Upcoming show in Manchester (UK)

95248db9-9400-434b-a7fd-5eb6a668ccf2

Read more here: http://www.paper-gallery.co.uk/par-stromberg-those-of-the-unlight

ANIARA i Sollentuna är nu öppen för allmänheten

Välkommen att besöka utställningen ANIARA!
parstromberg-aniara

Öppettider under juli: 
Måndag – fredag kl.11-18
Lördag & söndag stängt

Hitta till Galleri Aniara

Adress: Sollentuna bibliotek, Aniaraplatsen 2, vid Sollentuna Centrums södra entré.
Postadress: Box 63, 19121 Sollentuna.

Pendeltåg: Kliv av vid Sollentuna station. Gå ut från
perrongen åt söder. Gå ned för trapporna och ta vänster i gångtunneln. Gå ca 50 meter rakt fram.
Bil: Parkering finns vid Sollentuna Centrum.

Huvudman för Galleri Aniara är Kultur- och fritidsnämnden i Sollentuna Kommun

As Pär Strömberg puts famed Swedish Nobel Prize laureate Harry Martinsson to the forefront in his latest body of work, a perfect alignment forms between the key element in the oeuvre of the latter, the 1956 space odyssey Aniara and Strömberg’s work. A graduate of the prestigious Gerrit Rietveld Academie in Amsterdam and Royal Institute of Art in Stockholm, Strömberg’s work has since long come to signify understated and evocative landscapes alluding to the inherent mysticism and universal lore of nature. Extending his personal trademark further, is the occasional heightened brooding and Goth visual realm, stressing the presence of a faint sense of menace and transgression while particularly weighing on iconography from heavy metal. As Martinsson’s Aniara turned 60, Strömberg is last year’s recipient of the Sollentuna Municipal Cultural Award inviting him to present the show at hand in the public library incidentally titled Gallery Aniara, situated moreover on Aniaraplatsen in the suburb of Stockholm that is Sollentuna. It appears that Martinsson like Strömberg who is a resident, spent large parts of his life there. However, intended as more than merely a peripheral homage to the writer relying on apparent happenstance, Strömberg makes use of the thematic nature of Aniara in its capacity as a poignant cautionary tale. Consequently, Strömberg offers a thought-provoking comment on the human condition of the present day, in light of known climate threats and challenges, the increasing ordeal of disrupted peace across the globe and the ongoing migrating crisis in contemporary society. In Martinsson’s hands, Aniara assumes the identity of a space vessel taking course to Venus and Mars, transporting earth habitants away from the planet which on the account of nuclear havoc and environmental disasters has been rendered forlorn and beyond a state of hope. As Aniara accidentally steers off course out of the solar system propelling the passagers into their final day, the plot unmistakably mirrors tragedies taking place across waters along the borders of the European continent. Elementally, Strömberg’s Aniara suite serves as visual score to Martinsson’s dystopian prophecy, channeling into the ambient essence of the author’s words. Meanwhile, unlike the inevitable fate in Aniara, Strömberg stresses room for glimmers of hope by way of otherworldly beauty and stillness casted by the illumination of light in glaciers, aerial phenomena and night skies amidst remote mountainous surroundings. The breadth of technique in Strömberg’s Aniara suite encompasses aquatint etchings, watercolor and charcoal on paper and oil on canvas. As is usual with Strömberg’s vision, it springs out of an abundance of references which beyond the literary are seated as well firmly in art history and more personally for Strömberg as an artist in music. As such, sounds of Mussgorsky’s Night on a Bare Mountain and Satyricon’s To the Mountains are said to have lent themselves to Strömberg’s interpretation of Martinsson’s Aniara. Given Aniara’s metaphoric relevance, it seems as though for the viewer that approaching it could not be more timely and urgent in 2017, allowing for an arguably necessary reading of art beyond just the apparent aesthetical and conceptual into the pressing political of the now and today.

Stockholm, June 2017 – Ashik Zaman, C-print Journal

Adherent to the exhibition is an essay in Swedish by author Daniel Sjölin

Upcoming show: Those of the Unlight II, PAPER Gallery, Manchester (UK) 17 August – 30 September 2017

Related information:

www.parstromberg.se

www.sollentuna.se/sv/uppleva–gora/kultur-och-noje/Konst/galleri-aniara/

www.c-print.se/single-post/2017/06/13/ANIARA

www.paper-gallery.co.uk/

www.norstedts.se/forfattare/116743-daniel-sjolin

www.totallystockholm.se/arts-culture/par-stromberg-takes-on-martinssons-aniara/

www.ng.se/artiklar/par-stromberg-tolkar-aniara

parstromberg-aniara parstromberg-hinnommimanmamon parstromberg-aniara parstromberg-aniara parstromberg-tothemountains parstromberg-aniara

Opening today – Aniara at Galleri Aniara in Sollentuna, Sweden

 

 

INBJUDAN

ANIARA

 

As Pär Strömberg puts famed Swedish Nobel Prize laureate Harry Martinsson to the forefront in his latest body of work, a perfect alignment forms between the key element in the oeuvre of the latter, the 1956 space odyssey Aniara and Strömberg’s work. A graduate of the prestigious Gerrit Rietveld Academie in Amsterdam and Royal Institute of Art in Stockholm, Strömberg’s work has since long come to signify understated and evocative landscapes alluding to the inherent mysticism and universal lore of nature. Extending his personal trademark further, is the occasional heightened brooding and Goth visual realm, stressing the presence of a faint sense of menace and transgression while particularly weighing on iconography from heavy metal. As Martinsson’s Aniara turned 60, Strömberg is last year’s recipient of the Sollentuna Municipal Cultural Award inviting him to present the show at hand in the public library incidentally titled Gallery Aniara, situated moreover on Aniaraplatsen in the suburb of Stockholm that is Sollentuna. It appears that Martinsson like Strömberg who is a resident, spent large parts of his life there. However, intended as more than merely a peripheral homage to the writer relying on apparent happenstance, Strömberg makes use of the thematic nature of Aniara in its capacity as a poignant cautionary tale. Consequently, Strömberg offers a thought-provoking comment on the human condition of the present day, in light of known climate threats and challenges, the increasing ordeal of disrupted peace across the globe and the ongoing migrating crisis in contemporary society. In Martinsson’s hands, Aniara assumes the identity of a space vessel taking course to Venus and Mars, transporting earth habitants away from the planet which on the account of nuclear havoc and environmental disasters has been rendered forlorn and beyond a state of hope. As Aniara accidentally steers off course out of the solar system propelling the passagers into their final day, the plot unmistakably mirrors tragedies taking place across waters along the borders of the European continent. Elementally, Strömberg’s Aniara suite serves as visual score to Martinsson’s dystopian prophecy, channeling into the ambient essence of the author’s words. Meanwhile, unlike the inevitable fate in Aniara, Strömberg stresses room for glimmers of hope by way of otherworldly beauty and stillness casted by the illumination of light in glaciers, aerial phenomena and night skies amidst remote mountainous surroundings. The breadth of technique in Strömberg’s Aniara suite encompasses aquatint etchings, watercolor and charcoal on paper and oil on canvas. As is usual with Strömberg’s vision, it springs out of an abundance of references which beyond the literary are seated as well firmly in art history and more personally for Strömberg as an artist in music. As such, sounds of Mussgorsky’s Night on a Bare Mountain and Satyricon’s To the Mountains are said to have lent themselves to Strömberg’s interpretation of Martinsson’s Aniara. Given Aniara’s metaphoric relevance, it seems as though for the viewer that approaching it could not be more timely and urgent in 2017, allowing for an arguably necessary reading of art beyond just the apparent aesthetical and conceptual into the pressing political of the now and today.

 

Stockholm, June 2017 – Ashik Zaman, C-print Journal

 

Adherent to the exhibition is an essay in Swedish by author Daniel Sjölin

Upcoming show: Those of the Unlight II, PAPER Gallery, Manchester (UK) 17 August – 30 September 2017

 

Related information:

www.parstromberg.se

www.sollentuna.se/sv/uppleva–gora/kultur-och-noje/Konst/galleri-aniara/

www.c-print.se/single-post/2017/06/13/ANIARA

www.paper-gallery.co.uk/

www.norstedts.se/forfattare/116743-daniel-sjolin

www.totallystockholm.se/arts-culture/par-stromberg-takes-on-martinssons-aniara/

www.ng.se/artiklar/par-stromberg-tolkar-aniara

 

Aniara opening, June 30th 3PM-6PM

INBJUDAN

ANIARA

 

As Pär Strömberg puts famed Swedish Nobel Prize laureate Harry Martinsson to the forefront in his latest body of work, a perfect alignment forms between the key element in the oeuvre of the latter, the 1956 space odyssey Aniara and Strömberg’s work. A graduate of the prestigious Gerrit Rietveld Academie in Amsterdam and Royal Institute of Art in Stockholm, Strömberg’s work has since long come to signify understated and evocative landscapes alluding to the inherent mysticism and universal lore of nature. Extending his personal trademark further, is the occasional heightened brooding and Goth visual realm, stressing the presence of a faint sense of menace and transgression while particularly weighing on iconography from heavy metal. As Martinsson’s Aniara turned 60, Strömberg is last year’s recipient of the Sollentuna Municipal Cultural Award inviting him to present the show at hand in the public library incidentally titled Gallery Aniara, situated moreover on Aniaraplatsen in the suburb of Stockholm that is Sollentuna. It appears that Martinsson like Strömberg who is a resident, spent large parts of his life there. However, intended as more than merely a peripheral homage to the writer relying on apparent happenstance, Strömberg makes use of the thematic nature of Aniara in its capacity as a poignant cautionary tale. Consequently, Strömberg offers a thought-provoking comment on the human condition of the present day, in light of known climate threats and challenges, the increasing ordeal of disrupted peace across the globe and the ongoing migrating crisis in contemporary society. In Martinsson’s hands, Aniara assumes the identity of a space vessel taking course to Venus and Mars, transporting earth habitants away from the planet which on the account of nuclear havoc and environmental disasters has been rendered forlorn and beyond a state of hope. As Aniara accidentally steers off course out of the solar system propelling the passagers into their final day, the plot unmistakably mirrors tragedies taking place across waters along the borders of the European continent. Elementally, Strömberg’s Aniara suite serves as visual score to Martinsson’s dystopian prophecy, channeling into the ambient essence of the author’s words. Meanwhile, unlike the inevitable fate in Aniara, Strömberg stresses room for glimmers of hope by way of otherworldly beauty and stillness casted by the illumination of light in glaciers, aerial phenomena and night skies amidst remote mountainous surroundings. The breadth of technique in Strömberg’s Aniara suite encompasses aquatint etchings, watercolor and charcoal on paper and oil on canvas. As is usual with Strömberg’s vision, it springs out of an abundance of references which beyond the literary are seated as well firmly in art history and more personally for Strömberg as an artist in music. As such, sounds of Mussgorsky’s Night on a Bare Mountain and Satyricon’s To the Mountains are said to have lent themselves to Strömberg’s interpretation of Martinsson’s Aniara. Given Aniara’s metaphoric relevance, it seems as though for the viewer that approaching it could not be more timely and urgent in 2017, allowing for an arguably necessary reading of art beyond just the apparent aesthetical and conceptual into the pressing political of the now and today.

 

Stockholm, June 2017 – Ashik Zaman, C-print Journal

 

Adherent to the exhibition is an essay in Swedish by author Daniel Sjölin

 

Upcoming show: Those of the Unlight II, PAPER Gallery, Manchester (UK) 17 August – 30 September 2017

 

Related information:

 

 

 

 

 

 

 

 

ANIARA

Solo Exhibition: Pär Strömberg, ANIARA, Galleri Aniara in Sollentuna

To the Mountains II

To the Mountains II

Opening Friday June 30 3PM-6PM
Opening speech by Municipal Cultural Director Helene Burmeister at 4PM

30 June – 20 August 2017
Galleri Aniara
Sollentuna Bibliotek, Aniaraplatsen 2
191 21 Sollentuna, Sweden

2016 marked the 60th anniversary of Aniara by Nobel laureate, Harry Martinsson. A novel that has inspired many artists, musicians and theater/film makers for generations. In 2016, Pär Strömberg also received The Sollentuna Municipal Cultural Award, and to mark this he will present work inspired by Aniara at Galleri Aniara in Sollentuna. Strömberg depicts night skies, mountains, melting glaciers, strange sky phenomena, all with a dystopian, psychological twist. These paintings serve as a contemporary commentary to the novel and the discourse of the environmental threats and climate crisis in the world today. There is not only an apocalyptic atmosphere, but one of hope and beauty and a positive resurgent atavism.

Opening hours during the exhibition:
Mon-Fri 11-18
Sat-Sun closed

READ MORE:
Galleri Aniara https://www.sollentuna.se/sv/uppleva–gora/kultur-och-noje/Konst/galleri-aniara/

Upcoming solo shows – save the dates:

Upcoming solo shows (save the dates):

June 30th, Galleri Aniara in Sollentuna (S)
The series To the Mountains, Mother North, Transylvania and more. Oil on canvas, watercolor on paper and charcoal drawings (even perhaps some prints will be available).

August 19th, PAPER Gallery, Manchester (UK)
The new work of the series Those of the Unlight, Black Metal Girls and especially new new series of On Darkened Wings. Watercolor paintings and charcoal drawings on paper.

Stay tuned for more!

Skärmavbild 2017-04-10 kl. 12.55.00 Skärmavbild 2017-04-10 kl. 12.55.15

Semiotic Guerrilla Warfare part IV

CHARLIE SMITH LONDON
Exhibition dates: 17 February – 25 March 2017
Private View: Thursday 16 February 2016, 6-9pm
Opening Times: Wednesdays – Saturdays, 11 – 6pm

Hermione Allsopp / Jemima Brown / Andrea Cotton / Lisa Denyer / Tracey Eastham / Zavier Ellis / David Hancock / Florian Heinke / Phill Hopkins / Hilde Krohn Huse / Sam Jackson / Monica Ursina Jäger / Vincent James / Chris Jones / Richard Meaghan / Alex Gene Morrison / Narbi Price / Mitra Saboury / Jenny Steele / Pär Strömberg / Zhu Tian / Lisa Wilkens / Simon Woolham / Hannah Wooll / THE CULT OF RAMM:ΣLL:ZΣΣ featuring Yang Younghee

Semiotic Guerilla Warfare marks a new collaboration between CHARLIE SMITH LONDON and PAPER presented at the London gallery. The artists assembled create artwork from any materials that come to hand; creating a theoretical collage of themes: linguistics, text, the city, psychogeography, found images, appropriation, youth / underground culture, networks, cults / rituals. Exploring popular culture in an attempt to de-value the art object and elevate everyday objects. Semiotic Guerrilla Warfare presents found objects, mass-produced materials, and a lo-fi aesthetics to create a new visual language that comments upon the disposable nature of our culture and society.

The purchase of commodities can be seen to offer a sense of freedom and an escape. By manipulating and appropriating high street fashions youth subcultures create a unique identity and transform themselves into street art. These concepts might be equally applied to artists, who use appropriation in their art to subvert the meaning of the subjects that they transform. This creative use of commodities is exploited for the purpose of resistance, altering the meaning of a chosen mass produced object through the concept of bricolage. This cultural appropriation or theft and transformation of a commodity highlights each of these artists as conspicuous consumers. Dick Hebdige, the subcultural theorist, quoting Umberto Eco, describes these subversive practices as “semiotic guerrilla warfare”; raiding the dominant culture for their trophies. These commodities are desired simply because they are status symbols of the privileged. They are essentially “empty fetishes”, desired and appropriated from those that are their antithesis. These artists essentially adopt the lifestyles they appropriate, employing their visual language to subvert the meaning of the very images they incorporate into their work.

The exhibition contains individual works from internationally renowned artists such as Chris Jones, Jemima Brown, Florian Heinke, Pär Strömberg, Lisa Wilkens, Phill Hopkins, and John Moore’s prizewinner, Narbi Price. Alongside these artists is the avant-garde cyber Hip Hop performance art group, The Cult of RAMM:ΣLL:ZΣΣ, present <The Book of Bitumen>, a residue recording the Cults’ live street performance rituals.

fca13148247023.589282f72c9b8

BMG #10
Watercolour on Paper
31 x 23cm
2015
£666

The Cat Show – upcoming exhibition in Manchester (UK)

TheCatShow

PAPER #33: The Cat Show Exhibition dates: 12 November – 17 December 2016
Private View: Thursday 10 November 2016

Featuring a number of artists including: Pär Strömberg Peeter Allik, Tilo Baumgärtel, Alan Birch, Mike Chavez-Dawson, David Hancock, Sarah Jeffries, Ilona Kiss, Leonard Lapin, Cathy Lomax, Rui Matsunaga, David Miles, James Moore, Narbi Price, Brian Reed, The Royal Art Lodge, Miho Sato, Lucy May Schofield, Sharon Shields, Martin Symons Lisa Wilkens and more.

“Kittens” was the answer Tim Bernes Lees famously gave in a Reddit AMA (Ask Me Anything) when asked what was the one thing that surprised him most about the way his invention of the World Wide Web has been adopted, 25 years on. It hardly needs stating: The Internet has provided us with instant access to an unprecedented amount of knowledge (power) and an incredible tool for mass communication (mobilization). Yet “Cats” is one of the most commonly searched for keywords, cat videos and images are among the highest viewed online content (described in the New York Times as ‘the essential building block of the Internet’), and cat celebrities are abound (Grumpy Cat, Lil Bub, Maru, Nala Cat and Cattycake to name a few). An entire subculture has developed around LOLcat memes.

More info:

PAPER

AxisWeb

 

 

Satanickitten

Pär Strömberg
Satanic Feminist Kitten
Ink and watercolor on paper
23 x 20 cm
2016
£500

Sollentuna Kulturstipendium (in Swedish – english in short below)

Nu delar Sollentuna kommun ut sammanlagt 130 000 kronor i stipendier och utmärkelser inom kultur- och fritidsområdet. Det stora kulturstipendiet går till konstnären Pär Strömberg!

Kulturstipendiet till internationellt etablerad konstnär

Konstnären Pär Strömberg, född 1972, utbildad vid Gerrit Rietveld Akademie i Amsterdam och Kungliga Konsthögskolan i Stockholm. Han är bosatt i Sollentuna och verksam konstnär. Han är ett etablerat namn på den internationella konstscenen och har under många år undervisat i måleri på konstskolan i Örebro och på Rietveld Akademin i Amsterdam. Pär målar ofta i stora format med olja på duk av öde landskap, djupa skogar och mörka himlar men under senare år har hans fokus skiftat åt mindre verk på papper. Hans konst finns på flera stora museer och i privata samlingar världen över. Stipendiet på 60 000 kr gör att Pär kan frigöra mer tid för sitt måleri:
- Jag undervisar redan mindre än förra året för att frigöra än mer arbetstimmar. Med små barn hemma är jag i behov av tid för kommande utställningar och för att bredda min produktion av målningar som kräver både resande, förkovran och ateljétid. Jag har redan påbörjat arbetet med en ny svit akvareller, eventuellt även en svit litografier som bygger på naturbetraktelser med äldre byggnader i bland annat Törnskogen i Sollentuna. Genom Sollentuna bibliotek har jag hittat en del intressant material och hoppas kunna undersöka platser på egen hand för att fullborda en omfattande Sollentunasvit under kommande år, säger Pär Strömberg.

Läs mer: https://www.sollentuna.se/sv/nyheter–press/nyhet-uppleva–gora/stipendiater-2016/

Örebroguiden: http://www.orebroguiden.com/?p=75420

Tidningen Mitt i: https://mitti.se/noje/kultur/kulturstipendiet-internationellt-etablerad/

Vi i Sollentuna: http://pdf.direktpress.se/flashpublisher/magazine/15747/page/14

Örebro Kuriren: http://www.orebrokuriren.se/2016/10/25/konstnaren-par-stromberg-tilldelas-kulturstipendium/

Psalms of the Black Light IX, watercolor on paper, 40.6 × 30.5 cm

Psalms of the Black Light IX, watercolor on paper, 40.6 × 30.5 cm

Pär Strömberg has been awarded the Sollentuna Municipality Cultural Award 2016 for his contribution to the contemporary art scene and for putting Sollentuna on the international map. The prize amount of 60000 SEK will be handed out at a ceremony at Edsbergs Slott mid December. More press and info will come shortly.

Pär Strömberg on Artsy: https://www.artsy.net/artist/par-stromberg-1

Upcoming shows in October

Coming exhibitions in October

Landscape and the City at Galerie Helder in Den Haag (NL)
1 okt – 30 okt
Yves Beaumont, Pär Strömberg, Demiak and Bart Benschop
Art The Hague 2016 with Galerie Helder (NL)
5 okt – 9 okt
Yves Beaumont, Stephan van den Burg, Sander Reijgers, Pär Strömberg, Marena Seeling, Kevin Bauer, Harry Markusse, Eelke van Willegen ,Demiak, Damian Kapojos, Bart Benschop
P1040315
As The Shadows Rise, oil on canvas, 140 x 190 cm