Monthly clean up

I've cleaned up the left sidebar, and added a few things.

The Art has been replaced. It now features Goya's The Incantation, from his, ehh... less than balanced period, one of my favourite minimalists, Frank Stella, with his Hyena Stomp, and in the Younggun section, the wonderful Horizons project, from fine art photographer Sze Tsung Leon.

New to the blogroll:
1. FutureModern, discussions on art for a possible future.
2. Influential New York artblogger Edward Winkleman is always good to read.
3. For fine art photography, I read Gallery Hopper.
4. And Brian Sholis beautiful blog about life and art is a wonderful passtime. It's probably the best looking blog on the web right now.

And in the Design section I added a link to ConceptM, with a completely original take on internet design. By the way: you can solve the Suduko in the corner.

The Music stays. I'm just not ready to replace it yet. Listen to the samples! There's some good stuff there. Delbert McClinton is really growing on me. There's no other contemporary country music I'd rather listen to right now:

She took the blame, he took the money
I took a bullet in my chest

Gotta love it!

Report from the ducks pond

For readers less familiar with Sweden’s domestic politics, here’s a short recapitulation: This year is election year. The right wing block has harboured high hopes for finally taking the governing power from the Social Democrats for several years now. Only a few months ago it looked like they had the election victory in the bag, but the Social Democrats – together with the supporting Left Party and Green Party – have gained momentum, and now the two opposing alternatives are almost even in the polls. With seven months left until election day, and taking into consideration the Social Democrats’ historical record of being notoriously good across the finish line, the frustration in the right wing coalition is strong.

It would not be hard to picture the staff at the Conservative Party headquarters breaking piñatas and forming conga lines when the story broke that a high ranking staff member at the Social Democratic headquarters confessed to having run his own anonymous e-mail campaign, slandering the right wing Prime Minister candidate Fredrik Reinfeldt. This scandal came at just the right time to possibly turn tables once again.

At that point the issue would hardly be of any concern to this blog. Even though I’m professionally involved in party politics I try to draw some sort of line between this blog and my day time job.

But in a bizarre turn of events the right wing forces are now using any means necessary to prove that the e-mail campaign was not in fact the work of a single staff member (he quit his job the same day the story broke, by the way…) but a part of a destructive culture within the Social Democrats. They are now making a huge fuss about this cartoon (middle pic to the right!) being circulated. It depicts the mentioned Reinfeldt as a werewolf behind a mask, and is drawn by renowned news paper illustrator Kjell Nilsson Mäki.

The illustrator has produced hundreds of satire cartoons in most of the leading news papers in Sweden. Among them is also this one, depicting Prime Minister Göran Persson floating on top of the victims of the Tsunami disaster in East Asia.

Concerned Secretary General of the Conservative Party, Sven Otto Litorin, commented on the need for political satire as "a way to let out steam" (svenska: "en ventil"), but thinks that it’s inappropriate to use this kind of picture for proper political party, though it might be ok for a youth league.

A way to let out steam? That’s reducing the role of satire to that of a jester of the court.

Political satire is an age old form of art that goes far beyond the need to “let out steam” It can be an important tool for debate and discussion, a call to arms against an oppressor, or an artistic expression in it’s own right.

Good satire was never supposed to be tasteful, or nice. And the only problem with Nilsson Mäki’s drawing is that it’s not nearly vicious enough to be more than a mediocre example of that cathegory.

Another point of good satire is that it has something to say. Something beyond being mean. A jester amuses the king by ridiculing him. An artist working with satire amuses the people and enrages the king. Satire is, at the core, a very serious thing.

Note: The featured picture was borrowed from the wonderful site Satan Ate My lunch – where art goes when it dies. I’ll tell you more about them at another time.

Something old and something new

Amazing old photos from Ansel Adams displayed at the Michener Art Museum in Pennsylvania, USA. And found elsewhere: new ones, equally spellbinding, from bristish/american artist Sze Tsung Leon.

Links found through JMGArtblog and Diacritic.

Even Better Than The Real Thing

Don't miss out on the Little Artists' exhibition of art replicas made in Lego. The featured picture is of Donald Judd's famous blocks.

Truth is not consistent

AN INTERVIEW WITH IDA SELBING

At the age of 26 she earns her masters degree at the prestigious Royal Academy of Fine Arts in Stockholm. She called her latest piece La Grande Finale. But there’s nothing pretentious about Ida Selbing and her art. She belongs to a tradition of artists carefully examining the boundaries of human knowledge - and human life.

- To me, working with art is a way to understand the world. In a strict sense you shouldn’t have to produce things to understand your surroundings, and I’m not always sure that the work I produce surprises me or teaches me anything I didn’t already knew. But in any case, the process leading up to the finished product is a way for me to learn, and to find something out. You could do that using other means, but I guess that I think better – or rather? – through art.

I first found out about Ida Selbing an art fair in Stockholm about a year ago. She exhibited a mesmerizing installation named Centripetal. In her own introductory text to the piece she explains:

"If you move in one direction towards a point that is infinitely distant, or in an undefined position, you practically stand still. Any advancement is undetectable. Are you getting closer to the point when you are moving towards it? Is it possible to define something through slow encirclement?"

Is the answer to that question is yes or no? Are you describing a failed attempt to gather knowledge about the world, or the only possible way to act? Is your art in itself is "slow encirclement"?

- I personally believe that the answer is yes, but the piece in itself doesn’t give an answer. I think that, in a way, it’s the only possible way to act. I think that you do get closer to something when you are searching for answers, but you probably never hit the spot right on, even when you think you do, or when you try the best you can.

Ida Selbing doesn’t mass produce her art. She takes the time needed to follow through. Her pieces are thorough in concept as well as in execution. I would probably characterise her work as dealing with issues of knowledge and perception – a direction of art becoming increasingly popular among young Scandinavian artists. But, she doesn’t agree fully with this description when asked about it.

- I’m not sure I belong to the artists dealing with those kinds of questions. Rather, I think I deal with the consequences of these questions.

She is obviously in depth to the conceptual and minimalist traditions of the 1960s. She says that these days she has stopped having idols but mentions Richard Serra and Eva Hesse as earlier sources of inspiration. Her latest work was labelled "Sol LeWitt goes disco" in one commentary.

How important is mathematics to you? Is it a means to an end, or a purpose in itself?

- It’s neither a purpose nor a means to and end to me. Mathematics is interesting as a way to think, and I often feel that I somehow use the same part of my brain when I’m working with my art as when I’m doing maths. It’s been a while since I worked with "pure" mathematics, but I sometimes think that the reasons I once had for starting to study to become a mathematician are related to the reasons I have for being an artist.

What is the value of aesthetics? Most of your work is very pleasing to the eye. Is this important to you?

- Aesthetics in itself holds no real value, it is rather a means of communication. Aesthetics is part of our language. But it can be difficult when it gets in the way of the message. But I don’t want to force it out of the picture just because. I don’t think I can change how I work. Surface, if that’s what you mean by aesthetics, is nothing I have a problem with.

Scandinavian art is moving in several directions at the same time. In Finland a new wave of expressionism is coming on strong. Many young artists from Norway and Sweden, especially male, are working with strong ties to modern popular culture.

In a way, Ida Selbing is a good representative of the cooler, analytical approach preferred by many of the students leaving the Royal Academy of Fine Arts in Stockholm these days. What makes her stand out from the crowd, in my opinion, is the sharpness of her analysis. She doesn’t settle for the easier problems, but goes straight for the ontological core.

None the less, being a political creature by birth and choice, I have to ask her if she, and her fellow colleagues, doesn’t stand the risk of coming off to careful, to post modern? If she doesn’t think that there are more important issues to deal with in the world today?

- There is nothing wrong with being post modern as such, now, is there? For my own part, I believe that I deal with important issues. Sometimes I get to the issues in a roundabout way, but I am very focused on specifically the things I consider important. I don’t think I am extra careful in coming to conclusions, but I’m probably ambiguous, unclear and dubious. This is a rather normal approach for many artists and not very radical, but the way I see it it’s much more dangerous to be to obvious, or single minded if you will. If you try to be as open or "true" as possible, it’s hard to be clear and consistent.

Picture this: Katushika Hokusai

Katushika Hokusai (1760-1849) is, without a doubt, the Japanese artist who has had the most influence on western art. He was the creator of In the Hollow of a Wave off the Coast at Kanagawa – the most archetypical picture of a tsunami wave ever produced.

Hokusai started his career as a painter of portraits, but the soon moved on to landscapes. He was inspired not only by the classic Japanese technique, but also by western art brought into Japan (at this time officially isolated from the rest of the world) by Dutch merchants.

The featured Red Fuji is part of Hokusai’s masterly series The Thirty-six Views of Mount Fuji. The whole set was created from 1823 to 1831, and shows the artist at the peak of his capacity.

After the opening up of Japan Hokusai’s art spread like wildfire across Europe and made an immense impact on the artists looking for new ways of expression at this point in time. This can be seen clearly in the work of the symbolists, such as Paul Gaugain and Toulouse-Lautrec.

Picture this is a standing feature in the weekly journal Flamman.

Discourses of meaninglessness

This is probably pretty old, but who could survive without the Postmodernism Generator?

Today it produced this wonderful sentence contained in an essay entitled Lyotardist narrative and textual discourse by one mr John McElwain from the Miscatonic University in Arkham:

"In Material Girl, Madonna affirms cultural narrative; in Erotica she deconstructs neostructural nationalism. It could be said that Lyotard uses the term 'Lyotardist narrative' to denote a self-sufficient paradox."

I also had the pleasure of reading Nationalism in the works of Koons, Cultural Discourses: Surrealism and capitalist narrative, and Forgetting Bataille: The substructural paradigm of reality, feminism and textual feminism.

I just can't stop giggling...

The war on t-shirts?

In their relentless defense of free speech danish authorities have clamped down on a small group of leftist activists producing "terrorist" t-shirts. The hypocracy knows no limits. The irony is endless.

Human Behaviour

I like miniatures. That’s one of the reasons I consider Johan Thurfjell one of the most interesting young Scandinavian artists right now.

Another young artist working with miniatures is Mikael Nilsson. But in his case it’s the paintings and drawings that really impress. I don’t know what to call it… stripped down realism, perhaps? It reminds me of Hopper as well as Raimonds Staphrans, but in a more conceptual setting. There are no humans present, but the objects depicted are almost always some sort of human constructions. They stand alone, like artefacts of human presence.

And it looks good. Goddamn, it looks good! It’s the sort of stuff I’d hang on my wall any day, if I could afford it.

Strap me down and call me a modernist!

The Moderna Exhibition 2006 is the perfect illustration of the reason I like museums better than art galleries. Since the need to sell the works is not priority no 1 the selection is much more relaxed.

This is especially true with the current staff at Moderna in Stockholm. It’s been a while since David Elliot left the scene, and many complaints have been made against the lack of new, edgy exhibitions. Well, strap me down and call me a modernist! I couldn’t agree less. Today Moderna is making art accessible, but if there’s one thing proven by the new exhibition it is that this development has nothing to do with avoiding the "difficult" and new stuff.

All work and no play...

The last two weeks have been busy. I've been producing Vänsterpartiets campaign site for the 2006 elections together with Tommy Gabrielsson. Now it's finally official! I don't know if I'm happy with it just yet, since we finsihed up just last night, but I like the poster-on-wallpaper-thingy very much.

More to come, perphaps even some Flash-games, in the coming months. Check the Red Band every know and then for an update.

Bad taste in advertising good drink

Absinth used to be cool. Not anymore. This could quite possibly be the most sexist ad ever... or maybe not, but surely the most sexist ad for a product I used to like.

New project from Rebar

My performance group of choice right now – the California based Rebar Group – has recently announced their newest project Commonspace. The idea is to test how public the privately owned public spaces really are. I can’t wait to see what kind of trouble they’re going to get themselves into this time.

World In Motion

It’s easy to understand why Lars Arrhenius has had considerable success on the international art scene. His pictorial language is universal, and he uses everyday items and situations to put forward philosophical questions about cause and effect, and the concept of free choice.

His series of colourful pictures work very much in the same way as a movie made up from stills. In The Man Without One Way the viewer is confronted with the different possible realities stemming from everyday choices and decisions. The question asked is “What if?”

In The Street the medium has changed to film, the characters are actually moving this time. But the theme remains intact. Ordinary people performing everyday tasks, like the cogs of a wheel in society’s machinery.

This town ain't big enough...

This isn’t working. I just spent two hours at the Sollentuna Art Fair, even though I had planned to stay for the rest of the day. It’s just getting smaller and less interesting with each year. The starting of the competing Market Art Fair seems to have been the death blow. There just isn’t room for both of them in this city. Either fight it out, or sit down and figure out a way to work together!

I won’t go into detail about the crappy stuff, or I will just get into a worse mood than I already am. As always, the art students’ exhibition was the most interesting feature. It was substantially weaker than last years edition, but still contained a few highlights. My personal favourite this year was Emma Hartman from Umeå, with her large semifigurative oil paintings. If he had been a little less pretentious I would certainly have fallen in love with Anders Sletvold Moe’s light installations, but calling a simple reflection of light for a "metaphysical light phenomenon" bums me out. Ever seen a mirror?

Among the more established artists Marianne Lindberg de Geer’s art was as good as always, and the same, of course, was true for Karin Mamma Andersson (the picture featured above this post is her Siberia). Galleri Embla presented some strange sculptors by Karel Becvar that left a strong trace in my mind long after I’ve left their exhibit.

Enter the Brandon

I’m having a hard time distinguishing the so called New Sincerity from good old fashioned irony, but apparently Brandon Bird is considered a post ironic artist. While I refuse to join the hair splitting, I will gladly praise any artist who puts nunchakos in the hands of Jerry Seinfeld, makes tribute paintings to James Woods and Christopher Walken, and a series of pictures featuring Mr T in the world of ancient mythology.

Creatures In My Head

I don't usually review comics and illustration sites, but Creatures In My Head by Andrew Bell is a must see, if you haven't already discovered it.

State of The Fairs

This years Sollentuna Art Fair starts tomorrow and continues through the weekend. It looks very promising, but the problems with having two competing art fairs located in the Stockholm area is becoming more apparent each year. Some of the high profile galleries will not be showing up in Sollentuna this year, probably since they’ve already shown off their artists at the Market Art Fair just a few weeks ago.

It’s a pity, really. Market was very much stripped down to suit the galleries wishes to exhibit and sell art. Of course this is a necessity for any art fair, to some degree, but there has to be some room for the younger artists too. Sollentuna had an extremely good selection of works from art students last year, and though it looks thinner this time around, at least it’s still there. I can’t afford to buy art anyway, and the main reason I visit the fairs is to be surprised, to see something new and exciting.

The "artist of the year" according to Sollentuna Art Fair is Nils Kölare. Not exactly a young whippersnapper, but I’ve always had a weak spot for this kind of aestethics. It’s almost meditative to watch, although I doubt that was the original intention of the artist. Born in 1930, he is considered a constructivist. In later years he has been preoccupied with the square. The title of the featured picture is Square – not surprisingly…

He Works Hard for the Money

Charlie Finch, at 25, was one of the hardest working critics we’ve seen, ever. In the New York summer heat, Charlie sweated through the galleries and museums in a wife beater shirt for twelve hours at a time. At our direction, he would scratch days of work in a flash to add a cascade of new opinions or some phallic metaphor.

Like most big people, Charlie is obsessed with the intersection of desire and mortality, an attitude perfectly in sync with the major art publications - he works fast and along the surface of lust and decay. And he’s almost always a little horny.

Note: Yeah, it’s sarcasm! More on the subject of Charlie Finch is found here, here and here. And here is the article that started it all.

New template

Yay! My new template is up. I'm not sure if it actually looks better than the old one, but at least it's more personal. I am aware of a few technical issues that remain unsolved, but I would very much appriciate any comments and help. Please remember that I cut and pasted most of this stuff in Dreamweaver and I am by no means competent with HTML. I'm doing the best I can here, folks.

A special Holla! goes out to Tommy G for getting me past the worst HTML-panic.

Less is Less

I'm having my hands full with job related projects right now, so I might be posting less frequently - and put a lot of less effort into the stuff I actually post - the coming week or two.

I have a few improvements in my back pocket, however. As soon as I can find the right shade of beige, and solve a few technical problems, I will start using my own, personally designed, template for this blog. Also, I'm finishing up on my first interview with an up-and-coming Scandinavian artist. I'll try to do more stuff like that, but it takes loads of time as compaired to the whiny rantings I usually post here.

The googles do nothing

There's a growing interest in internet related art. But the overwhelming majority of the work currently dispayed is boring, mindnumbingly ugly and technically inferior. I find this very strange. Internet design has never looked better. The development of better Flash applications has made it possible for commercial sites to look like this. At the same time so called internet art most often look like this.

Over at Rhizone I almost gave myself a migrane attack watching ridiculous visual experiements made by artists who quite obviously had very little understanding of the medium they are working with. With a few exceptions their art work consisted of poorly executed animations, over-the-top-heavy scripts and flash files, and interactive additions demanding plugins that were rendered obsolete three or four years ago.

I can't imagine this being considered acceptable in any other line of art. You wouldn't accept painters who doesn't know how a brush works would you? Now get a grip, and learn the tools of the trade!

The Impossibility of Reason in an Age of Insanity

Apparantly the mayor of Beligan city Middelkerke decided to put away the installation Shark by David Cerny. The piece is a parody of Damien Hirst’s The Impossibility of Death in the Mind of Someone Living, but instead of a shark Cerny displays a wax puppet in formaldehydrate, looking like Saddam Hussein.

For some strange reason the mayor of Middelkerke thought that Shark might be offensive to muslims. If anything, it’s offensive to the British, I’d say. The obvious target of Cerny’s sarcasm in this case is Hirst. Why would anyone else take offense?

Swedish art on the web

Since art in itself is basically a universal language - well, sort of, but you know what I'm talking about - I'll recommend this list of links to sites managed by some really good Swedish artists. Even if Swedish is gibberish to you I doubt that you'll have any problem enjoying the art.

Link was provided by omkonst.se, the best art site in Swedish by far.

Conceptual and Universal

Dan Wolgers is one of the few Scandinavian artists that I only have good things to say about. He is, quite simply, brilliant in everything he does. He is conceptual in the purest sense of the word, but unlike many other conceptual artists, he has never been caught in time. His art develops constantly and he is always right on target, speaking a language that is both time specific and universal.

In the 1980s (I believe it was 1981, but I’m not completely sure…) he exhibited a tarnished wooden box with an electric switch. When pressed the switch opened the lid of the box just enough to let a small arm reach out and turn the switch off, and the box closed again. The system shuts itself down. This was still early in his career, but shows the level of intelligence and simplicity in his art.

From that point he has only gotten better. He once stole two sofas from Liljevalchs Art Exhibit and auctioned them out as works of art. He was consequently convicted for theft, and then sold the verdict too. One of his projects consisted in hiring a commercial advertising agency to do his exhibit for him. When hired to make the cover of the phone directory he put his own phone number there.

At the Market Art Fair last weekend his newest piece consisting of human bones rested on diamonds was exhibited. As I wrote on Friday night I wasn’t able to visit the fair, but in the case of Wolgers’ art that simply isn’t necessary. I don’t have to see the bones in real life to understand what he is trying to say about eternity and the shortness of the human lifespan.

That is very much the essence of what makes Dan Wolgers more than just a good artist. His concepts are crystal clear (unless, of course, when he wants them to be ambiguous, but that’s beside the point I’m trying to make here…). You don’t have to “be there” to experience his art, since most of it – sometimes all of it – takes place in your mind.

The Art of War

Swedish liberals are now officially good for nothing. In response to the absurd conflict over Danish newspaper Jyllands-Posten’s recent publishing of racist cartoons of the prophet Muhammed, Liberal Party leader Lars Leijonborg, now demands that the Swedish government declares it’s undivided support for Denmark.

Even worse was today’s edition of Sweden’s leading liberal newspaper Dagens Nyheter. Fronting with a photo (that was subsequently taken down from their web page – I’ll link to it if I find it elsewhere) picturing partakers in the riots leading to the burning down of the Danish embassy in Damascus, and the head line "Church attacked during Sunday Mass" they make their standpoint extremely clear.

The picture is interesting in itself. The way it’s composed, framed and cut, make the rioters virtually rise from the fire coming out of the ground. One of them is waving a green flag and his facial expression is almost unhuman. These are quite literarily "muslims from hell".

The editorial page is topped by "Denmark’s cause becomes ours" and contains, among other things, this suggestive passage: "When radical imams in Denmark called for big brother and alerted the attention of the muslim world, the situation became dangerous." The head line is a paraphrase of the slogan "Finland’s cause is ours" which refers to the popular support from Sweden to the Finish people when their country was attacked by the Soviet Union in the so called Winter War in 1939. This phrase is very much alive in the common memory, and by using it this way, DN:s editorial writers are suggesting that Denmark is under attack from a dangerous and superior aggressor.

Conservative newspaper Svenska Dagbladet is keeping a comparatively lower key in their tone today, and interestingly enough Conservative Party leader Fredrik Reinfeldt, has expressed hesitance towards the Liberal Party’s suggestion for a statement. I never thought I’d live to see the day when Swedish conservatives became a voice of reason towards the liberals.

The liberals are now trying to make this into a discussion about the freedom of expression, despite the fact that the legal issues were never at the heart of the matter. Very few people have yet to express the opinion that the published cartoons should be considered illegal. This discussion is simply a diversion from the real issues.

The fact is that a wave of anti-islamic sentiments is sweeping across Western Europe, and that Denmark probably is the most racist country of them all right now. The intolerance against muslims has been growing there for years, and the cartoon publishing in Jyllands-Posten was just another part of the constant harassments of imigrants and foreigners in Denmark. On top of that Danish troops are part of the US lead coalition that currently occupies Iraq.

In the late 19th and early 20th century pictures like this, this and this, were very common in Europe. At that time discussions about solutions to "der Judenfrage" was considered legit – not only among right wing extremist, but in the official intellectual debate as a whole. Anti-semitism was woven into society’s fundamental values.

Isn’t it odd how similar Jyllands-Posten’s cartoons are to these old anti-semitic stereotypes? Don’t you find it disturbing that the muslims of the world are constantly described as a problem? That they are vilified and dehumanized? Do you really not see where this could lead?

In retrospect we can say for sure that there never really was a "Judenfrage". That the idea of a certain nationality, or cultural community, as a problem in itself paved the road to fascism. There was never, as the moderates put it, "two sides" and the solution was never "a dialog". The only proper thing to do is to refuse to describe human beings in these terms all together.

This is fun

The results sure aren't pretty but the on demand contextual art generator is a fun way to waste your time. Try it, you'll like it.

What I could have done this weekend

Two art fairs taking place this weekend in Stockholm: Market - for the high profile art galleries, and Minimarket - for the independent art collectives and smaller galleries. Sadly, I'm swamped with work and won't be able to go, so there won't be a proper review on this blog.

The featured photo is of art collective Candyland's parafrase of Duchamp's classic piece, and it appears at Minimarket. I really think they need rip that toilet from the wall or at least cut off the water supply to make it a proper homage, not just sign it, but I'm not feeling to whiny today, so I'll let it slide.

A moment of silence, please?

If bloggers ruled the world Keith Haring would be king of the art world. Well, it might be a little more complex than that, but as I’m browsing around the available art blogs quite a lot, it’s been hard for me not to notice the obvious overrepresentation of pictures, reviews and links to highly detailed – almost compulsive – drawings and illustrations, as compaired to the interest in less busy works of art.

I mentioned Industrial Feces a few days ago, a perfect example of what I’m talking about. Another one here. And here. One of the most successful art blogs is Drawn! focusing exclusively on drawings and illustrations.

It probably has to do with the medium. When I wrote about internet graphics a few weeks back I mentioned the eclectic styles dominating the signatures and avatars of internet forums. This culture obviously has an impact on the aesthetic preferences and taste of those spending a lot of their spare time online.

As a newcomer to the blogosphere I have yet to be absorbed by this busy-bee-culture. While I still have time, I chose to counter with Malevich’s White on White. Come back in a year and my blog probably will be filled with finelined drawings and cartoons. Who knows, it might be a good thing…

Book of Light

In the 1980s Max Book was so hot. Firmly rooted in the classic tradition of Scandinavian landscape paintings, he managed to embrace the new post modern aestethics of the time. He soiled his paintings with dust and rubbish, and sometimes even broke them apart. With his work Book was at the theoretical frontline of the art debate.

Book is getting older, and the 1980s suddenly seem like a very long time ago. He can still talk the talk, and walk the walk. But, in the end all his virtuosity can’t cover up the fact that his art just isn’t as engaging as it used to be. It’s beautiful, but predictable.

Don’t get me wrong now. I have nothing against the fact that his work is less dirty these days. I like surface, and I like good looking art. His Deluminum series even leaves you standing in awe in front of the pictures. It’s just not frontline anymore, and that simple fact somehow makes me feel less than fulfilled.

Perhaps that’s asking to much from the artist. He still is “Ådalen’s greatest gift to contemporary art” as Tidningen Ångermanland puts it.