Author name: Odalisque

Ingrid Pollard Named 2024 Hasselblad Award Laureate text Natalia Muntean Ingrid Pollard, the renowned British contemporary photographer and artist, was awarded the Hasselblad Prize for 2024, becoming its 44th recipient. Pollard’s work revolves around themes of memory, identity, and belonging, often explored through studies of the body, landscapes, migration, and beauty. A key focus of her practice is photography’s historical and technical dimensions, particularly its use as an instrument of power and control. Her career is marked by an exploration of the intersections between landscape and identity, as well as photography’s role in shaping historical narratives. Her iconic series, Pastoral Interlude (1987), challenges notions of “Englishness” by placing Black bodies within idyllic English countryside settings, exposing the colonial histories embedded in these landscapes. Her more recent works continue to explore themes of migration, representation, and the hidden histories of Britain’s imperial past. In recognition of her profound impact on photography and art, Pollard received a gold medal, a Hasselblad camera, and SEK 2,000,000. Pollard was celebrated during Hasselblad Award Week in Gothenburg, where she received the prize, held her first solo exhibition in Scandinavia, and enjoyed a concert performed by the Gothenburg Symphony Orchestra. Pollard’s oeuvre not only reflects on history but also creates space for contemporary conversations about power, identity, and representation, inspiring new generations of artists and thinkers. Her first solo exhibition in Sweden offers audiences a unique opportunity to engage with her thought-provoking exploration of photography’s capacity to reflect, challenge, and transform society. Ingrid Pollard was born in Georgetown, Guyana, in 1953 and grew up in London. She currently lives and works in Northumberland, northeast England. Portrait taken by Emile Holba

Ulrika Barr’s “Harena” Exhibition Opens at Galleri Glas text Natalia Muntean Known for her innovative technique of combining blown glass with sand casting, Swedish artist Ulrika Barr creates organic, abstract forms that capture the essence of nature. Her works, often resembling stone or lava, are crafted with an intuitive, playful approach that reflects the eternal cycle of sand and glass. Currently on display at Galleri Glas in Stockholm, Harena marks Barr’s first solo exhibition following her time with the Barr & Leven duo. Running from October 17 to November 14, the exhibition draws inspiration from artists such as Georgia O’Keeffe, offering a modern take on Jugendstil and Art Nouveau. Barr’s pieces emphasise the contrast between raw materials and refined form. With international experience and a master’s degree from Konstfack, Barr’s artistry continues to evolve, blending traditional techniques with modern interpretations. Harena offers visitors a unique exploration of natural elements, from the depths of the sea to the earth’s core, through Barr’s distinctive glasswork.

Anna Camner’s “Places to Be” Exhibition Opens at Loyal Gallery text Natalia Muntean “Place to Be”, the new exhibition by Swedish artist Anna Camner, features a new body of oil paintings characterised by pale blues, pinks, and lavender tones, exploring surrealist themes, and blending external details with inner desires. Camner employs the alla prima technique, painting wet-on-wet, which allows her to balance meticulous planning with spontaneous creativity. Her works, displayed across both floors of the gallery, create a bridge between mental and physical dimensions. The exhibition’s title, “Places to Be,” evokes both physical destinations and desired mental states, exploring the dual role of touch in intimacy and connection. The paintings feature opaque “cocoons” that amplify physical sensations, highlighting Camner’s unique blend of figuration and abstraction. Born in 1977 in Stockholm, Anna Camner holds an MFA from the Royal Institute of Art. Her work has been showcased internationally and is part of several notable collections. In 2022, she co-founded the art collective Black Iris, and she has an upcoming solo exhibition with the Ståhl Collection in 2025. This is the artist’s first solo exhibition with Loyal Gallery and will run from October 3 to November 2, 2024.

Gazing Bodies – A Daring Exhibition by CFHILL text Natalia Muntean In CFHILL’s latest exhibition, Gazing Bodies, the interaction between the viewer and artwork takes centre stage. Curated by Caroline Wieckhorst, in collaboration with writer Lo Hallén, the exhibition showcases international superstars like Sarah Lucas, Karon Davis, and Kennedy Yanko alongside Swedish luminaries such as Karin Mamma Andersson and Charlotte Gyllenhammar. The show delves into the idea of the ‘gaze,’ drawing on psychoanalysis, and questioning how artworks can seem to “gaze back” at the viewer. As Hallén explains, “Artworks shape how we move through a gallery space and the way we think and converse in their presence,” creating a sense of power reversal where “they clearly hold a certain power.” The venue, CFHILL’s new space at the Armémuseum, plays a vital role in elevating the experience, with its historical setting and innovative design. “We love this 18th-century space,” says Michael Storåkers, Executive Chairman, “its beautiful natural light enhances the appearance of the paintings and sculptures.” This unique combination of venue and curation offers a profound exploration of identity, perception, and how art influences its observers. We sat down for an interview with Michael Storåkers, Caroline Wieckhorst, and Lo Hallén about the curatorial decisions behind Gazing Bodies, the impact of their new venue, and how the exhibition challenges traditional perspectives on art and the gaze. Natalia Muntean: CFHILL recently shifted to working more like a gallery. How has this new approach influenced how you curate exhibitions like Gazing Bodies?Michael Storåkers: We always wanted to bring the most exciting artists from all over the world to CFHILL, which is still the case, and we still work with the brightest external, international curators to make it happen. In Gazing Bodies, we combined some global stars we have worked with before, such as Paloma Varga Weisz, Klara Kristalova, and Kennedy Yanko, with Sarah Lucas and Karon Davis, together with some amazing Swedish artists we represent like a traditional gallery – among them Charlotte Gyllenhammar, Marie-Louise Ekman and Martina Muntzing. NM: With the move to the Armémuseum, how has the new venue shaped the experience of displaying artworks? Did the space’s historical or architectural elements affect your curation decisions?MS: We love this 18th-century space; how you enter from the grand courtyard and dive right into the art. Its look is a take on the white cube, created by our three architects led by Valentin Nordström, which combines an innovative wall system with the historical setting. The space receives beautiful natural light from different directions, enhancing the appearance of the paintings and sculptures. The co-curators, Caroline Wieckhorst and Lo Hallén worked with the space to heighten the feeling that the artworks by the 22 artists gaze back at visitors. NM: What new things have come with your new way of working and the venue change? How do these changes benefit both the artists and the audience?MS: We wanted to move away from our previous ‘headquarter-style’ space and shift towards a more classic gallery venue. Now, we are in multiple locations throughout the year, participating in art fairs and similar events. Being CFHILL, we, of course, still aimed for something truly impactful, and I believe we’ve achieved the best of both worlds. Regarding this show, I think the white cube structure, the focus on the art in this space, and the beautiful natural light and historical setting support the artists and the audience in this Gazing Bodies experience. NM: The exhibition is called Gazing Bodies. Can you explain how the idea of the ‘gaze’ works in this exhibition, especially with the artworks being seen as if they have their personalities?Lo Hallén: I understand the interpretation of the exhibition text as suggesting that artworks possess personalities, but I wouldn’t use that specific word. To me, it imposes our odd human subjectivity onto them – haha. Instead, for the show, we thought of them as distinct entities with their own desires and demands, which we can’t fully access or comprehend. Yet, they directly influence us as viewers. Artworks shape how we move through a gallery space and think and converse in their presence. They clearly hold a certain power. It can evoke a sensation of being watched – the artwork gazing back – especially when a piece depicts or is reminiscent of a body. NM: You’ve included artists from both Sweden and other countries. How did you choose these specific artists, and how do their works connect to the exhibition’s theme?Caroline Wieckhorst: It’s been a privilege to work with these amazing artists and their artistry. A key for us has been finding a great mix and balance of art with different expressions and mediums that communicate with and challenge each other and us as viewers. Works that, in different ways, have their own gaze and agency, interacting with our emotions, challenging our perspectives and sometimes what we might take for granted or know to be true. How we interpret the artworks is individual, and this is the point – to shift the focus from how the artists, curators, and critics intend for the art to be interpreted and, instead, how the art itself makes us react and feel. For instance, an artwork that very literally gazes back at me is Ulla Wiggen’s eye, Iris. With its ice-blue colour, it’s hard not to feel watched and pierced through your inner thoughts. But is this how you would interpret or feel about this work? And Karon Davis’ sculpture Echo & Narcissus: Looking Glass, speaks to me about the fragility of life, with the plaster that is lightly pieced together and at the same time it holds a certain power and grace, that makes me act with a high sense of respect around it. Paloma Varga Weisz’s large bronze sculptures, Wilde Leute, make me want to hang and sit with them, despite their intimidating size. And Charlotte Gyllenhammar’s child sculpture, Beholder, makes me wonder what she is thinking of and how I best approach her. While Marie-Louise Ekman’s huge floor piece,

I Told You I’d Be Home Most of the Day – A Meditation on Longing by Josef Jägnefält text Natalia Muntean Swedish artist Josef Jägnefält’s first solo exhibition at Saskia Neuman Gallery, I told you I’d be home most of the day, invites viewers into a world where ordinary objects become powerful carriers of hidden stories and emotions. Throughout the exhibition, we are invited to explore the delicate balance between stillness and longing, where the most intimate objects become reflections of human desire. “I don’t think about a story,” says Jägnefält, “I think about the colour and how to get there.” This focus on details and colour lends the works a quiet yet powerful emotional resonance and captures the tension between what is revealed and what is left unsaid, offering a visual meditation on longing and desire. I told you I’d be home most of the day will be on display until September 26th at Saskia Neuman Gallery in Stockholm. Natalia Muntean: Could you tell me a bit about how you started as an artist? Was there a decisive moment when you realised this was what you wanted to do?Josef Jägnefält: I applied to art school, encouraged by friends and family. I initially studied printmaking, but when I applied to university, I focused on painting full-time. NM: Did you grow up in a family of artists?JJ: My mother was a teacher who sometimes taught art classes, though she wasn’t a trained art teacher. She enjoyed it, and her mother was also an amateur painter. It was always present in the family, but no one pursued it as a career until me. My brother is an architect, which is somewhat close. NM: Do you have any routines or methods that help get you into a creative mindset?JJ: Going to the studio every day and just continuing to work is key. Eventually, something happens. My process is slow, using small brushes. It sometimes feels like I haven’t done anything for a week, but when I return to the work, I realise things have moved forward. NM: How does the journey go from gathering images to creating a painting? And how do you decide which ones will become paintings?JJ: I save images on my phone or computer, and they can come from anywhere—books, online, or even everyday observations. Everything gets processed digitally, but I like to print the image to have a physical copy. From there, I might make a simple drawing or use transfer paper to trace it onto canvas or another surface.It’s a very intuitive process. I might find an image, save it, and maybe a year later it resurfaces when it feels ready. It’s not immediate; it’s more about timing and seeing when an image feels right. I print a lot of images and experiment. Instead of starting with a big painting, I might begin with a smaller one to test it. Over time, I’ve painted over so many works, only to later find a picture of the original painting and realise it was interesting. But by then, it’s gone because I painted over it. I’ve ruined many paintings like that and regretted it later. Now, I try to stop before I get to that point, so I can restart the same painting if I need to. NM: How do you decide which materials to use for a painting? What materials or techniques are important for expressing the feelings you want to convey?JJ: I used to buy large canvases and aim for perfection, but it became time-consuming and creatively limiting. After moving to Stockholm, I began using scrap materials like MDF or wood from building sites, which brought more variety into my work. The paint itself is very important. I usually use acrylic paint, which can be in any colour, for my larger paintings. With acrylics, I can be adventurous and use different colours, mixing them as I like. With oils, I limit myself to five colours, inspired by LS Lowry, a British painter known for his industrial landscapes of people in Manchester. This approach has significantly impacted my paintings, as it has forced me to really focus on finding the right colour. I enjoy the challenge of reproducing a printed pattern as closely as possible, but sometimes I can’t get the exact colour I want, which leads to something unexpected and I enjoy that. NM: Are there any materials you’d like to work with in the future?JJ: I’m always curious about new materials. My girlfriend is also an artist, and though she doesn’t paint, she uses a lot of different materials in her work. That’s a great source of inspiration, and we often share materials. NM: Do you give each other feedback on your work?JJ: Always! It’s important to have people you trust. I invite a few close friends to the studio to ask for their opinions. Sometimes you need an outside perspective to see if a piece is finished or if it works. NM: How do you know when a painting is finished?JJ: Sometimes I’m afraid of ruining it, so I stop. There are examples where I stopped too early, but that became a part of the piece. When I put the frame on, it’s like saying goodbye to the painting. NM: When you blend different sources like art history, photography, and magazines, do you feel you’re creating a new story, or are you highlighting elements of existing ones?JJ: It’s a mix. It becomes a narrative, but it’s not a clear-cut story. I don’t have a storyboard or an ending. I want to surprise myself by putting images next to each other, and something happens. I’m not sure what it is, but it’s fun to do. NM: I imagine that it’s like a puzzle? You mix and match the pictures?JJ: I keep painting, and when the paintings are ready, something happens. I might work on several paintings at a time. Many of them get discarded, put on a shelf, and then, much later, I find something interesting