Friday afternoon I took my inner artist for an artist date to Stockholm’s largest gallery Magasin3 . “To be continued…” gathered some of the works that had been created by artists from different countries in the last two decades specifically for Magasin3. The free audio guide walked me through the exhibition while artists and curators were briefly explaining what exactly they had in mind while producing their pieces. At times I really appreciated the facts as I often miss the details in the pieces I cannot relate to on the emotional level: “OK, so it is wires on the floor with the bulbs on the end of each one – great! What’s next?”. (Yes, I am one of those!)
The gallery site contains quality photos of most of the pieces but I took a few of my own of those I liked most and curiously, did not really need explanation for.
Tony Ousler’s Caricature, 2002 – a playful video projection onto a three-dimentional doll.
Chris Burden’s technically complicated and impressive metal construction of the Mexican bridge, made of 35 000 metal pieces, did not touch me, though. I allowed myself to get impressed by the artist’s patience (the piece is close to 3 m high and 5 m long) and by the genius of bridge engineering to swiftly move on to a “simpler” work – Lara Schnitger’s Gridlock, made of equally sized pieces of fabric with text copied off the road signs and bumper stickers, t-shirts and Tibetan prayer flags.
The bridge reminded me of another piece I saw in Belgium a couple of years ago. I don’t recollect the name of the artist but he too was a big fan of precison. The piece looked like a graffiti drawing from a distance
but at closer examination you could see it consisted of slices of bread, even crust being part of production.
The metal construction will hold longer, though, as hopefully will the Mexican bridge.
A splash of color on the wall – – Katharina Grosse’s Untitled (Infinate Logic Conference), 2004 could be alternatively entitled What one can do with the bed when there is IKEA to get another one from. Apparently, the artist incorporated part of her bed and clothes into the work. It is obvious some European artists have no shortage of either food or furniture. Rauschenburg once explained the origin of his combines: when we did not have enough material for a surface to paint on he started using a chair. Either way produces stunning results: Katharina’s painting really made the room and the whole exhibition brighter.
Once outside again I realised what I was missing inside most: colors. It is a strange feeling considering the place I just left. I think the gallery would win from having sacrificed more beds or having included my personal favorites – the whimsical and magically colorful videos of Pippilotti Rist from her recent show at Magasin3“Gravity, be my friend” that were not included in the current show.