Stina Ekman

Moderna Museet | Stockholm

“An intuitive exploration of the number of sculptures contained within the cube 60x60x60 mm”: the slightly humorous tension between form and content in the subtitle of Swedish sculptress Stina Ekman’s installation, Gitter (Lattice), was hardly fortuitous. Swedish-speaking viewers recognized the untranslatable puns that the word “gitter” derived from nuclear physics, inevitably suggests—puns that make science seem akin to farce. The amazing thing was that in spite of its essentially controlled form the installation seemed to open into the viewer’s non-formal associations.

In a square room illuminated by a white, almost shadowless light, 446 small sculptures were arranged in a strict grid pattern along the walls. Despite this systematic order, one’s first impression on entering the room was one of sparkling excitement; the hundreds of forms seemed more like immaterial flicker than solid

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