Pinching My Arm

I been a bit quiet about this but it happened so fast that I am still pinching my arm. Here we were in 2008, Kenneth Cosimo, Graham Lewis, and I posing for a ‘Where Everything Falls Out’ photo. 9 years later and our constellation comes round again.
This year is the 40th anniversary of the release of Pink Flag by legendary art-combo WIRE, which is celebrated with an extensive US tour and the release of the new album Silver / Lead. But before Edward Graham Lewis, singer, songwriter and bassist in Wire, packs his bags, Uppsala is honoured to have him play a concert at Uppsala Konst Museum in connection with the exhibition The Eternal Now by artist Jan Svenungsson. The first concert that Lewis gives in his home town of Uppsala in 30 years.16991560_10154071488555882_7915732541439317585_o

Klara Lewis, Pauline Svanerö and Alvaro Svanerö will perform along Edward Graham Lewis, as will Kenneth Cosimo and I. Us Weforians (Where Everything Falls Out) will play a short set, something old and something new.

In collaboration with Uppsala Concert & Congress
Location: Vasa Hall, Uppsala Konstmuseum
Free Admission


I am back! Here is my Sick Note..


My Father holding me.

Excused Absence? The last few years have been very difficult. A series of troubling and heartbreaking events. First, around 2010 I became very unwell, not knowing what was wrong, then after finally being diagnosed with Pernicious Anemia (an autoimmune disorder that can lead to serious complications), I begun the long road to recovery only to have my path broken again, by the sudden, unexpected death of my father, followed by a distasteful and questionable aftermath, which to some extent still is dragging on. Truth has been allowed to unfold into different versions, and justice seems to be nothing but a series of slaps in the face. Much salt has been sprinkled into wounds!

My father died on the 24th of August 2013, while I was in the process of moving the public wing of the M{ }esum into new premises. Instead, my mother and I found ourself on a long-haul flight to Thailand. A rush against the clock to make it in time for my fathers cremation, which we were about to gatecrash, uninvited, after finding out about it by pure chance.We arrived in monsoon whipped Bangkok, dazed, disorientated, jet lagged and grief-stricken, in a state of severe shock and utter dis-belief. Already inconsolable. Things were about to get worse.

The next day we managed to navigate our way to the temple-grounds with the help of an old friend of mine, Kaprice, a long time resident of Bangkok, only to discover that my father was given a ‘pauper’s cremation’ in Bangkok’s shantytown Klong Toey, the oldest and largest slum in Bangkok, home to 100,000 people crammed into one square kilometre  built on a swamp, (a three-metre-deep bed of sludge, rubbish and sewage bordered by the Chao Phraya River)  which against the backdrop of the intense and humid tropical heat of over-urbanized Bangkok, is accompanied with the putrefying odor of the city’s sewage system. Later I would find out that the temple (Klong Toey Nai) is best known for the cremation of dogs and other pets.


There were no guests, only my half siblings, my fathers estranged wife (i.e. my stepmother) and my fathers driver. The ”ceremony” (if one can call it that), took place in a small building with an incinerator, rushed and cheap, it was but an insult to the memory of my father, and together with my family’s mean-spirited and malicious attempts to keep me in the dark, was not only, at a time already full of sorrow and distress, extremely hurtful, unkind and offensive, but together with other turn of events and in combination with things my father confided in me shortly before he died, still leaves a lot of questions.

I have now set-aside over two-and-a-half years preoccupied by following leads, pursuing judicial inquires, comparing conflicting stories, uncovering missing information and collecting testimonies. My stepmother and I have also been embroiled in an ugly  dispute about my fathers Last Will and Testament, where she wanted an over 20 year old Last Will and Testament“, written during a time that my father and I had fallen out, to be followed instead of his last one, written in 2011. The whole thing  has left me feeling exhausted, depressed and  disillusioned. My art-practice has taken a back seat and I have turned into more of recluse than normal, not wanting to burden friends and acquaintances with the situation, but finding it almost impossible to think or talk about anything else, especially when new disclosures and exhumed facts only has served to increase my misgivings.

Having said that, come end of last year I woke up one day and felt that enough is enough. I wanted my life back, if only partly. I will continue to leave no stone unturned, and the wretched and murky story deserves to be told in full, which I intend do on another blog, SALT NOIR . However,  I can’t let myself continue being  all-consumed by this tragedy. It’s time to move on, and I am determined about picking up the pieces of my own life, where they were left, on the 24th of August 2013.

So it is with much excitement that I want to make an official announcement. I am  opening  a new space for the public wing of the M{ }esum , at a secret location in Berlin! Watch this space.

To be continued..


Don’t Queue For Your Own Party.

Last night I dreamt that I was going to a big party. Queues were already forming with ‘beautiful’ people. The doormen were ruthless, people  worried if they would get in or not, but no one recognised me as I quietly waited in line, even though the event was hosted by myself. In fact no one gave me a second glance, and I begun to feel like an imposter and a fraud, so when the fashionable couple next to me told me to leave for the back entrance, I assumed their eagerness to get rid of me could only mean that my own presence would  lower their chances to get in. I became increasingly convinced that I was to uncool for my own party, left the queue and nervously  made my way to “try my luck” at the back door. To my big surprise, the doorman immediately let me in, no questions no queues.

I woke up with only one thought: I must stop queuing for my own party!


An Earth-Shaking Event

Last night was an earth-shaking event.  I woke up by my bed moving in unexplainable ways, by the oddest sensation of being  jerked around horizontally in a a rolling motion. I will never forget that moment. It almost felt as if my body was being stretched. Seeking an explanation my mind settled on the idea that I was still sleeping, hence reassured by my conviction that what I was experiencing was but a dream, I fell back asleep. My dreams are often very vivid and I been a lucid dreamer since childhood. But this time I was fooled, for in fact I was awake. Still I’m kind of thankful that the possibility of an earthquake never crossed my mind, but that’s exactly what it was. If I had realised that the unexplainable movement was caused by a violent earthquake  ( magnitude 5.2) which rumbled through Athens in the early hours of this morning I would probably have panicked. Instead I got to feel the earth move while feeling perfectly safe.

The Greek capital is often rumbled by seismic activities, it lies across a complex boundary zone in the eastern Mediterranean, between the African tectonic plate and Eurasian tectonic plate, but according to officials, this latest earthquake and its subsequent aftershocks were significantly stronger than usual. Efthimios Lekkas, director of the state-run Earthquake Planning and Protection Organisation, said: “It was an earthquake that occurred quite near the surface and was felt quite intensely in Athens — from an area where quakes are fairly common but rarely stronger than today’s event. In hindsight I feel a little shaken but mostly very curious about how the Acropolis still stands after all these years,  A quick google reveal that the question of how the ancient ruins of the Acropolis have survived so many earthquakes in 2,500 years, where other, more modern constructions have fallen, has puzzled scientists and engineers for years. And the answer?  Apparently  it’s a marvel of mechanical engineering.

The conclusion is that the buildings were designed ingeniously in order to be protected from earthquakes. It would seem the ancient engineers knew what they were doing in terms of ensuring their creations would last, which is part of the reason we still see them gracing the high, rocky outcrop in Athens.

The Swedish Institute in Athens


The roof terrace at the Swedish Institute in Athens

I could sit here for the rest of my life! Or a few weeks at least. With a large roof terrace overlooking Acropolis I did not  feel much need to leave the building (but of course I did). It has been paradisical – a wonderful place to stay, whether involved in interesting conversations with other guests, (Frederick Whitling and Petter Spjut it was a pleasure to meet you!) or spending time on my own. On this terrace, for slow breakfasts, delicious lunches, or late red wine under the sky, I regained some inner peace. 11329752_10153037822838090_8261644360745102738_n I have felt truly relaxed for the first time in several  years,  so much that for the first days, I almost forgot that I am not in Athens for holidays, until I noticed the big advertisements for Art-Athina all over town.. I think I will dream of  The Swedish Institute, a  grand neo-classical building in the Makriyianni district of Athens, immediately to the south of the Acropolis,  for a long time. I already miss it. Even though I do not leave until the day after tomorrow. I will also miss Athens. A city I want to know more intimately.  I hope I get a chance to return. I am already planning my return…

All packed up and done.

All packed up and done at Platform Project.

All packed up and done at Platform Project.

IMG_1582 löwendahl-atomic-IMG_1573As everything does, it came to an end. Platform Project and Art-Athena is now closed. It has been super busy. The days flew by fast, with a never ending supply of visitors. Last year the fair drew 35 000 people and my guess is that the number cant be far off this year. It was quite exhausting as I been on my own this time,  previously I only done art fairs with assistants, still I  managed to met some really interesting people and had some really engaging interactions, with other exhibitors and audience alike. My only complaint really is the lack of vegetarian food available at the fair. Luckily the hot weather damped my appetite. 

Thank you Artemis Potamianou for the invitation to participate in Platform Project. I has been a pleasure!

Platform Project @ Art Athina 4-7 of June 2015.

I am very happy to announce that I will participate in Platform Project @ Art Athina with The M{ }esum.  Platform Project is curated by Artemis Potamianou and will take place at Art Athina, International Contemporary Art Fair of Athens on 4-7 of June 2015.

About Platform Project

The Platforms Project @ Art Athina was started in 2013 with the aim of charting the artistic actions produced by collective initiatives of artists who decide to join forces in seeking solutions to art matters through what is known as platforms.

The 2013 and 2014 Platforms Projects @ Art Athina featured over 90 platforms with more than 1,000 artists, leading to unexpected instances of dialogue, symbiosis and collaboration. Through Platforms Project @ Art-Athina, most platforms formed friendships among them while, in addition to interpersonal relationships, many of them went on to exchange exhibitions, actions and artists. Thus an international network was formed by independent art spaces and groups which, based on the ‘unity is strength’ precept, have secured a distinct place on the international art scene without antagonizing the environment they are called upon to serve.

The 2015 Platforms Project @ Art-Athina is to present 48 important platforms / art group actions from 15 countries with over 700 artists, making up a programme that attempts to offer viewers an insider’s look into visual creation, into the aspect of chemistry and collaboration in artistic practice, without focusing on sales.

As in the two previous years, the art groups/platforms will have the opportunity to present an art project in a specific space —booth— so as to provide viewers with an experience of the way they work.

Artemis Potamianou

Participating Platforms:
8eleven Canada/ 9th Art Wave United Kingdom /A TRANS Germany /AMV Canada/ Artist in Residence Program, School of Environmental Sciences, University of Guelph Canada/ artspirators – refuge project Greece/ Autobiography Systems Greece /Bang art now centre Canada / B’ PRINTMAKING STUDIO A.S.F.A. — TCA Greece / Turkey /Campus Novel Greece /Dada Da Academy Austria / DIENSTGEBÄUDE Art Space Zurich Switzerland /Ed Video Media Arts Centre Canada /EN – FLO Greece /EX-MÊKH The Netherlands / Extra-Muros France /fragment S United Kingdom / Korea /FRMK Greece /Galleri 54 Sweden /GALERIE UTOPIA Athens / Berlin Germany /grauzone temporary autonomous zone 2 Austria /Harrington Mill Studios United Kingdom /INCART Spain /IS-projects The Netherlands /kunstenaarsinitiatief |elders The Netherlands /LO AND BEHOLD Greece /LUBOMIROV-EASTON United Kingdom /Lustspiel Greece /MAISON MACA Greece /Margaris Foundation / les yper yper / Metapolis Greece /Museum of Forgetting Sweden /MUU Galleria Finland/ nature in love – one Greece / Turkey /Orizontas Gegonoton Greece/ OUT OF THE BOX INTERMEDIA United Kingdom /PNYX EQUINOX Greece /Provo Principles Greece /Rajataide ry / Gallery Rajatila Finland /Salon de Vortex Greece /SIMULACRUM Greece /SKOUZE3 Greece /STUDIOvisits Berlin Germany /The M{ }esum Germany /the Milena principle Belgium /The Symptom Projects Greece /Tupajumi foundation & HeavyMerryFinland The Netherlands /Wiener Art Foundation Austria

Instant loss has left me stunned and disrupted.

My father Björn Löwendahl and I.

My Father Björn Löwendahl


Three month ago I lost my father unexpectedly. His death was sudden and un-anticipated. There were no good-byes and no opportunity to finish unfinished busines. No warning and no time to gradually grasp the reality that my world was about to change dramatically. Instant loss has left me stunned and disrupted.

I am still trying to reorientate myself in the gap between the way my world should be, with my father alive, and the way the world is. Trying to fathom that my father is gone. That so many of my hopes and plans for the future are gone. That so many questions never will find answers.

My creativity was often driven by the presence of his absence and my longing for him to play a bigger part in my life. Cruel fate had it that he was taken away from me just as that longing was starting to be met. Just as he had stepped back into my life

 My father was an exceptional man. I miss him very much.

  Anna Livia

finders, keepers the “m{}esum” for lost “n∅bjects”

A feature from Sugarhigh which was an online magazine for Berlin.


finders, keepers

the “m{}esum” for lost “n∅bjects”


Just within our adult years, we’ve lost: A number of wallets, illusions, scarves, purses, weight, sunglasses, some joint flexibility, keys, mittens, cell phones, easy trust, heirloom jewelry, integrity, wedding rings, heroes, family photos, idealism, unsaved computer files, and, most definitely, our virginity. We could accept these losses with a sedate grin of non-attachment. But attached we are, and, like most people, can’t help but define ourselves not only by what we’ve kept, but what we’ve lost along the way.

If there were a place where lost things congregated, they’d most likely be found in Neukölln’s ephemeral M{}esum. In 2009, artist and poet Anna Livia Löwendahl-Atomic founded an exhibition space which may or may not even exist, but showcases a vast collection of lost, absent, and unrealized “n∅bjects,” including a painstakingly catalogued archive of gallery and art fair visitors’ lost objects, feelings, and beliefs; an exhibit of detailed photographic “otographs”–images not lost, but forever hidden–and a “Department of Explanations and other Questions” devoted to artistic “muesoligical” research. Currently on sale at the M{}esum’s existentialist gift shop are custom “amunets” to protect certain things from getting lost, or if you wish, to ensure they are lost forever. Stop by before the space becomes part of its own collection.

[Image: “The M{ }esum Archive, Detail; N∅bject No 258,” by Anna Livia Löwendahl-Atomic]


m Laufe unseres Erwachsenenlebens haben wir bereits verloren: Portemonnaies, Illusionen, Schals, Kilos, Sonnenbrillen, ein bisschen was von unserer Gelenkigkeit. Schlüssel, Handschuhe, Handys, unser vorbehaltloses Vertrauen. Erbstücke, Integrität, Eheringe, Helden, Familienfotos, unseren Idealismus. Ungesicherte Dateien und ganz bestimmt unsere Unschuld. All diese Verluste haben wir mit dem gelassenen Grinsen der Unverbindlichkeit hingenommen. Dabei fühlen wir uns so vielem verbunden. Und wir definieren uns nicht nur über das, was wir besitzen – sondern auch über das, was uns verloren gegangen ist.

Wenn es einen Ort gäbe, an dem unsere Verluste sich versammeln würden, wäre es wohl das M{}esum in Neukölln. 2009 hat die Künstlerin Anna Livia Löwendahl-Atomic einen Ausstellungsraum gegründet, der möglicherweise gar nicht existiert, aber eine große Sammlung verlorener, fehlender und unrealisierter “n∅bjects” zeigt – darunter ein akribisch geführtes Archiv der verlorenen Gegenstände, Gefühle und Überzeugungen von Galerie- und Kunstmessenbesuchern, eine Sammlung von detaillierten fotografischen “otographs” – Bildern, die nicht verloren, aber für immer versteckt sind – und eine “Abteilung für Erklärungen und anderen Fragen”, die sich der künstlerischen Recherche widmet. Im existenziellenM{}esum-Geschenkeladen sind derzeit “amunets” im Angebot, die bestimmte Gegenstände davor beschützen, verloren zu gehen – oder, je nach Wunsch, sicherstellen, dass sie für immer verschwinden. Schaut vorbei, bevor der Ausstellungsraum sich nurmehr selbst zu seiner eigenen Sammlung zählt.

[Bild: „The M{ }esum Archive, Detail; N∅bject No 258“, von Anna Livia Löwendahl-Atomic]

Sammeln, was andere verlieren

von am 16. Juni 2013

Schneekugel im Muesum

Ein Besuch im M{ }ESUM, dem weltgrößten Museum der verlorenen persönlichen Geschichten und Gegenstände.

Kaum etwas, wofür es kein spezielles Museum gibt. Warum also nicht auch verlorene Dinge sammeln? Schnell wird klar, dass das M{ }ESUM weniger ein wirkliches Museum als ein Kunstprojekt ist. Im Ausstellungsraum in der Jonasstraße kann man zu 48 Stunden Neukölln wieder einmal einen Blick in das Archiv werfen, das die Künstlerin Anna Livia Löwendahl-Atomic 2009 gegründet hat.

Man kann natürlich schwer etwas sammeln, das es nicht mehr gibt. Darum besteht die Ausstellung hauptsächlich aus hunderten von Karteikarten, auf denen notiert ist, was jemand verloren hat. Oder wovon er denkt, dass er es einmal verlieren wird. Das reicht von Socken in der Waschmaschine bis zur Jungfräulichkeit. Ein Teil davon ist an die Wand gehängt, und Besucher können auch selbst eine Verlusterfahrung zur Sammlung beisteuern. In ihrer Gesamtheit rücken die Beiträge die Beziehung der Menschen zu Dingen in den Fokus, lassen nachdenken über die Konsumgesellschaft, die vorschreibt, was wir haben müssen, worauf wir nicht verzichten können. Aber es sind auch viele immaterielle Verluste dabei, die deutlich machen: Es sind auch die zwischenmenschlichen Dinge, die zählen.

M{ }ESUM, Ausstellung geöffnet So 14 – 19 Uhr, Jonasstr. 31 (KÖ-A)

THE M{ }ESUM at Platform Project @ Art-Athina 16-19 May 2013

Coordinator : Artemis Potamianou

The objective of the project is to map artistic action as it is produced in the context of collective initiatives by artists who decide to join forces in seeking answers to artistic questions by creating the so-called platforms.

The project will help promote the various artists’ groups, collectives, platforms, artist-run spaces and independent art spaces of a non-commercial (non-profit) orientation which operate in unconventional ways, in Greece as well as abroad, managing to establish unexpected debates on art.

The artist-run platforms-group are given the opportunity to present an art project at a specific site—booth—and thus provide a picture of the independent art scene.

Platform Project @ Art Athina will present 45 platforms – artists’ initiatives from 16 countries with more than 500 artists.

The platforms come from: Greece, Italy, Cyprus, Switzerland, UK, Germany, Austria, Bosnia – Herzegovina, Sweden, Netherlands, Canada, New Zealand, Finland, France, Russia, Serbia.

Grosses Treffen 2013

Dear Anna Livia Löwendahl-Atomic,
We have the pleasure to inform you that you have been selected amongst 330 applicants to participate in Grosses Treffen portfolio speeddating on April 20th at the Nordic Embassies in Berlin. We have been able to invite about 1/6 of the applicants.
As you’ve applied, we expect you to be able to participate in the event and reserve the full day in Berlin on the 20th April, yet we kindly ask you to confirm your participation latest by the 9th of April by answering this mail. If not, we will have to offer your place to another artist.
During the day you will meet 5 reviewers, 15 minutes each. You’ll get the final schedule for the day by the 15th of April. But already now, we have some information about the event.
The day will start at 10.30 am in the foyer of the Nordic Embassies, Rauchstrasse 1, D-10787 Berlin. As the time plan will be quite tight, please respect the schedule and be present in time. The reviewing session will finish at around 16.30. Afterwards there will be a reception, where we would like to invite you to join.
There will be lunch at the embassy.
It is your own responsibility to arrange and pay for transportation and accommodation. If you come from out of town and travel by train or flight, we would like to know when you arrive to and depart from Berlin.
Please bring your portfolio printed out and prepare a small preparation of it in either English or German. But be aware that you only have 15 minutes by each reviewer. If needed, we also remind you to bring a computer (charged before the event) and contact cards.
We will send more information within a couple of weeks. But as already mentioned, please start planning your travel to and stay here in Berlin, and confirm that you will participate in Grosses Treffen by answering this mail before the 9th of April.
We’re very much looking forward to seeing you.
Best regards also on behalf of Solvej Ovesen, Kordula Fritze-Srbic,
Andreas Lundberg

Stockholm Independent Art Fair: Report from M{}esum’s Anna Livia Löwendahl

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From the Stockholm Independent Art Fair, the curator of Berlin’s M{}esum of absence, loss and unrealised possibilities – Anna Livia Löwendahl – reports back.

SUPERMARKET, the three day Stockholm Independent Art Fair, just drew to a close yesterday evening. Before the Berlin-based gallerists have even had a chance to step foot in Germany, we bring you the scoop from the north. Our first report comes from Anna Livia Löwendahl, the curator of Berlin’s M{}esum and the mastermind behind the space’s first art fair.

Not Your Typical Museum

Museums love lines — lines around the block for blockbuster shows, lines at the front desk for 20 Euro tickets, lines demarcating just how close you can get to the priceless works of art. Artists on the other hand are less fond of lines, unless they are blurring them, crossing them, or pushing them; and so, it is not surprising that in recent years artists have taken on the lines of the museum space and set to work blurring, crossing and pushing them to the brink. Projects such as The Museum of Jurassic Technology, The Manitoba Museum of Finds Art and Berlin’s own M{}esum have all taken on the space of the institution.

Read More

“Pressat” på Uppsala Konstmuseum

bajVad har Guillaume Corneille, Enrico Baj, Ulla Fries, Niki de Saint Phalle, Maya Eizin Öijer, Axel Fridell, Pontus Raud, Georges Braque, Christian Due och Anna Livia Löwendahl-Atomic gemensamt? Svaret är att de tillsammans med en mängd andra framstående konstnärer finns representerade i Uppsala konstmuseums stora grafiksamling. I utställningen ”Pressat – tradition och innovation i tryckta bilder” visas 74 grafiska verk från 1600-talet och framåt från när och fjärran, dessa svarar tillsammans med presenterade tekniker på frågan vad grafik är och belyser dess utveckling.

Ett museum har flera uppdrag, ett är det pedagogiska, vilket Uppsala konstmuseum verkligen har lyckas genomföra i utställningen som är indelad i fyra avdelningar. De olika tryckmetoderna visas bland annat i korta filmer på små bildskärmar med ljudberättelser i hörlurar. Vidare har modern teknik som QR-koder använts parallellt med mer traditionella medier, som inlästa och tryckta texter, för att ge bredd och tillgänglighet för olika målgrupper. För den som ytterligare vill fördjupa sig i de olika tryckmetoderna högtryck, djuptryck, plantryck och genomtryck, finns kataloger och litteratur framlagd. Själv skulle jag kunna tillbringa en hel dag här.

Men även om det är fascinerande och lärorikt att studera tekniker och sätta sig in i hantverksskickligheten bakom verken är det ändå de färdiga bilderna som griper tag och ger sinnesrysningar. Kanske inte alla, men så ovanligt många; urvalet och representanterna är valda med balans och omsorg! Många temagrupperingar skulle vidare kunna göras med denna mångfald av verk:

Den första bilden som intar mina sinnen är Friedensreich Hundertwassers “Good Morning City, Bleeding Town” (1969-1970), serigrafi, där bladet är tryckt i 10.000 ex, alla individuella. På bladets vänstra sida visas små färgrutor som berättar vilka färger som har använts. Surrealistiska skyskrapor sträcker sig som en grupp individer mot skyn; självständiga, men som grupp liksom bekräftande och stöttande varandra och belysta av auraomgärdade moln; två varmt orangegula och ett rosaskimrande. Att hela grupperingen tycks svävande och byggnaderna beroende av varandra, kan vidare bero på den ytliga eller obefintliga förankringen i ett tunt underlag, kanske är det verklighetsförankringen som visar sig så vag. En utväxtformation av glittrande stoft visar strävan och anknytning till en annan dimension, liksom husens mångfärgade och i flera fall metallicglittrande rutor – verklighetens flykt in i de vackra sagornas eller hallucinationernas värld.

nikiI den surrealistiska upplevelsen infogar jag även exempelvis Hans Tichas “Schlagersängerin” (1979), serigrafi, och Enrico Bajs “Baj chez Picasso I” (1969), färgetsning, akvatint (övre bilden). Tillsammans med Baj befinner sig Niki de Saint Phalles “My love where shall we meet again”, serigrafi, övervägande i det politiska gränslandet (nedre bilden). Mångfaldigande av bild och budskap hör givetvis samman med den grafiska tekniken och att kunna sprida politiska uttryck. De svenska konstnärerna Carl Johan De Geer, Lars Hillersberg, Olof Sandahl och Petter Hellsings bilder sprider mer okonstlat uttalade politiska och samhällskritiska budskap.

Realism i porträtt och miljö är ett annat tema, med många representanter från olika tider: exempelvis Axel Fridell, Anna Livia Löwendahl-Atomic och Pierre Bonnard. Av de religiösa trycken utmärker sig inlånet “Veronikas svetteduk” från 1649, där en sammanhängande kopparstickslinje bär fram bilden av Kristi ansikte.

Effektfulla material att trycka på eller använda sig av utmärker sig, själv är jag extra förtjust i Maya Eizins silkscreen på sidensatäng, Urban Sjöbergs betongetsning och Pontus Rauds karborundumtryck.

Att hitta en orsak att avstå från att uppleva denna rika utställning är förmodligen svårt – här finns mycket att upptäcka och många ingångar i konst(ut)tryckens värld.

Adress: Uppsala slott
Utställningen pågår under perioden 9/2 – 14/4

Marit Jonsson (text), Uppsala konstmuseum (foto)