first glance recall the work of the so called Neuen Wilden artists of the 1980s in Germany. But Röing’s approach is much more sensitive. The point of departure is often a clear idea, but one that is allowed to change as he works on it. He processes the material with a chainsaw and a disc grinder, but he never loses track of the ongoing dialogue with the material. Johan Röing is on display at @modernamuseetmalmo until 6 October. #ModernaMuseet#JohanRöing Photo: Helene Toresdotter/Moderna Museet
Architectural models are often made as instructions, to explain. In Truls Melin’s work, his undying childhood interest in modelbuilding has the opposite purpose, or rather, non-purpose. Here, there are no instructions for the viewer; on the contrary, it is noted that nothing is rational. His shapes, colors, motifs could be interpreted as representing the imagination, the will and the limitless possibilities.
Truls Melin, Aspirant, 1989, on display in “Strangely familiar” one of our 19 new displays that will open in the Collection this year. #ModernaMuseet#TrulsMelin
The tapestry “Achtung” was made for a scandalous exhibition at Kulturhuset, Stockholm, in 1976, with Charlotte Johannesson and her husband, Sture Johannesson. The personal ID number in the tapestry referred to a debate at the time challenging the government’s growing influence through collection of personal data. As a result of public concern about personal data storage the Swedish Data Protection Authority was established in 1973, as the world’s first government body of this kind.
Charlotte Johannesson, Achtung, 1976, is on display in” A room of one’s own” – one of our 19 new displays that will open in the Collection this year. #ModernaMuseet#CharlotteJohannesson
Colourful, large, rotating women called ”Nanas” and black machines greet the visitors as they approach the museum. Niki de Saint Phalle and Jean Tinguely originally created their large sculpture group, Le Paradis fantastique, for the Montreal World Exposition in 1967, but the sculpture was given its permanent home by the Moderna Museet when it was donated by the artists. #nikidesaintphalle#jeantinguely#modernamuseet
Irving Penn developed a minimalist focus on form and surface early on in his career – a style he continued to refine and never really abandoned. Photographs of flowers and other objects have been likened to modern still-lifes. Irving Penn is on display in the Collection.
Thank you for following this Museum Swap, we hope that you enjoyed the works from @astrupfearnley! And if you are visiting Oslo, keep in mind that members of Friends of Moderna Museet have free admission at Astrup Fearnley Museet!
Damien Hirst, ”Unknown Pharaoh”, 2015, in the Astrup Fearnley Collection.
This work is by Juliana Huxtable, artist, poet, performer and DJ, born in 1987. Huxtable explores the intersections of race, gender, queerness and identity in her works by using a diverse set of means to engage these issues, including self-portraiture, text-based prints, performance, nightlife, music, writing, and social media.
Jeff Koons is known for his neo-pop art, such as "Michael Jackson and Bubbles" from 1988. The work belongs to his Banality series and portrays the celebrated American pop star holding the chimpanzee Bubbles on his lap, based on a press photo. The triangular composition of the sculpture was inspired by Michelangelo’s ”Pietà” in the Vatican, and Koons himself has referred to Jackson as a modern Christ figure. The work is made of gilded porcelain, a material that for many years was reserved for royalties and aristocrats but today is used for mass-produced ornaments and knick-knacks.
Olav Christopher Jenssen is a Norwegian artist. For nearly 30 years, he has created series of abstract paintings exploring the floating line, as well as a corporal engagement within the process of painting, constructing balanced structures in a dialogue with art history. With great sensibility and skilfulness, he approaches and withdraws from representation, flirting with landscapes and cityscapes, or signs of nature, combined with personal traces.
As you probably know, Moderna Museet recently hosted the exhibition “Gilbert & George – The Great Exhibition”. In September the exhibition will be shown at Astrup Fearnley, including this work from the their collection. The artist duo Gilbert & George have worked together since the late 1960s, and their work often address issues that concerns them personally. A number of large panels builds up Gilbert & George’s recognizable photographs. This expression was established in a time when there were technical limitations on how to print large colour photographs. Today Gilbert & George make use of the many technical innovations within photo treatment, but they stay true to the use of panels as a signifying artistic signature. Gilbert & George, “Yell”, 1992. (This is a museum swap. Experience works from a museum in our neighbour country. Today we switch Instagram with @astrupfearnley!) #MMAFMswap#gilbertandgeorge#astrupfearnleycollection#astrupfearnleysamlingen#MuseumSwap#AstrupFearnleyMuseet#AstrupFearnley#ModernaMuseet@AstrupFearley
Through their materiality and aesthetic, books were the first support for Anselm Kiefer’s artmaking, and writing every day in a journal has made it possible for the artist to reflect on his work and to engage in research that is closely connected with his thinking. The work ”Zweistromland/The High Priestess” is an enormous bookshelf made of lead combined with historical and cultural references. Its main topic refers to the ‘Cradle of Civilization’, Mesopotamia, which in German is called ‘Zweistromland’. The ’high priestess’ personifies wisdom, just as a book collection can be a metaphor for stored wisdom.