Håkan Rehnberg

Galerie Nordenhake | Stockholm

With his new paintings, Håkan Rehnberg continues along the narrow path he embarked on three years ago. But instead of plates of lead or steel, he now uses acrylic sheets as support—a rather “dead” or banal material that has the advantage of being relatively unencumbered, art-historically speaking. The character diptych, which during the ’80s was to some extent Rehnberg’s trademark, is replaced by an “abstraction” rich in color and texture. Yet one can still sense the form of the diptych by a middle axis sometimes faintly outlined.

For Rehnberg, who has never been particularly interested in either purity or essence, “abstraction” and “craft” mean something quite specific. Abstraction is not part of a process of purifying painting of its representational elements, but a kind of no-man’s-land between representation and nonrepresentation. For Rehnberg, abstraction is no more and no less than

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