Anticons IV

Anticons IV will be ready to order from 09.00 Friday the 10th of December. If you are interested in buying an Anticon, you will find them all here. (from Friday)

1100 Degrees at CFHILL

From Constantinople to Cyborg futurism — A story in bronze at CFHILL December 3 — January 7, 2022.

The exhibition 1100 Degrees is a celebration of Swedish sculpture and its close ties to one of our most remarkable craftsmen and entrepreneurs in the modern age. Herman Bergman, whose incredible drive, self-confidence, fearlessness about the unknown, and care for his loved ones and co-workers allowed him to create a movement that wouldn’t just elevate Swedish art in general, but also make an international impact.

Waldersten participates with the bronze, INIT, 2020-2021, Edition 2 of 3 + 1 AP, Bronze, 78 x 42 x 54 cm.

Årets kulturtidskrift 2021

I förra veckan korades tidskriften Aiolos till Årets kulturtidskrift 2021. Föreningen för Sveriges kulturtidskrifter, som delar ut priset, skriver i sin motivering om hur ”Initierade och namnkunniga skribenter djupdyker i omfångsrika, tematiska nummer; utforskar, nyanserar och lyfter fram oväntade ingångsvinklar som vidgar perspektiven och fäster läsarens blick på både detaljer och helheter”. “Numrets konstnär är den oförliknelige Jesper Waldersten, som hanterar svärtan med briljans”.

Memories out of Hand / Cecilia Hillström Gallery.

Opening hours
Tuesday–Friday 11–18, Saturday 12-16 and by appointment. Cecilia Hillström Gallery, Hudiksvallsgatan 8,
113 30 Stockholm, Sweden, info@chgallery.se. The exhibitions run to 6 November.

Jesper Waldersten’s exhibition Memories Out of Hand features a new series of paintings as well as a sound piece with texts by Waldersten and the voices of actors Pernilla August and Thomas Hanzon. In addition, a publication with Waldersten’s new texts is launched in connection with the exhibition.

A self-portrait is an expression of an inner and outer dialectic. The who am I? is constantly reversed into who are you? in a selfish dialogue. It is a genre where psychological introspection and social representation move back and forth with the speed of the mind – sometimes including and sometimes rejecting the beholder.

In Jesper Waldersten’s world, the self-portrait, in its written or painted form, turns into an obsessive investigation. A relentless uncovering of weaknesses that spring from imagined (or real?) wounds, stored at the back of the mind, in a childhood memory, or revoked through an impulse caused by a foolish word, a deceptive morning light or an encounter that will not let itself be defined. It is an art that works on the border, constantly balancing in between childhood mysteries and adult fear and where painting and writing is a sought-after tool for release and redemption.

A fundamental question for Waldersten remains the search for the whereabouts of boyhood mysteries, of the loss of the exclusivity of the playroom (turned into the artist studio) and its innocence. This loss, both personal and universal, can only be healed through the adjuration of text and form, in which the artist turns himself into a persistent enchanter. There is heartache in the painting act and in the act of writing. There is heartache in the insight that all things material does not correspond with harmony. And there is heartache in the longing for the healing and the restoration of what a child experiences as unconditional, namely love.

The theme of love is a theme of struggle. It lies in the shadows of the painted and the written, in the constant repetition of the hand driven by a hunger for solution. Love, in its most universal sense, hides in every fold of things. In the paint, on the canvas, behind the desk. Waldersten is on a constant hunt for it. Sometimes he gains but shortly it disappears, leaving confusion and a sense of deception. The adult becomes child (or is it the other way around?) and the world, that for an instant appeared so light, has turned into fear and guilt.

In Waldersten’s art the working process never ceases. It is a protagonist that follows the artwork and engages the spectator into the artist’s own questioning. Shortcomings and limits of the materials turn into metaphors for a constant search that does not see an ending as a goal.

Text by Sabrina Norlander Eliasson, professor in Art History.

Waldersten All Over/Lidköpings konsthall

Waldersten All Over Fotografiska goes Lidköping.

11 September Lidköpings Konsthall opens the doors for Walderstens strange figures, black landscapes and wild humour. Jesper says it´s a best of exhibition, a compressed expression without any end. The exhibition ends the 30 October.

The Room in Gamla Stan

From the 1:st of June The Room will temporary be located in Gamla Stan, Västerlånggatan 40, in Stockholm. For booking and further information please contact Petra at info@waldersten.com.

Ny konst på Milles

April 2013 öppnade restaurang Michelle Van Der Milles upp sina dörrar för första gången. Väggarna var “nedlusade av Walderstens konst”, som Dagens Nyheter uttryckte det. Det visade sig vara bra. I åtta år fick de hänga med; teckningarna, texterna, fotografierna och målningarna. Det finns en tanke om att affärsuppgörelser har ändrat riktning, att förhållanden läkt och brutits itu tack vare, eller pågrund av, konsten på väggarna.

Nu går vi in i en ny tid och det är dags att inspireras igen. Milles har bytt färg och fått en ny hängning med en kompott av torrnålstryck, fotografiska printar, teckningar, texter och målningar. Kom in och byt dina tankar för ett tag. Torrnålstryck och fotografiska printar finns i en mindre edition till försäljning.

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Tankar för dagen

Nyskrivna Tankar för dagenP1.
“Vi har en ek på tomten. Den ser ut som banken vi lånat den av. Hon är den sjätte medlemmen i vår familj. Hunden är den femte. De träffas varje morgon. Han göder med sitt, hon svalkar med sitt. Hon är fem män tjock, två hus hög och kommer att börja dö om femtio år. Man säger att en ek växer i 200 år, är fullvuxen i 200 år och dör i 200 år.”

2021-01-11 Telefonlistan

2021-01-18 Eken

2020-01-04 Guds knä

ANTICONS III. AVILABLE DECEMBER 4.

Open Friday 09.00 CET

“I always aim to be timeless and undated. But that’s difficult with the world behaving as it does. Everything wants to be close – family, dog, friends and travel destinations. My mouth waters at the very thought of Paris or the steady base drum at a concert. So instead I compensate for this distance and isolation with my brushes. I paint the forbidden embraces and cancelled adventures as thickly as I can, travelling every day from my heart to the surface of my paintings, back and forth. You could almost say that I commute in my imagination. And the result will be the closest I have ever done.”

All of the paintings are made in oil on panel. They are framed with birch frame at Bergevall Ramar in Stockholm, carefully packaged in handmade boxes with signed titles on the front. The artworks are signed at the front and at the back.

[Year 2020, oil on panel, 20 x 14 x 3 cm, birch frame]
Price: 16 000 SEK