• images courtsy of Carl Kostyál

    Matt Belk: I Think Artists Are Professional Observers

    Written by Natalia Muntean

    To kick off Stockholm Art Week, we have asked a number of interesting people from the city’s art scene questions to explore their relationship to art and the city.
    Matt Belk is a contemporary wildlife painter combining the outdoor country lifestyle with modern contemporary aesthetics. Born in 1988 in Omaha, Nebraska, his artwork involves the constant use of tape, cutting of shapes with an X-Acto blade, and airbrushing with inventive new techniques to create a seemingly digital graphic representation of the laws of nature. He is currently participating in an art residency program based in Sweden.

    What is the story behind your exhibition during Stockholm Art Week?
    The title of this show is “From Nebraska to Sweden'' and it’s about showing where I’m from in Nebraska, to my stay in Sweden the past 4 months. This show depicts so many new things I’ve seen in Sweden, exploring all the different wildlife, flora and fauna – mainly on the archipelago island of Blidö, but I’ve also been so fortunate to be able to travel further south to friends’ homes in Sperlingsholm, Erstavik and Borrestad and discovered different terrains from each unique new place I went, and then unfold what I saw and experienced in my work for this exhibition.  

    What inspired you to become an artist, and how has your artistic journey evolved?
    My mom was an artist when I was young and I was so amazed watching her draw, I remember looking at her drawing and thinking that it was a magic trick. From the inspiration of my mom, I started drawing for many years, mostly figuratively and then I started to experiment with oils, until just a few years ago my dad bought me an airbrush. I thought I would try it out once and probably never use it again, but here I am 4 years later – and now all I use is airbrush and all I paint is nature, for now.

    What is your creative process like, and how do you approach developing new ideas and concepts for your work?
    My process is observation, I think artists are professional observers. What really excites me is travelling to new places and exploring new areas, all of the unique plants, birds, animals and landscapes. That’s what is inspiring to me about nature, it becomes an adventure in itself that is then linked to the art. My picture-building process is to go between an iPad, a sketchbook and a bunch of magazines or photos I’ve taken to Xacto blades and airbrush on layered gesso canvas

    What role do you think art plays in society, and how do you see your work contributing to or challenging societal norms?
    I can only speak for myself, who I am as an artist, and my duty as an artist – I believe my calling or my job as an artist is to create work that inspires others, to create work that everyone anywhere can get something from – that isn’t off-putting to anyone. Really, I want to see kids be able to take something from my art, and that it could push them towards exploring the arts too.

    Are there any themes or subjects that consistently appear in your work, and if so, what draws you to them?
    I grew up hunting, so there is always some aspect or element about hunting in my works. Hunting is a very ritualistic and grounding thing for me. Growing up, watching the dogs hunt was even more enjoyable than hunting itself. It’s what I know and what I want to show and explore without being off-putting towards anyone, so I want to be clever about how it’s presented, Trojan horse, the concept to my art in a way.

    Can you share a favourite spot in Stockholm where you go to find inspiration or recharge creatively?
    One of my favourite things to do since being here is hopping on a bus on Blidö, especially when I need to do some “idea-shopping”. I found that it was the perfect way to map out my next paintings, and a great place for me to think. I took the buses all over Bildo, most often ending up in Norrtälje where I’d spend some time at the ICA Flygfyren Bistro.

    Can you share a story about a specific neighbourhood in Stockholm that holds personal significance to you as an artist?
    I love Old Town - Gamla Stan, it’s just magical there, and amazing for bird watching. I also love seeing the old architecture.

    Is there a Swedish artist who you find inspirational?
    I really like Joakim Ojanen and Leo Park, I just like how they’ve created their own little worlds – I have a lot of respect for them because they seem like they’re always working and I look up to that, the people who are always working, and you’re kind of chasing in some ways.

    What is your favourite bar or restaurant in Stockholm?
    Beirut Café in Östermalms Food Hall.

    RUBE GOLDBERG MACHINE, 2024

    acrylic airbrush,

    tape and xaco blades on canvas

    39,5h x 47,3w in (100h x 120 w cm)

    NEBRASKA, 2024

    acrylic airbrush,

    tape and xaco blades on canvas

    39,5h x 47,3w in (100h x 120 w cm)

  • image courtsy of artist

    photography Colin Svensson

    Anton Isaksson: Art Should Mirror Society

    Written by Natalia Muntean

    To kick off Stockholm Art Week, we have asked a number of interesting people from the city’s art scene questions to explore their relationship to art and the city.

    Anton Isaksson, a creative, curator and co-founder of Betan Gallery, has presented over 30 artists globally. His artistic creations encompass various mediums, including oil, acrylics, video, performances, public installations, and textiles.

    What is the story behind your exhibition during Stockholm Art Week?
    “Let’s see where our interests converge” is a collection of immaterial transactions. Textile works about perceived value, zero-sum games and transactional relationships. The exhibition is essentially about power. What isn’t?

    What inspired you to become an artist, and how has your artistic journey evolved?
    I guess that’s one of those things that just happens when there’s a need to create or express. I don’t know what else I would do. Maybe teach geography? Or history?

    What is your creative process like, and how do you approach developing new ideas and concepts for your work?
    I bring my notebook everywhere. When I fill it up, I get an exact copy. Usually, it takes about a month. The ideal notebook should be black, soft in an A5 format and it has to have rows since blank pages intimidate me.

    What role do you think art plays in society, and how do you see your work contributing to or challenging societal norms?
    If nothing else, the arts’ purpose should be to mirror society and contribute to it by boiling down complex ideas and making them accessible. That’s how I approach my work. It’s not necessarily about the art but more so about me translating an idea for it to get translated again by the observer. A beautiful process where the message is warped differently each time.

    Are there any particular themes or subjects that consistently appear in your work, and if so, what draws you to them?
    Black people. When I’m surrounded by my work I get this sense of belonging. All of a sudden, I’m in the majority. You don’t get that too often.

    Can you share a favourite spot in Stockholm where you go to find inspiration or recharge creatively?
    Badmintonstadion Skanstull. I don’t even play that much, it’s just a great atmosphere. The smell, the people, the sounds, the couches and the cheapest coffee in Stockholm (refills are free).

    Is there a Swedish artist who you find inspirational?
    Marcia Harvey Isaksson, Thea Olivares, Aron Bergdahl and Betan as a collective.

    What is your favourite bar or restaurant in Stockholm?
    Duvan Pub, without a doubt. They’ve fed me when I couldn’t. Superb service.

    image courtsy of artist

    Someone Else’s Milk

    60x68cm
    textile on canvas

    image courtsy of artist

    Takes a Village
    60x68 cm
    textile on canvas

  • image courtsy of curator, photography Katya L

    Alida Ivanov: Instrumentalising Art Can Be a Slippery Slope

    Written by Natalia Muntean

    To kick off Stockholm Art Week, we have asked a number of interesting people from the city’s art scene questions to explore their relationship to art and the city.

    Alida Ivanov is an independent art curator and writer, based in Stockholm, Sweden. With over 20 years of experience in the art world, she has worked through various galleries, museums, agencies, and artists to showcase their work in creative approaches. Currently, Ivanov serves as the Artistic Director for SKF/Konstnärshuset and oversees art projects for ArtPlatform.

    What is the story behind the exhibition during Stockholm Art Week? 
    During Art Week we are showing the exhibition Himlakroppar with artists Barbro Hedström, Ekaterina Lukoshkova, and Trinidad Carrillo. It’s in the line of intergenerational shows that has become the trademark of SKF/Konsnärshuset’s exhibition programme. Himlakroppar is the Swedish word for ‘celestial bodies’ and in the show, the word is handled quite literally. All three artists have works that balance man and nature, in a kind of magic realism realm. The body is prevalent in a lot of different ways. 

    What inspired you to become a curator, and how has your journey evolved? 
    I started working at a gallery when I was 20 and back then I didn’t really think I wanted to be a curator. But by the time I was in my mid-20s, it was what I was, or that’s when I started defining my job as that. What I like about being a curator is that it’s an elastic professional role that can involve so many different things. For me, it’s everything from planning/managing/producing exhibitions and public art projects to writing about art, marketing and many more things. Having this flexibility is also a downside, it's sometimes difficult to explain my work and define curators' rights and conditions in the labour market.

    What is your creative process like, and how do you develop new ideas and concepts for your curatorial work? 
    It’s different from time to time. Usually, I start with an artist or a group of artists I would like to see together in some kind of constellation. This can be something that has been in the back of my mind for years. And sometimes it’s a theme, or a sentence, or something that I’ve listened to or watched that sparks something that works with that artist or artists that I’ve been thinking about. 

    What role do you think art plays in society, and how do you see your work contributing to or challenging societal norms?
    This is a hard question. Art is very important for society, and for our well-being and is what makes us human. But I do feel that it’s a slippery slope to instrumentalise art, to use art for a specific agenda. That being said, it would be naive to assume this doesn't happen or can't be a good thing. I think for the right cause, art can be super powerful. 

    In my work, I try to join forces with the artists and other collaborators I choose to work with. And to be able to be an outlet where people can tell different stories from a multitude of backgrounds, generations and so on. I feel as curators, it is our job to make an effort to not only choose the same artists and art over and over again. 

    Are there any particular themes or subjects that consistently appear in your exhibitions, and if so, what draws you to them?
    I would love to say I never reuse a theme, but I have. The themes I gravitate towards are digital culture, TV, popular culture/phenomenon, group mentality, modernism (postmodernism), and how it affects us today, hopefully with a tongue-in-cheek twist.

    Can you share a favourite spot in Stockholm where you go to find inspiration or recharge creatively? 
    The flea market at Hötorget on Sundays. I usually go with my dad, but I always lose him within five minutes. I love to haggle, but sometimes I just call in Dad to do the last haggle blow!

    Is there a Swedish artist who you find inspirational? 
    At the beginning of this year, I had the honour to exhibit works by the late Björn Stampes. It was such a beautiful experience to get to know his artistic practice through the eyes of his loved ones and, together with his partner Sophi Vejrich, find a format that would be fitting for a memorial show, but also give the work new life and context. Stampes' work is so beautiful, and meticulously made, with amazing colour combos, and fun.

    Barbro Hedström

    Duo, 1994 

    image courtsy of curator

    Björn Stampes

    three-dimensional, colorful, time-consuming

    2024, installation view

    photo SKF Konstnärshuset

    image courtsy of curator

    photography Katya Lukoshkova

    Lovers-C-print

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