Published 16 september 2012.
Installation at Restaurant Sturehof, Stockholm 2012
Venerable tavern Sturehof at Stureplan in Stockholm is one of the places where the wealthy cultural and media elite like to get a bite to eat or a few drinks . And the establishment's bar area , Obaren , is now a hip watering hole for those younger generation of so-called liberal professions. Sturehof management seems to have a genuine interest in culture , and therefore appears recurrent works of contemporary artists in the restaurant's premises. This year's Autumn Salon presents works by Marianne Lindberg De Geer, His Lif , Margaret Carlstedt , Jebah Baum, Kerstin Hansson, Tomas Alfredsson, Orjan Wallert , Peppe Engberg and Susanna Slöör . Curator Johan Pettersson.
Pub Environment is not uncomplicated environment to exhibit in , and truth be told is well also not works displayed throughout the sharpest imaginable . Marianne Lindberg De Geer's Scrooge - figure with camouflage background of the restaurant's outer part ( the architecturally most problematic ) will meet competition from the troubled environment and the ugly walls. And film director Tomas Alfredson's photographs of floors and pavements are not bad .
But best of all withstand Orjan Wallert , whose installation in the entrance to Obaren fits like a glove (pictured). The components could be seen earlier this year at ID: I Gallery , but in the new environment lifts the whole setup at least a few snap . Wallerts items and idiom communicate congenially with the straight interior design yet , and manages to find a balance point between being a part of the interior and to break away from it. The installation includes an audio track that - at least during the opening - played at rather low level Hopefully , the volume will be turned up , because then the overall impression will be almost perfect.
.Adress: Stureplan 2, Stockholm
Exhibition period 2/9 – 30/9
Anders Olofsson (text and photo)
Video part of installation at Restaurant Sturehof, Stockhom
Review www. Konsten.nu
ID:I Galleri, Stockholm: Örjan Wallert ( 7/12-6/1 2003 )
When [ the Swedish painter ] Torsten Andersson, from during a period of making three-dimensional objects, turned to represent them in painting, it was a choice of more extensive consequences, concerning not only his own artistry.
Anderssons “portraits” of sculptures express the conviction that it is possible to transform three-dimensional shapes into lines and geometrical structures without, because of this, the result becomes an illusion.
Örjan Wallert acts in a similar way, but from an opposite starting point.
He starts the process of transformation in the world of pictures, from which three-dimensional shapes and sounds are filtered out. But the goal is not reached by that.
Wallert stretches the process a distance further , and then the very process itself is dissolved in a mutual, complementary condition.
In the exhibition room suddenly a number of different spaces appear which shut in, or enclose each other.
If we close our eyes it is possible to discern lines combined into figures from the sound sequences. And if we observe the objects and the abstract pictures long enough it is not impossible that they will burst into music.
Örjan Wallerts exhibition is as subtle as it is intellectually and emotionally stimulating. Furthermore it is capable of raising questions about our senses and the problems of representation that are eternally current. That makes the exhibition one of the most notable during the autumn season in Stockholm.
( Translation from Swedish: ÖW )
Sound art traditionally does not hold a strong position in Sweden, which is actually a bit strange. Artistic experiments have not been something unfamiliar on the Swedish art scene where a good example is the “open art” of the sixties. But just as certain is that innovations have had a hard time rooting in the Swedish art soil. It has been problematic for different expressions to share the space of the scene, and too often the talent who has allied with the most totalitarian art professors has been winning at play. Against this dark background the tight and well executed exhibition of Örjan Wallert feels like a sympathetic family gathering, where a personal history comes alive in present.
Wallert combines minimal object-paintings with a self-made soundtrack that mediates a slight contemplative mode. Although it is not a matter of grey-bearded conceptualism.
There is a subtle humour present noticeable in small carefully located details. A couple of monochrome “paintings” put up against the wall turns out to be tabletops with their aluminium legs bundled up quite near by. And in the sound figures suddenly beats are bouncing up speaking of something completely different than electronic-musical meditation. (Address: Tjärhovsgatan 19)
(Translation from Swedish: ÖW)