• Torture / Andres Serrano

    Written by Anne van Beers

    During the photography festival Recontres d’Arles that is taking place from July 4th though until the 25th of September, Andres Serrano’s new work ‘Torture’ will be premiered at Collection Lambert.

    The ‘Torture’ series was initiated and produced by a/political, a London-based not-for-profit organization that collaborates with sociopolitical artists. Serrano’s photographs were taken at the Foundry, an experimental art space run by a/political in the French town of Maubourguet.
    Under the guidance of military personnel and perpetrators of torture, Serrano photographed the voluntary models in degrading positions, using devices that were produced on-site by the local residents.

    Throughout his confrontational and challenging work, Serrano unpicks the hypocrisies and highlights similarities within religious, political and social constructs.
    The artist received international attention for the scandal around his work ‘Piss Christ’ in 1987 and one of his more recent solo exhibitions include 'Redemption' at the Museum of Photography (Fotografiska Museet) in Stockholm, Sweden (2015)

    A selection of prints from Francisco Goya’s The Disasters of War (1810-1820) will accompany the exhibition,
    on loan from Stadtmuseum, Oldenburg.

    Torture, Andres Serrano Collection Lambert, Avignon
    4th July – 25th September, 2016

  • Rodebjer has opened the doors to her VAGINA.

    Written by Claudia Fried

    On June 16th Rodebjer opened the doors to VAGINA on Norrmalmstorg in Stockholm.

    Carin Rodebjer rebuilt the 100 square meter bank vault inside her flagship store on Norrmalmstorg in Stockholm. The space is named VAGINA  and is a place where creative and cultural expressions are given space and can be born.

    - We rebuilt a space that used to house grumpy old men and created a womens palace. We made an old bank vault into a VAGINA, says Carin Rodebjer.

    In conjunction with the opening of VAGINA Rodebjer shows Xenia Sette Giorni, 2009-2011, a work by artist Ylva Ogland. Xenia Sette Giorni, 2009-2011 is an independent painted installation, a small museum where the viewer looks through a peephole to see seven still lifes, one for each weekday.  The still lifes where created during a solo exhibition in 2009, at the T293 gallery in Naples and shows the artist's sex along with flowers and seafood from a nearby market.                  The paintings are a cross between Oglands masturbation series Tondo and  Xenia, her series inspired by Caravaggios still life Fruit Basket.

    -I have always loved Ylvas art. She is an incredibly inspiring artist, says Carin Rodebjer.

    Rodebjer also launched a limited edition magazine, “Rodezine” created in collaboration with Liselotte Watkins, Naomi Itkes. The magazine is a private conversation between Carin and Naomi about creativity and sex. Liselotte made the illustrations and photography to create it’s very own sensuality.

    -Rodezine is a place for discussion and dialogue. Womens needs and ways of looking at everything from life to sex to work, interests me. It shapes what I want to create. That which is private is also universal and deeply human. I think you can talk about the same things the same way in the public sphere as well as in the private sphere.

    I want to encourage an open dialog, says Carin.

  • From the exhibition Exposed by Bryan Adams, at Fotografiska Stockholm 

    Bryan Adams - EXPOSED

    Written by Michaela Widergren

    Almost 20 years ago, the remarkably famous Bryan Adams took a career change and decided to helm his passion for photography, whilst remaining prominent in the music scene. His has participated in many photo exhibitions since, including the Royal Ontario Museum, Satchii Gallery and the Somerset House in London, to name a few.  Adams has worked on multitude of fashion projects for magazines such as Harper's Bazaar, Vogue, Elle and Vanity Fair and campaigns for H&M, Guess, Joop! and Peta. 

    The exhibition Exposed at the Museum of Photography in Stockholm, Sweden, contains some of Adams most known work featuring Kate Moss, Eva Evangelista, Amy Winehouse, Mick Jagger and Louise Bourgeois. The celebrity list is long and the portraits are flawless. The exhibition also shows us his series Wounded, catching the heartbreaking reality of scarred soldiers who have come back from Iraq in a very different condition than when they left. Exposed hands us contrasts of life in portraits taken with a very sensitive lens.

    Exposed 18th June - 25th September at Fotografiska in Stockholm

  • Yayoi Kusama - IN INFINITY

    Written by Michaela Widergren

    Finally one of the most celebrated and talked about artist has come to the Museum of Modern Art in Stockholm. In Infinity is the largest exhibition of Kusama's work ever presented in Sweden and is the first retrospective to include and highlight her work with fashion and design.

    Since the 1950s Kusama has worked within painting, sculpture, and installations, always exploring and moving with the contemporary art scene and climate. With her famous dots, shapes and circles she gives new life to both objects and entire rooms. The exhibition shown at the Modern Museum includes some of her most know work, such as Infinity Mirror Room – Phalli's Field, Louis Vuitton shop window display with Tentacles and recently produced (2015) Infinity Mirrored Room – Hymn of Life. The exhibition continues at ArkDes showing us Narcissus Garden, originally produced for the Venice Biennale in 1966. Back then she turned her work in to a happening and started offering the Venice Biennale by passers to purchase pieces of Narcissus Garden - “Art, only two dollars each”. She wanted art to be including not excluding, which at the time it was and I think many would say it still is today. Or at least it can be. After you've seen the glimmering garden the exhibition continues outside I the green. If the weather allows, take a walk in the garden and enjoy.

    In Infinity will be to the public from the 11th of June until the 11th of September. 

    photographer NINJA HANNA
    stylist NICOLE WALKER
    hair  JOE-YVES 
    make up ELVA ALHBIN
    models MIA / Le Management & ANAB / Elite Stockholm 
    art director LINDA HALLSTAN


    Written by Josephine Bergqvist by Michaela Widergren

    Sexism as I have experienced it in Sweden is the starting point for this collection. Our everyday lives are permeated with sexism, in many ways this is what constitutes society, for women. It has shaped me and is so deeply ingrained in me, that I can’t distinguish what is me than from what is sexism. Where does it come from, and how deeply rooted is it in the Swedish welfare state? How did the stereotypical image of “Swedish Girls” come about, and how has it impacted on us?

    With “Swedish sin” and 1970s soft core porn - in Swedish called “happy porn” - as my point of departure, this collection reveals the ambiguity of being sexually liberated and sexualised. For this editorial we were inspired by Lars Tunbjörk’s photography and wanted to play with his themes. We also wanted to explore this complex of problems in a contemporary context. 

  • art by Ludmila Christeseva


    Written by Anne van Beers by Anne van Beers

    “Looking at an old photograph of one's self, a common reaction is you just marvel at the ridiculous clothes that people wore.”

    With this sentence professor Elizabeth Wilson opened her lecture on Fashion and Memory, which was hosted by the Armémuseum in Stockholm.
    Wilson is a Visiting Professor of Cultural Studies at the London College of Fashion and author of books, such as “Adorned in Dreams: Fashion and Modernity”.

    Why do we laugh at ourselves for the fashions we chose, instead of remembering how it made us feel at the time? And why it is always the clothes and not something else in the image that we tend to focus on?
    According to Wilson, one answer is obvious: when looking at these photographs, we realize that changing fashions in a way are pretty random.

    Another answer, she stated, would be that we are purposely shifting our attention.
    “We can only disavow the passage of time by dismissing through laughter, one aspect of it which is the styles. But really, it's not the styles that are ridiculous, it is us. It is our former selves.”
    By shifting our attention from our changed bodies to the clothes that cover them, we try to protect ourselves from negative feelings we might experience when seeing our own younger versions.

    Wilson then made the connection between photography and fashion, as photography is a form of mass reproducibility of the image. Fashion, nowadays, is just as well. Quoting Susan Sontag: “What renders a photograph surreal is its irrefutable pathos as a message from time past.”
    In her own words, Wilson added: “In this way fashion and photography are central to a presentation of the past and of transience. It is essentially their fashionable dress, or dress of its time, that now underlines the transience of these lives.”

    Wilson noted that norm core dressing has recently become more and more popular due to the globalization of fashion, changing the relationship consumers have with their clothes.
    In a similar way, fast fashion, which provides more options than one can grasp, is influencing the mentality consumers have when it comes to buying and using clothes.
    The way we dress has become more or less standardized.

    “How would that affect the way in which we consume memory?” Wilson asks.

    The work of Ludmila Christeseva's exhibition “Kriget har inget kvinnligt ansikte” addresses the issues Elizabeth Wilson mentioned in the beginning;
    “Clothes, when regarded as precious and valuable, rare, when cherished in other words, acquire a patina of meaning and memory.”
    Christeseva was inspired by Svetlana Alexievich's book “War's Unwomanly Face”.

    The exhibition revolved around a memory of her mother, of a dress in wartime, which became a story to the artist.
    She recognized her own emotions attached to this memory in toiles, prototypes of ready–to-wear garments and used both to make a statement about women's bodily experiences of war.

    Both Wilson and Christeseva express the importance of preserving and communicating our past in order to truly be able to move forward.

    Wilson concluded her lecture by expressing she hoped that we are not depriving ourselves of the ability to remember through clothes.

    “I think remembering through clothes and the intimacy of clothes is precious. And I hope it will remain an essential part of those intimate forms of mental imperial which is our memories.”

    The Armémuseum in Stockholm hosted this lecture on May 9th as an extension of the exhibition “Kriget har inget kvinnligt ansikte” with works by Ludmila Christeseva. The exhibition took place from May 9th until May 18th.