I samband med öppnande av Waldersten shop presenterar vi de sex första motiven från en ny serie fotografier under namnet Just Words. Samtliga bilder är tryckta på Hahnemühle HEMP 290 gr och ramade med passepartout och svartlaserad björklist på Bergevall Ramar i Stockholm. Edition 25. Printarna levereras i en handgjord låda eller hämtas upp i Rummet på Fredrikshovsgatan 5 i Stockholm. Välkommen in!
I samband med öppnandet av Waldersten Shop släpper vi en ny serie handtryckta torrnålstryck i en edition av 12. Bladen är signerade och numrerade på framsidan och ramade på Bergevall Ramar med passepartout och björklist. Bilderna levereras i en handgjord låda eller hämtas upp i Rummet på Fredrikshovsgatan 5 i Stockholm.
Välkommen in!
https://www.dn.se/kultur/martin-frost-serverar-musikaliska-lackerheter-och-nackharsresande-skonhet/
Från tidningen “Lyssna”. Klicka här.
A new show with Waldersten in collaboration with Martin Fröst. Konserthuset Thursday the 5th and Saturday the 7th of May. Music by Johann Sebastian Bach, George Frideric Handel, Wolfgang Amadeus Mozart, Anders Hillborg, Béla Bartók, Jacob Mühlrad, Johannes Brahms, Annamaria Kowalsky, Giuseppe Verdi, Göran Fröst and others.
Royal Stockholm Philharmonic Orchestra
Martin Fröst Conductor & Clarinet soloist
Eric Ericsons Kammarkör
Jesper Waldersten Text and Art
Linus Fellbom Stage Direction & Light
Konserthuset 5 & 7 May.
I mitten av februari går Jesper in i studion på Sveriges Radio och spelar in tre nya avsnitt av Tankar för dagen. Temat har flyttat från den egna kroppen och ställer nu in siktet på Gud.
”Om du hör det här Gud, kom snart. Du finner oss alla under träden, längs med dalgångarna, i månljus och solsken, bland skuggorna, i vardagsrummen, på trapporna, med vatten upp till naveln. Ta med dig båten. Har du kvar den?”
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)
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.
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”.
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. |
