News

Current  / Upcoming

Spring  semester 2017  Visiting faculty at UCLA, Los Angeles, CA : http://www.art.ucla.edu/faculty/visiting.html

MARKET Art Fair 2017:  http://www.market-art.se/exhibitors/galleri-gunnar-olsson

Group exhibition March  18- April 23, 2017: Polyfoni 4, group exhibition at Aglleri Thomas Wallner, Simris , Stockholm

September 22 – October 16, 2016 Moon Days, solo exhibition at Inman Gallery , Houston, TX

September 7, 2016 at 6pm: Book release The Site of Painting with Sigrid Sandström and Daniel Bozhkov at Art & Theory, MIndepartementet, Skeppsholmen, Stockholm

Sigrid Sandstrom - The Site of Painting

July 30 - August 27:  Other Places solo exhibition, Anat Ebgi, Los Angeles - LINK

August 21 - October 20: Suzhou Documents: Histories of a Global HubSuzhou Art MuseumLINK

September 16: Opening solo exhibition, Moon Days, Inman Gallery, Houston - LINK

Opening Thursday November 12, 5pm-8pm at Gallery Olsson Fredsgatan 12, Stockholm and Cecilia Hillström Gallery, Hälsingegatan 43, Stockholm

Opening | Thursday 12 November 17–20 Gallery Olsson Fredsgatan 12 and Cecilia Hillström Gallery Hälsingegatan 43, Stockholm
Sigrid Sandström, Between Us

Galleri Olsson and Cecilia Hillström Gallery are proud to present Sigrid Sandström’s exhibition Between Us, featuring a series of large-scale paintings in two gallery spaces. Connecting the different gallery districts in Stockholm, the cooperation enables a larger presentation of Sandström’s oeuvre, where she continues her exploration of painting in relation to the viewer and the surrounding space through installations and reflections arranged specifically for each gallery.

The windows of the galleries have been covered by yellow transparent film, creating a filter between the exterior and the interior. The intense colour becomes a link between the spaces and is also present in the paintings by Sandström. Paintings and mirrors are installed side by side, enabling an interaction between reflections and illusions. The effect of repetititions and duplications connects the paintings with the space and the viewer, whose movemements are being surveilled, observed and reflected.

Sigrid Sandström’s practice is engaged with reflecting on the relationship between the painter, the painting and the viewer. Where, when and why lies focus? Sandström works primarily with painting, through which she has been exploring site as a concept as well as emotional experience. Over time, the depicted large-scale, barren and uninhabited landscapes have become more abstract. Her paintings fail to conform into categories, and continuously explores the ontological conditions and limitations of painting. The indeterminate, or unnamable, plays a central role both in Sandström’s investigative work process and in relation to the viewer.

Article about the exhibition in Swedish press:

http://www.svd.se/sigrid-sandstrom-i-skickligt-dubbelspel/om/kultur:konst

http://konsten.net/sigrid-sandstrom-och-mari-slaattelid/

http://www.omkonst.com/15-sandstrom-sigrid.shtml

Programinformation

Vi träffar konstnärerna Carl Hammoud och Sigrid Sandström som har helt olika uttryck inom måleri. De går till sina ateljéer varje dag, men närmar sig sina verk på helt olika sätt. Hur vet de vad de ska göra, och varför väljer de så olika sätt att arbeta på?

http://urplay.se/Produkter/189953-Artityd-ateljen-Maleri

Längd: 8:27
Sändes: onsdag 16 sep. 2015
Tillgängligt t.o.m. onsdag 16 mars. 2016

Article about the exhibition in Swedish press:

http://www.sydsvenskan.se/kultur--nojen/konst--form/som-om-vald-begicks/

http://www.ystadsallehanda.se/kultur-noje/galleri-wallner-ebba-bohlin-sigrid-sandstrom/

Sigrid Sandström Fisk Frisk

link - fiskfrisk.com

Read or print the article (pdf)

Janury 29, 2015

Book release: Ingorance Between Knowing and Not Knowing (Axl Books, 2015)

Editors: Gavin Morrison, Sigrid Sandström

About this title: "Ignorance is an intellectual defect, imperfection, privation, or shortcoming." So begins James Ferrier's "The Agnoiolgy," the section of his treatise, The Institutes of Metaphysic (1854), in which he describes a theory of ignorance. In sympathy with Ferrier, Ignorance between knowing and not knowing concerns the nature of ignorance, its relationship to knowledge and its differentiation from merely not knowing. However, this book additionally considers how different forms of ignorance exert force within the creation and reception of art. These topics are explored through a range of essays drawn from contributors within the fields of philosophy, literary theory, and art criticism. Ignorance provides a reflection in negative to the normative structure of knowledge. It is the absence of knowledge that we "should have." This moral dimension can be seen in the persona, created by the medieval philosopher Nicholas of Cusa, of "the idiot," who is aware of his ignorance yet this awareness brings with it a humility, or the assumed ignorance within the Socratic dialogues. This book traces connections between ignorance within the philosophical realm - as both a strategy within discourse and as an object of inquiry - and how it occurs within art. Particular consideration is paid to art's utilization of ignorance as a means for establishing uncertainty and ambiguity. Within this publication ignorance is not solely understood as a state one seeks to escape from but rather, through its role within art and philosophy, it offers the potential to other forms of articulation and understanding.

Contributors: Andrew Bennett, Jonna Bornemark, Elinor Hållén, John Llewelyn, jeanine Oleson, Gavin Morrison, Sigrid Sandström, Barry Schwabsky, Kim West and Olav Westphalen.

Thinking Through Painting, part 2 Oct 4-Nov 2, The Royal  Academy of Fine Arts, Stockholm

Participants: Kristina Bength, Marc Handelman, David Reed, Jan Rydén, Sigrid Sandström, Wendy White, and curator/theorist Jonatan Habib Engqvist.

Thinking Through Painting consists of Kristina Bength, Jonatan Habib Engqvist, Jan Rydén and Sigrid Sandström:

”We want to explore painting as way of thinking and creating meaning. We are interested in the alternation specific to painting between on the one hand concept-based thinking in language, and on the other an embodied mode of thinking through material, space, perception and painting as activity. The project is an on-going investigation since 2009 and encompasses workshops, studio visits, travel, meetings and interviews of other artists who work with painting.”

In the exhibition at the Royal Academy they have asked the three invited American artists and themselves the question: How would you visualize painting as a mode of thinking within your practice? The exhibition is divided into two periods.


In Studio Talks: Thinking Through Painting (Arvinius+Orfeus, 2014), the group has transcribed, translated and edited long conversations between the group and several of the artists, theorists and other colleagues that we have met these last four years. Among others, they have spoken to: Fredrik Liew, Kristina Jansson, Monika Marklinger, Håkan Nilsson, David Reed, Håkan Rehnberg, Hanneline Rogeberg, Susanna Slöör and Wendy White. The book also holds essays by Jonna Bornemark, Lars-Erik Hjertström Lappalainen and Marcia Sá Cavalcante Schuback. This book is not only a documentation of Thinking Through Painting, it is the hub around which the exhibition and public talks are activated.
The book will be released in conjunction to the exhibition´s opening (part two) and generate a number of seminars and talks during the exhibition period, including artist-talks and an improvised lecture on improvisation with the French philosopher Jean-Luc Nancy.