Quotes

How they are told, who tells them, when they’re told, how many stories are told, are really dependent on power.
Chimamanda Ngozi Adichie
I am interested in this moment when you get the sense that you have made time rather then spent it or made it productive. It is not given. It is something else than consuming time or being consumed by it
Xavier Le Roy
You explore sculpture through talking, thinking, and testing, or you might, as a visitor in the park, encounter someone who wants to share by asking the question, ‘Can I show you my sculpture?
Elisabeth Millqvist, Artistic Director, The Wanås Foundation
I am drawn to experimenting with different ways to present these paintings because it gives me an opportunity to fill a room with people with whom an audience can easily converse.
Lubaina Himid
The red line is invisible to the naked eye, but is strongly connected to human life, and once we are able to glimpse this piece of red thread, we can observe all relationships as a whole.
Chiharu Shiota
Through Still Untitled we continue to challenge the notion of live art in the visual arts context with the consistent and persistent presence of the Still Untitled Team. Rather than programming a series of one-off performances we invite the work of Le Roy and Yu to unfold, shift, and be shifted by the participation of visitors in and around the park. We extend the lifespan of the work indefinitely, as each visitor walks away from the sculpture park with his or her own embodied sculpture, potentially present anywhere, anytime, for anyone.
Rachel Tess Associated Curator Dance
The overall effect of this wide-screen moving image is a redoubling of the surrounding greenery, but when we try to mirror ourselves in its parts the image splits into countless rivulets of movement.
Anders Kreuger, in a text about Katarina Löfström for Wanås Konst
When we realize that there is never a single story about any place we regain a kind of paradise.
Chimamanda Ngozi Adichie, writer.
Coming into contact with art at Wanås Konst is not superficial. It is live, physical and could be characterized as unavoidable: you feel the dirt under your feet, understand the weight of your body relative to a river of concrete, sense its width in a maze of trees, or its height distorted through bent glass. You seek out the specific work you would like to see and your sense of time is altered. The journey becomes just as important as the object you are looking for. Art is all around. Nature is all around. You activate it, it activates you.
Rachel Tess, Associate Curator Dance, Wanås Konst
Wanås is a place where dance both forms and is formed by its context. By lifting dance out of its usual contexts, choreographers and dancers gain the opportunity to work with what it means to encounter a partially new audience within an art context.
Rachel Tess, Associate Curator Dance, The Wanås Foundation - Wanås Konst
The teenager’s conviction, with that fantastic self-assurance, that she knows absolutely everything and has a firm grasp on reality has been displaced; it is like waking up with one foot in this world and the other in an ‘Alice in Wonderland’ world.
Nathalie Djurberg
Gómezbarros’ ants have invaded buildings associated with power and history. Together, they are on the march, as a symbol of man's constant voluntary or involuntary migrations.
Elisabeth Millqvist, Artistic Director, The Wanas Foundation
The artist behind the sculpture is also a painter, demonstrating a multifaceted practice that I am looking forward to presenting to our visitors. Per Kirkeby’s work made an important contribution towards making the sculpture park into what it is today. It is high time that we rediscover and return to his generation of artists.
Elisabeth Millqvist, Artistic Director, The Wanas Foundation/Wanås Konst
As in a dream, both Djurberg & Berg and Gomezbarros blend the familiar with the unfamiliar, oscillating between phantasmagoria and horror.
Elisabeth Millqvist, artistic director Wanås Konst/The Wanas Foundation
Gomezbarros’ ants have invaded buildings associated with power and history. Together, they are on the march, as a symbol of man's constant voluntary or involuntary migrations.
Elisabeth Millqvist, artistic director Wanås Konst/The Wanas Foundation
An artist recreates history, not like a historian, but as a poet.
Robert Wilson
But what is it, exactly, that constitutes a “barrier”? Are barriers evolving phenomena, do they have sell-by dates, and, once abolished, can they metamorphose or mutate into something benign or even more sinister?
Nthikeng Mohlele, The Grand & The Minuscule
The body as a site of conflict.
Elisabeth Millqvist, Artistic Director, Wanås Konst
But what is it, exactly, that constitutes a “barrier”? Are barriers evolving phenomena, do they have sell-by dates, and, once abolished, can they metamorphose or mutate into something benign or even more sinister?
Nthikeng Mohlele, The Grand & The Minuscule, 2015
In order to understand ourselves, we need look up and out. It's not just about the art scene being global, but also about the way Sweden looks today with inhabitants from different continents. What are established and emerging artists in the South African art scene working on, and how do they relate to Wanås as a site? In the last few years, we have explored sculpture as something changeable and non-static. This year, we encounter several artworks in which a person or a body has a strong presence: we hear distinct voices, see this depicted in stone, or encounter it in portraits—a classical tradition presented in diverse ways.
Elisabeth Millqvist, artistic director, Wanås Konst
The artist is always right.
Marika Wachtmeister
“I bring together the natural world that inspires me and the inherent qualities of glass; changeable, contrast-filled, reflective, luminous.”
Elna Jolom
” The Easter Art Tour gives a taste of our upcoming shows, playful and intimate, accessible and challenging.”
Elisabeth Millqvist, artistic director, Wanås Konst
This year movement and the body takes the center stage at Wanås. Jump, encounter dance in the park, get up into the trees and experience with your entire body. It’s a season that is both playful and intimate, accessible and challenging.
Elisabeth Millqvist, artistic director, Wanås Konst