And That is Why You Never Swallow Bubble Gum
14 – 29 March 2020
For this exhibition Roberto Ekholm brings new sculptural works to the Glitter Ball project space to turn it into a sculptural landscape reminiscent of a holistic space. Barbell weights, resistance bands, and exercise balls are relieved of functionality in this new context but tied to a performative notion. They recall minimalist aesthetics where material, colour and textures gain a meditative power as well as a sense of tension and a sexual subtext. Working with ready-made and fabrication, as well as casting and painting, a new set of meanings are produced for these objects.
The exhibition pushes Ekholm’s practice into new developments: his performance background is explored in his choice of material and sculptural compositions, and alongside this his use of colour and textures has a painterly quality. His new work encourages us to linger on the details and wonder how they inform us about our relation to materials and the space they occupy.
9 – 23 March 2020
For this show Klas focuses on a couple of older works in a new context. He is now embarking on a new project in which he uses both new and older works to reflect on the importance of friction and resistance. Since graduating from the Umeå School of Art in 2008, he has remained constant in his artistic expression.
Working at a delicate pace with wood and mixed media, Hällerstrand has produce artworks related to objects derived from the human habitat and its surrounding nature. To look at Hällerstrand's work is like seeing distinct and separate pieces from a range of contexts and scenes, modified by a very precise and careful touch.
4 26 May 2019
To get from one point to the other, some kind of movement is needed. The ship or boat is a vessel used by humankind throughout time to travel, transport, capture and flee.
A group of children navigate on a big square inside a boat-shaped box, neither seeing nor knowing where to go. This is a different kind of journey depicting a limbo, a vacuum before something happens or some kind of an odyssey. Where does this animal live? one child asked.
The work consists of this event filmed from two perspectives, one inside filmed by the children and one seen from the outside. The two starting points talk about positions and reality.
4 – 7 and 19 & 20 April 2019
April is an amazing month for art here in Sweden, not only does it see the arts fairs take over the capital city but many towns and other cities have exciting programmes over the Easter weekend – and Enköping is no exception! Glitter Ball showroom & projects will be at the Supermarket art fair 4 – 7 April, and together with Ateljé Tengbom will have Open House 19 & 20 April.
We are one of the Professional Networking Participants at Supermarket which means that we have a programme rather than a booth or exhibition. If you want to meet us please get in touch and we can have a coffee, take a walk around the fair together, attend one of the seminars, or see a performance. You can reach us on +46 (0)70 333 68 79.
Vår konst and Wiks folkhögskols exhibition in the town's gallery are incredibly popular and well loved features of Easter in Enköping. They attract thousands of visitors over the long weekend. This year Glitter Ball showroom & projects and Ateljé Tengbom join in the fun with their Open House. From 12noon to 4pm their will be artists and activities in the house, it's a great opportunity to meet some of the artists who have studios there as well as hearing about what else happens in the building.
s y m b i o s
2 – 24 March 2019
Lately I have been thinking about measurability. We are asked to participate in surveys, respond to questions and to grade various topics. The questions may sometimes be useful to increase understanding. At the same time, nothing in our existence seems insignificant enough not to be measured. Data is collected. And I am partly guilty of this.
I also think about the borderline where one being ends and the next one begins. As beings we can effect or be dependent on each other in an infinite number of ways. And when does, what was just a moment ago part of you, become part of me?
In this exhibition, these different thoughts meet.
Symbiosis is one, among many, different ways that beings can relate to each other.
Maria Nöremark is a visual artist living and working in Uppsala and Gothenburg. She graduated from the Academy of Fine Arts in Oslo in 2018 and before that she also studied at the Gerlesborg School in Bohuslän. Maria works in various media and materials but sculpture, in different forms always returns. In addition to her artistic profession, Maria also holds a doctoral degree in veterinary epidemiology– something that often leaves traces in her artistic work.
1 – 22 December 2018
The title Following Eugène - chapters 1 to 4b - refers to a project that started I 2014 when I was on the Take a Walk on the Wild Side course at the Royal Institute of Art - department of architectural history and theory. The aim was to approach Eugène Jansson’s life and art (1862 - 1914), and in both theory and practice investigate the homosexual artists’ experience of the city in both the past and the present. There is a little over one hundred years between Jansson and myself. During that time much has happened though it feels relevant to say that I follow Jansson as both artist and man.
Stuart received his education at Dartington College of Arts and the Slade School of Fine Art in Britain. Since moving to Sweden in 2011 he has also taken courses at Konstfack and the Royal Institute of Art in Stockholm. Recent exhibitions include HUB 2.0 at Konstnärshuset Stockholm, Hit at Målhammar Gallery Sweden, m2 (at)15 at APT Gallery London, Made Up at the Glasgow Art Club Scotland, Immerse at KinoKino Sandnes Norway, and solo show Go-Go for Konstfönster Joar Enköping Sweden. Stuart received Uppsala county’s visual arts award 2017.
10 - 23 November 2018
My work, consisting of dolls made of tree branches and textiles, is a struggle against time and the expectations of how one deals with aging. They wrestle against the inevitable but have also turned to each other, they are friendly and a bit cocky. How does one make sense of things as they begin to wind up? And how do you get used to it? This is an ongoing work that was shown in Uppsala in April and is now presented in Enköping.
Anna lives and works in Uppsala, Sweden. She is known in both Sweden and America where she got an ’honorable mention’ for her contribution to the critically selected exhibition ’It Figures: the body in art’ at Chicago’s ARC Gallery (2016). Anna’s relationship with Chicago was established when she studies there in 2001 at the very well known and respected art-school School of Art Institute Chicago (SAIC). Since returning home to Sweden Anna has continued to hone her artistic skills and is an active member of Uppsala’s art scene. She has had several solo shows as well as participating in many group exhibitions. Anna is a member of Uppsala Artists’ Club and she is currently a mentor on the National Artists’ Association’s (KRO) Art of Participation programme (Konsten att delta).
6 - 28 October 2018
In recent years my work has centred on exposing racism and colonialism. This has included investigative journalism, film, and installations featuring video. Several pieces have been screened at festivals and presented in exhibitions, for example Centrespace, DJCAD University of Dundee, 2016, BNL Media Art Festival in Rome. MAXXI National Museum of the 21st Century Arts, Rome, 2016, curated by Laura Leuzzi.
In my work as a freelance journalist I have written about stereotypes in Swedish society. Several articles focus on stereotypes of native northern Americans - the series on Frölunda Hockey Club that was published by Nyheter 24 for example. In the article ’It’s absurd that Frölunda’s racism is state funded’ I argue that the ’Frölunda Indians’ club logo is racist in its mocking and tasteless imagery. Other articles include ’Racist chips leave a bitter taste’ (Nyheter 24) and ’Tasteless celebration of Sweden’s colonial past in north America’ (FIB, 2013)
1 -30 September 2018
With I WAS HERE I am showing some of what I as an artist have been working with recently, including the film ’When I look at the television I wanna see me staring right back at me’ (4 hours 12 minutes). The title is a line from the Counting Crows’ 90s hit Mr Jones.
The film was shot over ten years of driving different cars. The work is about time and aging - the kind of smallest similarity that we all have in common with each other. Filmed like a ’selfie’ the years run from 2006 to about 2016. To study the curve of life though (self) surveillance. Filming began without knowing what it would be in the end, it was about saving something - a common (artistic) kind of collecting. The accumulation of material gives meaning, time hopefully makes it something more than merely superficial. That I see that I exist, perhaps means that I have lived. Starting from nothing, without celebration or event which are usually so important to record, the film immortalizes the everyday. It is important that I filmed (it) myself - the personal becomes the public, the intimate becomes the general.