Lars O. Ericsson

  • Klaus vom Ruch

    Klaus vom Bruch’s installation, Surface to Surface, 1989, is based on radar recordings taken in Lapland. Vom Bruch has traveled around with a naval radar scanner mounted on the roof of his car, making a kind “landscape painting” of five famous tourist sites. The green, shimmering radar landscapes, after having been transferred to videotape, are shown on monitors enclosed in cases of black rubber and steel. Vom Bruch’s work has its roots in a European conceptual tradition that regards the idea or concept not as the dominant aspect of the work; like artists such as Marcel Broodthaers, Daniel Buren,

  • Mans Wrange

    Both hot and cool, passionate and skeptical, sensuous and conceptual, Mans Wrange’s work creates an intense feeling of ambivalence and ambiguity. His installations include a mixture of short narratives. In his new one, Wrange introduces three fictional characters, all of them obsessed by a romantic longing for perfection, immediacy, or truth. But in one way or another, they all fail. Wrange is not, however, simply playful and ironic regarding his characters and their noble aspirations. Like any good author, he also seems to be genuinely fascinated by them. His texts, pictures, and objects, in

  • Ytkraft—Ung Dansk Skulptur

    In the last four or five years, a whole new group of Danish sculptors has emerged on the Scandinavian art scene. “Ytkraft—Ung dansk skulptur” (Surface power—Young Danish sculpture) is a group show exhibiting eight of the most prominent members of this new generation. Perhaps the most characteristic feature of their work is that it neither seeks a further expansion of the sculptural field nor tries to break down the barrier between art and life. Its originality resides, instead, in an effort to destabilize the classical and modernist conceptions of sculpture from within. The work, not its relation

  • Lars Englund

    Uncompromising consistency, a sophisticated formal program,and an impersonal, inexpressive style have been the chief characteristics of sculptor Lars Englund’s work since the early ’60s. With the Bauhaus tradition and Constructivism as his initial platform, Englund has gradually developed a body of work that transcends the Modernist demand for unity. Instead of classical materials such as bronze and marble, he uses contemporary industrial elements: rubber, cloth, graphite, fiber, plastic, and polished steel.

    Englund’s sculptures and installations are often based on minimalist principles. Out of

  • Alfredo Jaar, Ronald Jones

    Both Alfredo Jaar and Ronald Jones belong to the post-avant-garde that uses art to scrutinize the relationship between politics and culture. In the spirit of Marcel Duchamp, they infiltrate and manipulate various systems of representation. By acting as a couple of “undercover agents,” they attempt to undermine the infrastructure of the assigned, detached order of the world.

    Jaar created an installation specifically for the context of this large space. As in most of his recent work, this three-part installation consists of photographic transparencies installed in light boxes. But in distinction

  • Stefan Karlsson

    Not only is the art of Stefan Karlsson hard to pin down, but the artist himself is quite elusive. He does not appear under his own name, but takes cover behind a fictitious enterprise called Paperpool International Corporation (PIC). Or perhaps fictitious is not the right word. It may be more accurate to say that Karlsson operates in a gray zone between fiction and reality. This allows him to criticize and satirize both the art world and the socio-political, corporate context surrounding art.

    In this show PIC presents its latest range of products. The works’ exposed structure and boxlike format,

  • Maya Eizin

    Now that the transparency of Modernism has been replaced by the opacity of post-Modernism, and the world has been described by Jean Baudrillard as “a shattered windshield,” it seems as if the most versatile metaphor for our fractal, un-surveyable condition would be the fold. By being only partly visible, only partially accessible, and thus not totally controllable, the fold allows a retreat from the panopticon of modern society. The fold is not only a locus of secrecy, a refuge for evading an unfolding gaze, but an object of erotic desire. In this exhibition of Maya Eizin’s work, opacity, folds,