WG.58
Representation and the Body

Representation and the Body
November 23 - December 21, 2012

Angela de la Cruz

Inspired in equal parts by conceptual, painterly, and sculptural concerns, Angela de la Cruz utilizes the canvas to subvert traditional notions of painting, and extend the potential of narrative form. Aligning her work within the greater discourse of the history of art, de la Cruz defies the notion of a painting as a unique, singular object by deconstructing and reconstructing paintings into recyclable “Commodity Paintings”. Reinforced with titles such as “Ashamed”, “Off Guard”, or “Stuck”, her works are often physically and psychologically damaged. Her signature form of action painting — resulting in bashed-in and fractured stretchers, and crumpled, torn, or scorched canvases — serves to visualize the dramas their titles invoke, and anthropomorphize human emotions and experience.

Born in 1965 in La Coruna, Spain, Angela de la Cruz received her first university degree in philosophy at the Santiago de Compostela. She moved to London in 1989 and studied at Goldsmiths College and The Slade School of Art where she was awarded a Bachelor in Fine Art and Masters in Sculpture and Critical Theory respectively. She currently lives and works in London and is exhibited broadly throughout the world.

Artists Anonymous

Artists Anonymous’work develops from painting and includes different techniques. In their installations and exhibitions they bring together classical oil painting with punk, kitsch and photography. Shifting easily and confidently between different genres, they playfully refer to both the traditional craftsmanship and art theory. With their anonymity they consciously choose to separate the artist’s name from the viewer’s art experience, although they themselves can be present as models in their work.

As all of Artists Anonymous’ paintings even these portraits are painted in an inverted color scale, like a photographic negative. Most often, there is a positive afterimage of every work, creating a diptych together with the painting. In their interaction, the two parts investigate the question of the “real” image.

Artists Anonymous were fictitiously founded on September 11, 2001, and live in Berlin and London. They are working in different techniques, especially painting, photography and installation and have had numerous gallery and museum exhibitions in both Europe and the USA. Their work has been presented in major art institutions such as the Hamburger Bahnhof in Berlin, Kunstverein Bregenz (Austria), Haus der Kunst in Munich, Domus Artium da2 in Salamanca (Spain), Schirn Kunsthalle in Frankfurt (Germany) and others.

Linda Bäckström

Working in the tradition of Pop Artists such as Claes Oldenburg and Andy Warhol, Linda Bäckström’s soft sculptures explore issues of power, status, and materiality. With a penchant for non-heroic, “anti-art” materials such as spray foam and aluminum, and a keen eye for cultural objects bemired in symbolic notions of power, Bäckström’s deeply tactile works create a rich interplay between association, meaning, and materials.

A keen observer of what lay beyond the glitter of constructed facades, Bäckström infuses humor, whimsy, and satire into often sober themes. While earlier works explored more personal thematic content including youth culture, teen ganging, and the human search for happiness, her recent work has shifted to the visual language contrived to drive American culture and the American Dream. Without value judgment, Bäckström explores the ways in which this multifaceted, multicultural nation goes about procuring consensus on a shared set of values and how these values, cultivated by the vast advertising and lobbying industries, find expression in visual symbols.

Bäckström describes her process as one involving intuition, chance and association. Scrupulously collecting images that catch her interest, Bäckström compiles her stores into a series of scrapbooks which serve as the starting point of her work. Bäckström’s spray foam sculptures are cast in hand-sewn textile moulds and assembled in a series of stages. Impossible to gauge and control the rate of expansion and drying process, her sculptures morph organically, thereby mastering their own identity and rejecting the artist’s total authority. Out of this unpredictability springs an authenticity that serves to open the stereotypes and allow for a variety of interpretations.

Martin Sjoberg

Under många år har Martin Sjoberg utforskat identitetsfrågor genom sitt skapande, speciellt utifrån - och med blick på - den konstruerande bilden av den västerländska vita mannen och det inbegripna elementet av manligt våld och aggressivitet. Utgångspunkt för verken har alltid varit den egna kroppen, med implikationer som sträcker sig från den individuella nivån till en mycket mer omfattande reflexion kring institutionaliserat våld mellan stater och en kolonialistisk historik och tradition.

Under de senaste åren har han under rubriken ”Man acting out” skapat skulpturer, teckningar och fotografier som bottnar i konceptuella frågor kring genus och identitet samt den postkoloniala diskursen om ”den andre”. I sitt sökande efter ett visuellt språk som kan bära upp bildernas innebörd har han hittat ett kondenserat sätt av berättande som har tydliga anknytningar till den västerländska teatertraditionen. Teatraliteten blir ett avgörande moment i alla hans verk, där dock kroppen aldrig blir skådespel, utan utgör berättelsens material och språk.

I sina verk utsätter Sjoberg kroppen för våld på olika plan, den blir förvrängd, vanställd och frånstötande så att det regelrätt kan göra ont att titta på. Samtidigt är det just dessa förvridningar, närbilder och i vissa fall digitalt skapade effekter som för verken till gränsen till det abstrakta. Men Sjoberg lyckats – genom användning av sitt material och sin teknik - skapa en sensualitet i verken som står i raka motsatsen till den aggressiva potentialen de bär på.

Martin Sjöberg är född 1957 i Uppsala och utbildade sig på Konstfack och Kungliga Konsthögskolan i Stockholm, samt på Whitney Museum of American Art i New York. Efter flera år i New York arbetar han idag i Stockholm och Thailand där han producerar sina skulpturer. Hans verk har ställts ut i många separat- och grupputställningar i Europa och Nordamerika och är representerad i privata och offentliga samlingar.

Olav Westphalen

Olav Westphalen är ”en konstnär som alltid arbetar humoristiskt, men som sällan stannar vid det lustiga”[1]. Bakom den roliga ytan döljer han alltid obekväma avslöjanden som visar på blinda fläckar i en kontext i vilken vi trodde oss gå säkra. Westphalen leker med konceptet att kunna vara en insider eller outsider, att kunna skratta utifrån tills man inser att man själv är del av den gruppen som han driver med.

Olav Westphalen rör sig på båda sidor av gränsen mellan populärkultur och finkultur, och använder sig strategiskt av stilistiska medel och referenser från kommersiella sammanhang och serievärlden för att underminera gängse bilder. Hans hjältar blir snart vår vardags anti-hjältar, konstens patos faller platt i den avslöjande löjligheten. Men någonstans där kickar det befriande skrattet in…

Olav Westphalens verk kännetecknas av användandet av olika medier och tekniker och inkluderar teckning, måleri, skulptur och performance. I ”Representation and the Body” presenterar han en skulptur som visar oss den nakna sanningen, och två stora teckningar som talar om vårt behov av och längtan efter lyxkonsumtion.

Olav Westphalen är född 1963 i Hamburg (Tyskland) och studerade vid FH Hamburg (för Stephan von Huene) och vid University of California, San Diego (för Allan Kaprow). Idag bor och arbetar han i Stockholm där han är professor vid Kungl. Konsthögskolan. Hans verk har ställts ut på bl a Whitney Museum, ICA London, Swiss Institute NY, Moderna Museet (Stockholm), Brandenburgischer Kunstverein (Potsdam) och Museum Fridericianum (Kassel), och finns representerat i samlingar som t ex Dallas Museum, Centre Pompidou, Moderna Museet och MoMA (New York).

Patrick Lundeen

The work of Patrick Lundeen explores the supremacy and assimilation of pop cultural images into broader sentience. Undermining the authority of easel painting, and aligning his work more with advertising than fine art, Lundeen paints his iconographic works of fallen heroes, pop idols, and domestic objects on cut-out canvas or tarps. Lundeen’s intricate, overworked surfaces and deliberately discordant perspective, creates pictorial landscapes that — by virtue of their simultaneous familiarity and estrangement — destabilize the viewer and provide an effective point of entry to his work.

Born in Canada, 1978, Patrick Lundeen graduated from the painting program at the Alberta College of Art & Design in 2000, and received his M.F.A. from the Concordia University in Montreal, Canada, in 2006. In 2004 he was an exchange student at the Glasgow School of Art in Scotland. Lundeen has exhibited throughout North America and Europe and lives and works in Brooklyn, New York.

Pinar Yolacan

With her elaborately staged photographs of women in their various cultures, Pinar Yolacan approaches a whole range of issues that refers to art history. Beauty, history, fashion, the female body, religion, colonialism, cultural heritage and the recurrent subject of death get examined in a new light through her camera.

Local culture and circumstances are the fundamental elements in Pinar Yolacans meetings with people and add a social and communicative aspect to her work. She takes on the role as an observer who examines historical, traditional and aesthetic contexts. In her photographic series the textiles are given an expanded role as a cultural fabric surrounding our identities. By covering the entire body and their faces the women remain anonymous and turn into sculptures, they become an abstract image of “the woman” putting questions about her role as the bearer of life and the ideal of beauty. Again, the textiles are directly linked to the motifs as the overalls take up the colour and structure of the material of the antique figurines.

Pinar Yolacan was born in Ankara, Turkey, 1981, and studied art and fashion design in London (Central Saint Martins College of Art and Design and Chelsea School of Art and Design) and New York (Cooper Union School of Art). Her work has attracted extensive attention internationally and has exhibited in the United States, Europe, South Africa and Turkey. She is represented in The Saatchi Collection (London), The J. Paul Getty Museum (Los Angeles), Kiasma (Helsinki) and the International Center of Photography (New York).

Other work by
Angela de la Cruz, Artists Anonymous, Linda Bäckström, Martin Sjoberg, Olav Westphalen, Patrick Lundeen and Pinar Yolacan

Installation shots, Storage, 2016
Angela de la Cruz, Storage, 2016 ©Angela de la Cruz/Bildupphovsrätt, courtesy Wetterling Gallery
Angela de la Cruz, Storage, 2016 ©Angela de la Cruz/Bildupphovsrätt, courtesy Wetterling Gallery
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Storage 2016
Angela de la Cruz, Box large with Small Box (red), 2016 ©Angela de la Cruz/Bildupphovsrätt, courtesy Wetterling Gallery
Angela de la Cruz,Box large with Small Box (Brown), 2016 ©Angela de la Cruz/Bildupphovsrätt, courtesy Wetterling Gallery
Angela de la Cruz, Standing box with small box (red), 2016 ©Angela de la Cruz/Bildupphovsrätt, courtesy Wetterling Gallery
Angela de la Cruz, Standing box with small box (brown), 2016 ©Angela de la Cruz/Bildupphovsrätt, courtesy Wetterling Gallery
Angela de la Cruz, Standing box Large (red), 2016 ©Angela de la Cruz/Bildupphovsrätt, courtesy Wetterling Gallery
Angela de la Cruz, Standing box Large (brown), 2016 ©Angela de la Cruz/Bildupphovsrätt, courtesy Wetterling Gallery
Angela de la Cruz, Painting with Cover I (red, medium), 2016, ©Angela de la Cruz/Bildupphovsrätt, courtesy Wetterling Gallery
Angela de la Cruz, Painting with Cover II (red, medium), 2016, ©Angela de la Cruz/Bildupphovsrätt, courtesy Wetterling Gallery
Angela de la Cruz, Mudanza (green), 2016, ©Angela de la Cruz/Bildupphovsrätt, courtesy Wetterling Gallery
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2015
© Angela de la Cruz / ARS, courtesy Wetterling Gallery
© Angela de la Cruz / ARS, courtesy Wetterling Gallery
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Vacant, Wetterling Gallery, 2014, Installation shots
Angela de la Cruz, Vacant, Wetterling Gallery, 2014
Angela de la Cruz, Vacant, Wetterling Gallery, 2014
Angela de la Cruz, Vacant, Wetterling Gallery, 2014
Angela de la Cruz, Vacant, Wetterling Gallery, 2014
Angela de la Cruz, Vacant, Wetterling Gallery, 2014
Angela de la Cruz, Vacant, Wetterling Gallery, 2014
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Angela de la Cruz, Vacant, 2013
© Angela de la Cruz / ARS, courtesy Wetterling Gallery
© Angela de la Cruz / ARS, courtesy Wetterling Gallery
© Angela de la Cruz / ARS, courtesy Wetterling Gallery
© Angela de la Cruz / ARS, courtesy Wetterling Gallery
© Angela de la Cruz / ARS, courtesy Wetterling Gallery
© Angela de la Cruz / ARS, courtesy Wetterling Gallery
© Angela de la Cruz / ARS, courtesy Wetterling Gallery
© Angela de la Cruz / ARS, courtesy Wetterling Gallery
© Angela de la Cruz / ARS, courtesy Wetterling Gallery
© Angela de la Cruz / ARS, courtesy Wetterling Gallery
Objects in the mirror are closer than they appear, 2016
Artists Anonymous, CC (Circus Child) 2016
Artists Anonymous, CC (Circus Child) after image, 2016
Artists Anonymous, Freaks, 2016
Artists Anonymous, Freaks, after image 2016
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Objects in the mirror are closer than they appear, 2016, Installation shots
Artists Anonymous
Artists Anonymous
Artists Anonymous
Artists Anonymous
Artists Anonymous6
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"Ugly =≠ beauty pretty never", 2013, Wetterling Gallery, installation shots
Wetterling Gallery, 2013
Wetterling Gallery, 2013
Wetterling Gallery, 2013
Wetterling Gallery, 2013
Wetterling Gallery, 2013
Wetterling Gallery, 2013
Wetterling Gallery, 2013
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"ugly =≠ beauty pretty never", 2013
© Artists Anonymous / Bildupphovsrätt, courtesy Wetterling Gallery
© Artists Anonymous / Bildupphovsrätt, courtesy Wetterling Gallery
© Artists Anonymous / Bildupphovsrätt, courtesy Wetterling Gallery
© Artists Anonymous / Bildupphovsrätt, courtesy Wetterling Gallery
© Artists Anonymous / Bildupphovsrätt, courtesy Wetterling Gallery
© Artists Anonymous / Bildupphovsrätt, courtesy Wetterling Gallery
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"Representation and the body", 2012, wetterling gallery
© Artists Anonymous / Bildupphovsrätt, courtesy Wetterling Gallery
© Artists Anonymous / Bildupphovsrätt, courtesy Wetterling Gallery
Supernova, 2015. Installation shots, Wetterling Gallery
Foam, metallic flakes, epoxy, makrolon, steel. 493 x 208 x 153 cm. © Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery. Photo Jean-Baptiste Béranger
Aluminium, 77 x 20 x 20 cm. © Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery. Photo Jean-Baptiste Béranger
© Linda Bäckström, courtesy Wetterling Gallery. Photo Jean-Baptiste Béranger
Spray foam, acrylic. 122 x 120 x 23 cm. © Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery.  Photo Jean-Baptiste Béranger
Wetterling Gallery, 2015. Photo: Jean-Baptiste Béranger
Wetterling Gallery, 2015. Photo: Jean-Baptiste Béranger
Spray foam, acrylic, varied sizes. © Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery. Photo Jean-Baptiste Béranger
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Jewels 2014
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
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Jewels, Wetterling Gallery, 2014, installation shots
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
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Representation and the Body, 2012
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
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Unearthed, 2012
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
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De/Constructing the Norm, 2011
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
© Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
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Window Shopper, 2011
Installation at the Subway Terminal Odenplan, Stockholm. © Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
Installation at the Subway Terminal Odenplan, Stockholm. © Linda Bäckström / Bildupphovsrätt, courtesy Wetterling Gallery
Representation and the Body, 2012
Stainless steel. © Martin Sjoberg / Bildupphovsrätt, courtesy Wetterling Gallery
Mixed media on canvas. © Martin Sjoberg / Bildupphovsrätt, courtesy Wetterling Gallery
Representation and the Body, 2012
Styrofoam, resin, paint. © Olav Westphalen / Bildupphovsrätt, courtesy Wetterling Gallery
Ink on paper/collage. © Olav Westphalen / Bildupphovsrätt, courtesy Wetterling Gallery
Ink/acrylic on Paper. © Olav Westphalen / Bildupphovsrätt, courtesy Wetterling Gallery
Ink on Paper, plinth. © Olav Westphalen / Bildupphovsrätt, courtesy Wetterling Gallery
Representation and the Body, 2012
Arylic, shell, rocks and human hair on Turkish wall hanging. © Patrick Lundeen / Bildupphovsrätt, courtesy Wetterling Gallery
Acrylic on goatskin rug. © Patrick Lundeen / Bildupphovsrätt, courtesy Wetterling Gallery
Acrylic, shell, rocks and human hair on Turkish wall hanging. © Patrick Lundeen / Bildupphovsrätt, courtesy Wetterling Gallery
Acrylic, shell, rocks and human hair onTurkish wall hanging. © Patrick Lundeen / Bildupphovsrätt, courtesy Wetterling Gallery
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2010
Acrylic on paper cut-out. © Patrick Lundeen / Bildupphovsrätt, courtesy Wetterling Gallery
Acrylic on paper cut-out. © Patrick Lundeen / Bildupphovsrätt, courtesy Wetterling Gallery
Acrylic on paper cut-out. © Patrick Lundeen / Bildupphovsrätt, courtesy Wetterling Gallery
Acrylic on Canvas. © Patrick Lundeen / Bildupphovsrätt, courtesy Wetterling Gallery
Acrylic on Canvas. © Patrick Lundeen / Bildupphovsrätt, courtesy Wetterling Gallery
Nudes/Corpo Mecânico, 2012-2014
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
© Pinar Yolaçan / ARS, courtesy Wetterling Gallery
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Nudes / Corpo Mecânico, Wetterling Gallery, 2015, Installation shoots
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
Photo Jean-Baptiste Béranger
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Representation and the Body, 2012
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
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2007-2009
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery
Digital C-print. © Pinar Yolaçan / ARS, courtesy Wetterling Gallery