• L'ART BRUT - Art as primal force at Millesgården Museum

    Written by Fashion Tales

    “What is art and who determines it? These questions are raised by the exhibition L’ART BRUT – Art as primal force, which opens at Millesgården on June 1, 2024. The term l'art brut, French for raw art, was coined by the French artist Jean Dubuffet (1901-1985). The concept refers to artistic expressions created by individuals outside the established art world and its academic framework. During his lifetime, Dubuffet amassed over 5,000 works, and the collection has since expanded to nearly 70,000 pieces. In the art hall, the works are organised thematically, showcasing geometric compositions, vibrant paintings with emblematic figures, and small paper scraps with drawn narratives interspersed with writings, sculptures, creations featuring animal motifs, and landscape depictions. The exhibition at Millesgården is a collaboration with the Collection de l’Art Brut in Lausanne, Switzerland, and is based on 19 Swiss creators, presenting over 100 works.”

    The exhibition, focused on Swiss creators, is thematically organised, beginning with Adolf Wölfli's characteristic and geometric compositions, followed by Aloïse Corbaz's vibrant paintings featuring emblematic figures. Works by Adolf Wölfli were among the first acquisitions in Dubuffet's collection, and Aloïse Corbaz played a pivotal role in the collection's eventual relocation to Lausanne. Subsequently, there is a collection of creations acquired from the country's mental hospitals. These works are distinguished by their format; small scraps of paper with drawn narratives, including pieces by Julie Bar and Jules Doudin. Additionally, there are presentations of works where the creators reference their own selves, such as Justine Python's writings and Gaston Teuscher's swirling motifs, along with Angelo Meanis's sculptures. Finally, we encounter Aloïs Wey's imaginary palace architecture and Samuel Failloubaz's animal motifs alongside Benjamin Bonjour's landscape depictions.

  • AIRA

    Written by Jahwanna Berglund

     A Culinary Journey: Exploring the Exquisite Realm of AIRA in Stockholm

    Nestled away from the bustling hum of Stockholm lies a sanctuary of culinary excellence: AIRA. Settled gracefully in the serene bay of Biskopsudden, this two-Michelin-starred restaurant offers a panoramic view over Saltsjön.

    Upon entering AIRA, guests are greeted by an ambiance that seamlessly blends contemporary elegance with timeless Nordic design. Culinary Excellence Redefined: Every inch of AIRA's open-concept space is carefully curated, reflecting the essence of Scandinavian nature through materials such as stone, wood, brass, leather and sumptuous textiles. Whether seated by the panoramic windows overlooking the city skyline the ambiance exudes both intimacy and expansiveness, inviting guests to immerse themselves in a world of unparalleled comfort and sophistication.
    Engaging all the senses at once.

    AIRA isn't merely a destination for gastronomic fulfilment; it's an experience that captivates diners from around the globe. Under the masterful direction of Swedish star chef Tommy Myllymäki, each moment spent at AIRA is a journey into the extraordinary. From the carefully crafted interiors to the precisely prepared dishes, every detail is thoughtfully considered to evoke a sense of wonder and delight.

    The culinary creations at AIRA transcend mere sustenance; they are works of art meticulously arranged on each plate. With each bite, guests are transported to a realm where flavour, texture, and presentation harmonise seamlessly.
    Chef Myllymäki's  dedication to making people happy is obvious in every dish, as he infuses his creations with passion, skills, and a touch of magic.

    AIRA, which can be translated to “The Principal,” epitomises excellence in every aspect. From the exquisite porcelain, adorning the tables to the carefully selected ingredients sourced from the finest producers, every element contributes to an unparalleled dining experience. The restaurant's philosophy revolves around the sensory journey, each dish designed to tantalise not only the taste buds but also the senses of sight, smell, and the touch of the perfectly chosen cutlery for each dish.

    The architectural brilliance of Jonas Bohlin further enhances the dining experience. There is a seamless fusion of natural elements and modern design that creates an atmosphere that is both timeless and contemporary. In four hours, guests are treated to a symphony of sensations—a true visual feast!

    At the heart of AIRA's culinary philosophy lies a deep reverence for the bountiful offerings of the Nordic region. Led by Executive Chef Magnus Johansson, whose expertise is complemented by a team of culinary artisans. The restaurant's menu showcases a creative fusion of traditional flavours and modern techniques. Each dish is meticulously crafted to perfection.

    AIRA proudly presents the culmination of culinary mastery and sensory bliss.
    Here, guests embark on a culinary odyssey that feels as familiar as home yet as extraordinary as a dream. It's an invitation to savour the joys of life, one delectable bite at a time, in a setting that celebrates the beauty of nature and the artistry of gastronomy.

    In conclusion, AIRA is more than just a restaurant; it's a sanctuary where culinary dreams come to life. With its unwavering commitment to excellence, AIRA continues to redefine the boundaries of gastronomic innovation, inviting guests to embark on a lovely journey of taste, texture.


    Photo by Gustaf Björlin/ Food Office

  • photography Sanna Lindberg

    Exploring the Artistry of Ellen Hedin: Where Function Meets Sculpture

    Written by Astrid Birnbaum by Astrid Birnbaum

    Ellen Hedin, a Swedish furniture designer, goes beyond the boundaries between functionality and artistry through her innovative use of materials and keen eye for contrasts. Ellen's discernible penchant for contrasts manifests in her material selection, underscoring her profound affinity for the natural world. Her oeuvre serves as a conduit for elevating mundane existence into art, extracting the inherent magic permeating our daily lives. Through the infusion of organic elements into her pieces, she beckons viewers to contemplate the intricate interplay between materiality and life itself.

    - I am like a magpie, I collect things that stir something within me. Then the stick, the shell, or the deer skull can lie dormant, waiting for me, until suddenly one morning I wake up with an idea and understand how they fit together and how they should be used. I believe that all materials have an inherent history; it's just about bringing them out, getting them to speak. Wood, steel, and bone can bear the memory of places, processes, and people.

    Ellen intricately weaves together the realms of function and sculpture in her furniture, acknowledging the inherent fusion within the broader artistic landscape. While she strives to create pieces that are either purely sculptural or purely utilitarian, her creations often embody a harmonious synthesis of both domains:

    - My hope is that people can recognize themselves in both a kind of melancholy but also in a romantic, somewhat mystical image of the world in my furniture. Someone once said that my furniture is more like artefacts than furniture, I thought that was a nice description but for me, functionality is also important, I believe it deepens the connection. My furniture is both charged and to some extent also alive, it's direct, both in the design and in the expression,” she shares.

    Through her work, she emphasises the vital role of human interaction, whether her pieces adorn domestic spaces or grace the walls of gallery exhibitions. This emphasis underscores the intrinsic value of functionality in her artistic practice, enriching the viewer's experience with each encounter. One of Ellen's most captivating creations, “Tell,” stands as a testament to her fervent storytelling and material exploration. Drawing inspiration from the rich tapestry of Swedish tradition, particularly the practice of divination with molten tin, this cabinet serves as a vessel for her personal narratives and cherished memories.

    - Tell was born on New Year's Eve a few years ago. We predicted the upcoming year in tin. Naturally, I poured in the most tin and received the biggest prophecy of all. While everyone else was busy analysing their predictions, I had already begun to contemplate how I could use my prickly, fragile, yet also sharp and heavy lump of tin. Sometimes I have an almost childlike delight in certain things; this prophecy felt awe-inspiring, as if it carried a kind of meaning I couldn't grasp.

    Within the intricate design of “Tell,” elements of childhood wonder, familial bond, profound narrative depth:

    - It wasn't until I felled a tree for the first time some months later on my father's farm in Färingsö outside Stockholm that I felt the same sensation again. I then understood that the large log I had felled was connected to the tin casting, that the materials were speaking to each other and were meant to be together.

    Beyond her individual artistic pursuits, Ellen is also an integral part of Misschiefs, where she maintains her studio:

    - Misschiefs has provided me with a sense of community and a studio, which allows me to focus on my artistic work and learn a great deal from all the incredible people in the studio. It's a safe space and a secure environment, which means I don't need to worry as much about what others think or spend so much time trying to fit in,” Ellen shares. “I get to be myself at Misschiefs, and that has made me braver.

    Each artefact crafted by Ellen embodies a unique saga, inviting viewers to embark on a journey through the intricate nexus of materiality, functionality, and artistic ingenuity. Her avant-garde approach to material manipulation and meticulous attention to detail continually push the boundaries of traditional furniture design. In doing so, Ellen blurs the dichotomy between form and function, sculpture and utility, challenging conventions and inviting a reevaluation of the relationship between art and everyday life.

    photography Sanna Lindberg