Torsten Andersson, Ljuskrona av trä (Chandelier of Wood), 1980–89, oil on canvas, 59 × 51 1⁄4".

Torsten Andersson

Galerie Nordenhake | Berlin

It’s circa 1960, and some people are once again starting to say painting is dead. In its terminal state, the monochrome, it has transformed into an exercise in rendering space and void. But at the same time, in Sweden, Torsten Andersson (1926–2009) is frantically attempting a resuscitation. His painting Molnen Mellan Oss (The Clouds Between Us), 1966, although not on view at Galerie Nordenhake, lent its name to this exhibition, in testimony to the decisive role it played in concluding a period the artist termed his “struggle for language.”

Among the works on display, Ljuskrona av trä (Chandelier of Wood), 1980–89, seemed closest in spirit to this effort: It depicts a lumpy canvas with a red form captioned LJUSKRONA/TRÄ (chandelier/wood) painted on it, leaning on a dark-blue cube. The background is white, and the two artworks shown in the painting never existed. Such is the language Andersson

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