“Unbeatable kitsch attends the huvudstan”
“Camilla Hammarström, if an art form is alive and well”
“the First time I saw a work by Jeff Koons was in the late eighties. It was his work with vacuum cleaner that put me in a mild ecstasy. That it was possible to repeat Duchamp’s prank to make everyday objects into art with the modern subject felt at this time refreshing. The interest of the readymades was strong during the eighties and early nineties. In Koons, the to he reproduced found objects in other materials, and eventually in a different scale. Something he has in common with the two artists he now is exhibited together with the Museum of Modern art: Katharina Fritsch and Charles Ray.”
“the Idea of the exhibition Sculpture after Sculpture is to put together artists who have been pioneering when it comes to the reintroduction of the figurative in sculpture, and with it illuminate the sculptural object’s opportunities in the day. There are thirteen works by the three artists that appear. To enter the hall feels a bit like visiting a museum of a bygone culture. As if you were in the future and saw the typical expressions of a particular era. Perhaps it has to do with the way the works are presented – quite soberly, with just enough distance from each other.”
“But the more I think that it depends on the all three are related to the sculpture’s history. Katharina Fritschs elephant in life-size, stands on a plinth which elevates it to the monument. And Charles Ray’s naturalistic human figures reminiscent of ancient Greek and roman sculpture. Jeff Koons porslinsporträtt of Michael Jackson with his monkey Bubbles makes me think of etruscan coffins with figures on the lid.”
“And it was precisely what happened in the eighties, that the window was opened against the history after modernism’s programmatic forward-looking. It became possible again to be figurative and to quote the old stylistic devices. And kitschen made their debut as adequate means of expression. Katharina Fritschs madonna is a typical example, a uppförstoring of a well-worn figurine, parked in knallgult. More interesting still is perhaps her Lady with the dog from 2004 based on a figure completely made of shells. With its getingmidja and bulging skirts reproduces an image of women from the past as this completely transformed to the character.”
“the Master of kitschens area is still Jeff Koons. Michael Jackson-the portrait is unbeatable, with its baroque revelry of gold and flowers. It is not just the imagery, which captured the artist, but also the production process itself, around to make porslinsfigurer, here in the closest to monumental format. Koons objects are extremely costly to produce. You can say that he seems to be in symbiosis with the rich art collector to be able to practice their art.”
“Even Ray Charles puts great care in his sculptures, which take many times years to produce. The tractor, made of hundreds of avmodellerade parts cast in aluminum and then assembled to a at once fragile and heavy whole. I can’t say that it evokes the same ” aha ” feeling that Koons work, but in the context fills the still place like a strange, figurative artifact.”
“At the house of culture is going on at the same time enmönstring of american sculpture. It takes place in the eighties and nineties by inviting artists who emerged during this time. Is this then the same movement towards the figurative-defined objects? No, if you disregard the Clear Kristalovas”
“glazed keramikfigurer, so it is on the contrary if to remove himself from the sculpture as a solid single body. As in Marianne Lindberg De Geer and Ulf Rollofs installations. Or Meta Isæus-Berlin’s two works: Bedtime and Awakening from 2014. The first is a bed suspended by thick rope, the other a bathroom which is flooded with water – a kind of fountain. In addition to being a technological feat, it is a wonderful rendition of total loss of control are suitable. Together with the bed that rocks like a boat in the dream night creates a poetic story about the flows and movements that occur between conscious and unconscious. About weight and lightness, fear and trust.”
“Installationskonsten showing up on other possibilities for the sculpture than the figurative highlighted on the Museum of Modern art. But no matter what route the artist chooses is in any case clear that the sculpture as an art form is far from dead.”
“Sculpture after sculpture”
“the Museum of Modern art, Stockholm, sweden”
“18th January 2015”
“I love it! What is it?”
“Kulturhuset, Stockholm”
“up To and including 11 January 2015”
