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Objects "Arrivals"

Spår av liv i ett stycke materia I By Johanna Arvidsson

Editions: 10 Size: 50×70 cm Technique: Print About the piece Spår av liv i ett stycke materia I , is part of a series of three drawings. The drawings are made in Lima, Peru, and are based on skeletons from the Natural History Museum in Lima. They formed an installation in the group exhibition Todo lo que necesitas ahora está a Perú, that took place in an old house in Barranco, Lima 2016. The installation was also shown at the solo exhibition Spår av liv i ett stycke materia, at Gallery Mors Mössa in Gothenburg 2016. The drawings are inspired by the history of the body and the metaphors that have been used through the ages to refer to the body and its fragility, such as Vanitas symbolism, an art genre that wanted to show the transience of life. The Natural History Museum is a place Arvidsson goes to to gather inspiration for her art. These museums, are often from an older era and life is staged in an atmosphere that is musty and old. The skeletons she found reminds her about the Vanitas symbolism and skeletons testify about death but in a position that imitates life. The original drawings that the prints are made of, are 56×76 cm. has a thin white margin around the motif. Spår av liv i ett stycke materia I  , is part of a series of three drawings. The drawings are made in Lima, Peru, and are based on skeletons from the Natural History Museum in Lima. They formed an installation in the group exhibition Todo lo que necesitas ahora está a Perú, that took place in an old house in Barranco, Lima 2016. The installation was also shown at the solo exhibition Spår av liv i ett stycke materia, at Gallery Mors Mössa in Gothenburg 2016. The drawings are inspired by the history of the body and the metaphors that have been used through the ages to refer to the body and its fragility, such as Vanitas symbolism, an art genre that wanted to show the transience of life. The Natural History Museum is a place Arvidsson goes to to gather inspiration for her art. These museums, are often from an older era and life is staged in an atmosphere that is musty and old. The skeletons she found reminds her about the Vanitas symbolism and skeletons testify about death but in a position that imitates life. The original drawings that the prints are made of, are 56×76 cm. has a thin white margin around the motif. About the artist Johanna Arvidsson (b. 1983) is educated at the MFA (Master of Fine Arts) program of Valand Academy, and is based in Gothenburg. Arvidsson tries to approach experiences that is not always presented in the world around us, such as depression and mental illness, but also the body’s aging and thoughts about death are part of the themes that interest her. For her, the truth has nothing to do with words, but our society is structured so that we have to use words to communicate and point to “the truth”. A starting point for Arvidsson’s work is to find other means of expression to handle these subjects, she does this mostly with drawing as a medium. She is interested in historical approaches to life and death, including how this is presented in culture. She also studies melancholy as the oldest form of mental illness. At the moment she looks at melancholy of all time – mainly from a female perspective, this study she works with parallel to studying the historical presentation of the female body in areas such as the history of painting and medicine.  Read more

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Headspace III By Rasmus Nossbring

Editions: Original Size: 13x12x11 cm Editions: Original Size: 13x12x11 cm Technique: Glass sculpture About the piece In the sculptures, Nossbring has been investigating emotion conveyed through glass. The content of his work speaks about daily routine and social structures. Through body language and facial expression, we understand each other, yet it is not always obvious nor clear what is being said as the body usually acts faster than the brain. Nossbring creates these from blown glass by hand, slowly sculpting all the details to get to an expression that he wants in the glass studio. Once finished, the pieces are cooled down slowly to release stress in the glass, before Nossbring works with the objects cold to achieve desired surface and texture. Headspace In the sculptures, Nossbring has been investigating emotion conveyed through glass. The content of his work speaks about daily routine and social structures. Through body language and facial expression, we understand each other, yet it is not always obvious nor clear what is being said as the body usually acts faster than the brain. Nossbring creates these from blown glass by hand, slowly sculpting all the details to get to an expression that he wants in the glass studio. Once finished, the pieces are cooled down slowly to release stress in the glass, before Nossbring works with the objects cold to achieve desired surface and texture. About the artist Rasmus Nossbring (b. 1991) is an artist from Norrköping, Sweden. At the age of fifteen he started his apprenticeship for Reijmyre Glassworks, as part of their traditional Swedish production line. Gradually learning the process of glassmaking he started creating objects of his own when time was given, which in 2010 got recognized by the National Museum Design. This gave him more freedom in the factory along with bigger responsibilities to create artwork for various artist and designing objects for the factory. In 2014 Nossbring made his way to Pilchuck Glass school for the first time as an intern in the school’s famous glass studio. He has since then been returning to America, visiting Corning Museum of Glass and Pilchuck Glass school in various positions. Influenced by Swedish and American glass culture he’s continuously broadening his artistic vocabulary, increasing his skill. In 2014 Nossbirng left the factory to get more time for his own work and started study at University College of Arts, Crafts and Design in Stockholm. The aspiring artist will graduate in 2017. The content of Nossbring’s work consist of moments from his everyday life. He portrays events bearing signs of contemporary humanity and daily routines. In this frame, memories, social dynamics and dreams are subjects that interests him. Ultimately, he wants to convey what he sees and feels in his everyday life through his work and create monuments of the mundane. Nossbring is a sculptor working in a variety of materials but expresses himself primarily in glass. In this medium, he tries to move past conventional techniques and to discover what is possible in hot glass. Rasmus Nossbring (b. 1991) is an artist from Norrköping, Sweden. At the age of fifteen he started his apprenticeship for Reijmyre Glassworks, as part of their traditional Swedish production line. Gradually learning the process of glassmaking he started creating objects of his own when time was given, which in 2010 got recognized by the National Museum Design. This gave him more freedom in the factory along with bigger responsibilities to create artwork for various artist and designing objects for the factory. In 2014 Nossbring made his way to Pilchuck Glass school for the first time as an intern in the school’s famous glass studio. He has since then been returning to America, visiting Corning Museum of Glass and Pilchuck Glass school in various positions. Influenced by Swedish and American glass culture he’s continuously broadening his artistic vocabulary, increasing his skill. In 2014 Nossbirng left the factory to get more time for his own work and started study at University College of Arts, Crafts and Design in Stockholm. The aspiring artist will graduate in 2017. The content of Nossbring’s work consist of moments from his everyday life. He portrays events bearing signs of contemporary humanity and daily routines. In this frame, memories, social dynamics and dreams are subjects that interests him. Ultimately, he wants to convey what he sees and feels in his everyday life through his work and create monuments of the mundane. Nossbring is a sculptor working in a variety of materials but expresses himself primarily in glass. In this medium, he tries to move past conventional techniques and to discover what is possible in hot glass. Rasmus Nossbring (b. 1991) is an artist from Norrköping, Sweden. At the age of fifteen he started his apprenticeship for Reijmyre Glassworks, as part of their traditional Swedish production line. Gradually learning the process of glassmaking he started creating objects of his own when time was given, which in 2010 got recognized by the National Museum Design. This gave him more freedom in the factory along with bigger responsibilities to create artwork for various artist and designing objects for the factory. In 2014 Nossbring made his way to Pilchuck Glass school for the first time as an intern in the school’s famous glass studio. He has since then been returning to America, visiting Corning Museum of Glass and Pilchuck Glass school in various positions. Influenced by Swedish and American glass culture he’s continuously broadening his artistic vocabulary, increasing his skill. In 2014 Nossbirng left the factory to get more time for his own work and started study at University College of Arts, Crafts and Design in Stockholm. The aspiring artist will graduate in 2017. The content of Nossbring’s work consist of moments from his everyday life. He portrays events bearing signs of contemporary humanity and daily routines. In this frame, memories, social dynamics and dreams are subjects that interests him. Ultimately, he wants to convey what he sees and feels in his everyday life through his work and create monuments of the mundane. Nossbring is a sculptor working in a variety of materials but expresses himself primarily in glass. In this medium, he tries to move past conventional techniques and to discover what is possible in hot glass.Read more

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Consolador 2 By Sara Kallioinen Lundgren

Editions: Original Size: Ca 10×3 cm Technique: Mixed media sculpture Editions: Original Size: Ca 10×3 cm Technique: Mixed media sculpture Editions: Original Size: Ca 10×3 cm Technique: Mixed media sculpture About the piece The sculptures in the series were made during the months Sara lived in Spain. An exotic place for her where everything was patterned, detailed and colorful. A place where many people are strict Catholics and openly show their sexuality. A blend of extravagant fashion and judging looks saying you’re showing too much skin. High and low, all or nothing. Consolador The sculptures in the series were made during the months Sara lived in Spain. An exotic place for her where everything was patterned, detailed and colorful. A place where many people are strict Catholics and openly show their sexuality. A blend of extravagant fashion and judging looks saying you’re showing too much skin. High and low, all or nothing. Consolador  means to comfort, but is also the Spanish word for dildo.   About the artist Sara Kallioinen Lundgren (b. 1993) is an artist based in Gothenburg. She is currently studying the BFA (Bachelor of Fine Arts) within ceramics at HDK in Gothenburg, but is working with her art from numerous materials and techniques. Her focus is most often at the surface of her artworks and the objects she is creating, meaning she’s working with the different structures of the materialities or applying a flat image or a pattern. The materials can range from ceramics to plaster and textile, The combination of two dimensional surfaces and three dimensional shapes is in constant focus. The experiments are balances between different materials, structures and surfaces.Read more

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Cuxhaven By Amit Naamani, Print

Editions : 529×21 cmPrint Size:  : 529×21 cmPrint Technique:  : 529×21 cmPrint About the piece Cuxhaven is a part of Naamani’s glitchwars series. It’s a series of 16 glitches that Naamani made during his time in Hamburg, it’s scans of a collaged magazine that created beautiful and surreal landscapes. About the artist Amit Naamani (b. 1986) is an artist based in Tel-Aviv. Naamani has been keeping a sketchbook and a diary for over five years now, working in and out of it and documenting almost everyday. He finds that documenting a moment is fascinating, and when he draw something, paste something or color it onto paper, it describes that moment in time, and when he goes back and look at it, it has meaning. Naamani’s work has a strong base around collage, asking the question, “What is collage?”. The essence of his work is layers, whether it is a piece of paper, a piece of text, a letter, an old photo of a building or a huge acrylic splatter in the middle of all of that. Naamani finds the layers both metaphorical and as physical ideas of our everyday lives. A word, over or under a photo, over another word and above it all, a torn up photo,  a mix of his everyday, his culture and his mind. After years of studying figure drawing, Naamani went to apprentice in a tattoo studio and got into drawing in the style of tattoos. When he left that world and started to look deeper, he discovered collage and writing. Now he works constantly, both digital and analog, exploring the beauty of today’s world where layers of collage and text exist on both levels. Naamani believes that by having sketchbooks, diaries and journals around, he is in a constant spirit of creativity. Sometimes it looks good, sometimes bad, but for him what is important is to stay active and work. Naamani says he knows how important it is to create “bad” work and just keep the creative juices flowing, while moving, always to stay in motion. Now, he says he understand the beauty of simple abstract marks, color stains or just huge fields of color, and those are slowly growing in his work, while working digital or in his journals. Naamani views the pieces at Arrivals as a unity, working together; creating an abstract landscape of thoughts and emotions from Naamani’s everyday life.Read more

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Black Swan By Julia Norlander

Editions: 25 Size: 70×50 cm Technique:  Print     About the piece Mothermilk  is a search for a visual interpretation of an emotional experience,a feeling that lives in our subconscious that surfaces in our dreams. Through utilized capturing and processing techniques Norlander is recreating the abstract pictures from her memory, trying to give a uniqueness to her images, as a dream or an illusion is unique. These particular images are pieces of a series about a place / a state where the familiar meets the unknown, where light and dark- ness is an equal measure and a meeting point of the past and the present. Norlander reaches a little deeper and a little closer to what is below the conscious surface. She believes that we all conceal truths in our subconscious, truths that are only revealed when we dream or fantasize and truths of one part of us that is unex- plored and secret. About the artist Julia Norlander (b. 1984) graduated with a BA in photography from The Royal Melbourne Institute of Technology, Melbourne in 2010. In her photography she recreates the emotional states that she experiences through focusing on shape, pattern and color. By trying to recreate the feeling or condition, she reaches both deeper and closer to what is below the conscious surface. She believes that we all conceal truths in our subconscious – truths that are unexplored or secret and are only revealed when we dream or fantasize.Read more

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Glitched Dreams By Felipe Enger

Editions : 15 Size:   50×50 cm Technique:  Fine Art Print About the piece When one visits a place for the first time, there is a lot of information to be absorbed. Trying to process all these new pieces of information, one always resorts to previous experiences and memories in the effort to relate to the new surroundings. However, sometimes a new place might not resemble anywhere else and one needs to absorb all the new information as raw data to be interpreted. Considering memories as the interpretation of this raw data, they might not present the factual reality. Evasive Memories is the visual interpretation of some raw data that Enger gathered from an unknown place. Therefore, this is rather “mindscapes”, the representation of the idea of a landscape created in the mind of the artist, than an actual landscape. This work was inspired by Carl Jung, who believed art and images found in dreams were a way of expression of the unconscious; and the Abstract Expressionism, in the sense that they explore the unknown and its different possibilities, leaving space for interpretation. When one visits a place for the first time, there is a lot of information to be absorbed. Trying to process all these new pieces of information, one always resorts to previous experiences and memories in the effort to relate to the new surroundings. However, sometimes a new place might not resemble anywhere else and one needs to absorb all the new information as raw data to be interpreted. Considering memories as the interpretation of this raw data, they might not present the factual reality. Evasive Memories is the visual interpretation of some raw data that Enger gathered from an unknown place. Therefore, this is rather “mindscapes”, the representation of the idea of a landscape created in the mind of the artist, than an actual landscape. This work was inspired by Carl Jung, who believed art and images found in dreams were a way of expression of the unconscious; and the Abstract Expressionism, in the sense that they explore the unknown and its different possibilities, leaving space for interpretation. About the artist Felipe Enger (b.1989) is a Brazilian/Swedish visual artist, living and working in London. After graduating from Business school he realized that photography was more than just a hobby and decided to change his career path. He then moved to London, where he graduated from the London College of Communication, with a Postgraduate Diploma in Photography. In his personal projects, he is constantly exploring the boundaries of photography as a medium, through the pictorial representation of abstract concepts such as dreams, the unconscious mind and the idea of belonging.Read more

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Call the Doctors By Eric Magassa

Editions : 25 Size:   64×46 cm Technique: Print About the piece In Magassa’s series , he investigates currents in history, culture and art. The collages are composed of abstract pictorial elements and historical images of African artifacts and explores how African ethnographical objects have been appropriated, re-interpreted and often dislocated from their original context and traditions within the western power regime. Examining how social and cultural histories are constantly being recycled and told a new is a recurring theme in Magassa’s art practice. Call the Doctors In Magassa’s series , he investigates currents in history, culture and art. The collages are composed of abstract pictorial elements and historical images of African artifacts and explores how African ethnographical objects have been appropriated, re-interpreted and often dislocated from their original context and traditions within the western power regime. Examining how social and cultural histories are constantly being recycled and told a new is a recurring theme in Magassa’s art practice. About the artist Eric Magassa (b.1972) is an artist based in Gothenburg. Magassa spent most of his youth moving back and forth between Gothenburg and Paris with his Swedish mother and French father from Senegalese and Malian descent. As a student, Magassa subsequently lived in London and New York to study at Central Saint Martins and The Art Students League of New York. His works stem from experiments with different media ranging from paintings to drawings, sculptures, collages, videos and textiles. Identity, fetish rituals, abstraction and patterns are often subjects in Magassa’s work.Read more

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Hannah Höch in winter By Amit Naamani

Editions : 624,6×18,3 cmPrint Size: : 624,6×18,3 cmPrint Technique:  : 624,6×18,3 cmPrint About the piece Hanna Höch in winter is a collection of extracts from pages in a sketch book that Naamani made during the winter of 2015-2016; those days were very sad, hard and special for Naamani, struggling with a relationship he had in a foreign country. During that period he created a lot of art and these collages are some of his favorite pages from that time. For Naamani, it is at the same time amazing and sad to look back on them and see the inner turmoil he was in at that time. It is a good thing that time passes and life moves on letting you forget and remember bad times. About the artist Amit Naamani (b. 1986) is an artist based in Tel-Aviv. Naamani has been keeping a sketchbook and a diary for over five years now, working in and out of it and documenting almost everyday. He finds that documenting a moment is fascinating, and when he draw something, paste something or color it onto paper, it describes that moment in time, and when he goes back and look at it, it has meaning. Naamani’s work has a strong base around collage, asking the question, “What is collage?”. The essence of his work is layers, whether it is a piece of paper, a piece of text, a letter, an old photo of a building or a huge acrylic splatter in the middle of all of that. Naamani finds the layers both metaphorical and as physical ideas of our everyday lives. A word, over or under a photo, over another word and above it all, a torn up photo,  a mix of his everyday, his culture and his mind. After years of studying figure drawing, Naamani went to apprentice in a tattoo studio and got into drawing in the style of tattoos. When he left that world and started to look deeper, he discovered collage and writing. Now he works constantly, both digital and analog, exploring the beauty of today’s world where layers of collage and text exist on both levels. Naamani believes that by having sketchbooks, diaries and journals around, he is in a constant spirit of creativity. Sometimes it looks good, sometimes bad, but for him what is important is to stay active and work. Naamani says he knows how important it is to create “bad” work and just keep the creative juices flowing, while moving, always to stay in motion. Now, he says he understand the beauty of simple abstract marks, color stains or just huge fields of color, and those are slowly growing in his work, while working digital or in his journals. Naamani views the pieces at Arrivals as a unity, working together; creating an abstract landscape of thoughts and emotions from Naamani’s everyday life.Read more

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