Stockholm

Gunilla Palmstierna-Weiss, Scenography 9: A Vietnamese oar folds out to a fan and forms a backdrop, Viet Nam Diskurs, 1968, 1967, mixed media, 11 5⁄8 x 23 3⁄8".

Gunilla Palmstierna-Weiss, Scenography 9: A Vietnamese oar folds out to a fan and forms a backdrop, Viet Nam Diskurs, 1968, 1967, mixed media, 11 5⁄8 x 23 3⁄8".

Gunilla Palmstierna-Weiss

Moderna Museet | Stockholm

Gunilla Palmstierna-Weiss’s first solo exhibition at Moderna Museet comprised a small selection of drawings, collages, models, and ceramic objects made between 1964 and 1984. Curators Emily Fahlén and Asrin Haidari neither framed Palmstierna-Weiss as a craft artist nor produced a purely archival show revolving around her storied career in stage design. Instead, they drew from both aspects of her practice to propose a model for the contemporary artist beyond that informed by the idea of the solitary (and usually male) genius.

Palmstierna-Weiss was born in 1928 in Lausanne, Switzerland, and raised in Rotterdam and Vienna. After World War II, she left continental Europe behind to develop a politically engaged artistic practice in Stockholm. Her career in theater found her collaborating with such aesthetically and politically divergent figures as Ingmar Bergman and Peter Weiss, whom she married

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