When we realize that there is never a single story about any place we regain a kind of paradise.
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.
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.
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.
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.
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.
As in a dream, both Djurberg & Berg and Gomezbarros blend the familiar with the unfamiliar, oscillating between phantasmagoria and horror.
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.
An artist recreates history, not like a historian, but as a poet.
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?
The body as a site of conflict.
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.
The artist is always right.
“I bring together the natural world that inspires me and the inherent qualities of glass; changeable, contrast-filled, reflective, luminous.”
” The Easter Art Tour gives a taste of our upcoming shows, playful and intimate, accessible and challenging.”
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.