Blueprint unites artists and architects with wide-ranging and disparate practices under a single, uniting theme: using the “blueprint” module to explore the origin of their practice. First conceived in 1999, the exhibition was a low-budget, DIY effort by and about a group of emerging artists (“ambitious and broke” artists, in the words of curator/artist Sebastiaan Bremer). A decade and a half later, the artists’ practices have matured, and Blueprint remains a fascinating recent historical document and a record of the artists’ creative trajectory and evolution.
We are pleased to present this summer’s exhibition at Hellvi Kännungs, Gotland. The converted 19th century barn on the north-eastern Gotland serves as Galleri Magnus Karlsson’s project space in summer and it is now the fourth year we operate there during July. This year’s exhibition, Memories Look at us, presents new works by Tommy Hilding, Susanne Johansson, Tova Mozard and Per B Sundberg.
From Press Release (in swedish):
Det finns några kvinnliga konstnärer som mer än andra varit viktiga förebilder för andra kvinnliga konstnärer. Helene Billgren är en av dom. Redan hennes tidiga teckningar, ritade med kol, skildrade en på den tiden nästan förbjuden kvinnovärld. Teckningarna visade flickor som var mer intresserade av sitt hår, sin kropp, sina kläder, än något annat i livet. Hon blev en dörröppnare in till det flickrum som många andra konstnärer senare kunde träda in i. Men Helene var först!
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They are hunters who themselves become prey. In 1960, Federico Fellini erected a questionable cinematic memorial to them in his famous film “La Dolce Vita.” He created the character of the “paparazzo,” the tabloid photographer whose name can be read as a combination of the words “pappatace” (sand fly) and “ragazzo” (boy). The paparazzo’s raison d'être: the covert following and stalking of more or less well-known personages with the aim of publishing exclusive photos of supposedly secret and personal situations.