The density of the sculpture group should really be in direct opposition to its subtle figuration. The terse jaggedness of the objects bears very little resemblance to atmospheric phenomena. And yet, the sculpture group does have a visual correlation. The objects somehow remind us of clouds – full of rain and thunder. Their physical weight labours with a compact fragility. As so often in Löfdahl’s work, the intense poignancy of the form embraces an enigmatic matter-of-factness.
Are these objects really specific representations? The English title undeniably suggests this. But Eva Löfdahl’s work aims less at a direct reading and more at recognising certain traits. The sculpture’s composite materiality serves as a catalyst for the situation. The eye follows the spiralling lines of the drills and the aim of the small metal wall mounts. Like outstretched arms, they hold the objects out slightly from the background. The sculpture proffers itself like a future offer.
Born 1953 in Gothenburg
Lives and works in Stockholm
Selected solo exhibitions
2009 π och Omkring, Lunds konsthall, Lund
2002 Interbreeding Classified, Moderna Museet, Stockholm
1993 Eva Löfdahl, Norrköpings Konstmuseum, Galleri F 15, Moss [NO], Borås Konstmuseum
Selected group exhibitions
1995 Nordiska Paviljongen/Nordic Pavilion, Biennale di Venezia, Venedig/Venice [IT]
1995 ARS 95, Kiasma, Helsingfors/Helsinki [FI]
1993 Cocido y Crudo, Museo Nacional Centro de Arte Reinia Sofia, Madrid [ES]
Helena Mattson (red./ed.), Kalmar stortorg (tvåspråkig, texter av/bilingual, texts by: Adam Caruso, Catharina Gabrielsson, Mats Haglund, Eva Löfdahl), Statens konstråd, Stockholm, 2005.
Ina Blom,”The Egg Trick: Ina Blom on Eva Löfdahl”, Frieze, London, mars–april/March–April, 1996.
Gertrud Sandqvist, ”Ett subjekt är ute och handlar”, Artes 2, Helsingborg, 1989.