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Welcome to the opening on Saturday 15th of September, 12–17
The exhibition is on until the 20th of October 2007

We look forward to seeing you!

Corneille – 85 years of age!
 
To celebrate Corneille we have made a selection from the graphic editions that Galleri GKM and Corneille have worked together on during 30 years of close cooperation.
 
We were 14 and 12 years old when Corneille first exhibited in our parents’, Solveig’s and Siwert’s, gallery on Bredgränd in Jönköping. It was 1978, the year that marked the beginning of an intensive yet always amicable working relationship that would lead to numerous exhibitions, graphic editions and art books.
 
It was our first encounter with this nice man with his violet-coloured scarf and those peering eyes whose penetrating gaze testified to the greatness of the human being behind them. He often visited our home, and as our knowledge in foreign languages improved, we were able to share in his memories and his meetings with some of the century’s great masters – Picasso, Chagall and Miró to mention but three. One anecdote that made a great impression on us was from his years as a poor and hungry young artist in Amsterdam in the late 1940s, when the COBRA Group was beginning to take shape. Karel Appel, with whom he shared a studio, had succeeded in selling a painting and had raced off to buy a huge piece of steak which he subsequently cooked and ate up in front of Corneille – without offering him the tiniest morsel! He will never forget that story. And nor will we.
 
Corneille’s brilliantly coloured and highly imaginative paintings were part of our upbringing and education as we were introduced to the world of art. With this exhibition we want to honour one of the foremost artists in the COBRA Group, a master of his craft who knows how to celebrate the female form and all that is joyful and beautiful in life.
 
Thomas and Karl-Johan Bergström

 

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Saturday 9th of June, 12–17.
The exhibition is on until the 25th of August 2007
We look forward to seeing you!

The Belgian artist Jan Desmarets captures a moment frozen in time, mastering in his bronze sculptures the art of simultaneously creating both movement and a static “snapshot” of life. “I observe nature and pick up flashes of a man, an animal or a thing; of a particular movement which I then try to solidify into tangible material, usually in wax, which later becomes bronze.
It is a constant interaction.”

Have a nice summer!

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5 X NOUVEAUX POP
 On 21 April we open our doors to five artists from the new Pop Art generation.
 
Cecilia Cubarle, Antonio de Felipe, Philippe Huart, MariaManuela and William Sweetlove all belong to the new Pop Art group, “Les nouveauX pop”. Their cultural backgrounds are diverse, and each has his or her own unique idiom, expressing themselves with ingredients that include humour, warmth, contrast and irony. Together, however, they are united by a brilliantly colourful pictorial language that captures everyday life at the same time as it questions it.

Cecilia Cubarle is motivated by her love for life and the undeniable urge to paint. In her works she grafts influences from the world of advertising into art. Yet the way in which she handles the subsequent impressions with humour, tenderness and acuity tempers the impertinence of these paintings with gentleness.
 
Antonio de Felipe expresses nostalgia through his film icons from the Hollywood of the 60s and his classic advertising motifs in constellations that pay homage to great artists, including Velázquez, Picasso, Mondrian and others. Many of his works exhibit an ingenious ability to express powerful paradoxes.
Philippe Huart seeks to shed light on the effect that marketing and consumption have on our subconscious. His reflections on this theme are presented in the form of playful ambiguities and contradictions – placing Mickey Mouse in contrapuntal opposition to pistols, and candy beside capsules of medicine, yet leaving the interpretation entirely to the observer.
 
MariaManuela conducts a dialogue between classic Japanese woodcuts and today’s manga comic strip techniques, between kimonos and mini skirts. Her Pop Icons lend form to a femininity in which ancient oriental tradition stands in stark contrast to contemporary western culture.
 
William Sweetlove’s cloned dogs, giraffes and penguins are artefacts that unite dadaism, surrealism and Pop Art in a post-modern synthesis. An ardent believer in art’s capacity to exert a profound social influence, he uses strong elements of irony to evoke a reaction to the overproduction and overconsumption that characterise society today.

We look forward to seeing you!
 Thomas and Karl-Johan Bergström
 
 PS. This summer Les NouveauX pop will be exhibiting at
the SOMA Museum of Art in Seoul, South Korea (12 July – 12 September).

VERNISSAGE
Saturday 21st of April, 1200–1700.
The artists will be present during the opening.
Sunday 22nd of April 1300–1600.
The exhibition is until the 2nd of June 2007.

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Erró
Philippe Huart
MariaManuela
William Sweetlove

Stand: A1

Grand Palais
29 March - 2 April 2007

Daily from 11 am to 9 pm
Monday 2 April to 6 pm

Professional Preview : Wednesday, March 28 from 2 pm to 17 pm
Preview : Wednesday, March 28 from 6 pm to 11 pm

Grand Palais - Avenue Winston Churchill, 75008 Paris
www.artparis.fr

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Patrick Chappert-Gaujal
The sea provides him with inspiration and material.
Colourfully shimmering sculptures fashioned from driftwood and other flotsam and jetsam plucked from the Mediterranean shores have over the years become the distinguishing feature of Patrick Chappert-Gaujal’s art. But he is just as well known for his melancholy, meandering works and his dynamic imagery. Many of his paintings resemble townscapes viewed from a helicopter. His love of the sea and his fascination for wooden objets trouvés washed ashore often find expression in his works. Torn cardboard boxes and scraps of paper glued together are transformed into valuable materials in his paintings and pictorial collages.
Everything he does is full of contrasts. In an ever-changing interplay between conventional structures and the resistance they meet from the spontaneous impulses of colour and form, he is forever creating patterns at the same time as he undermines their integrity.
In an article about the artist published in connection with his first exhibition in Sweden at the Institut Français in Malmö in 1986 Martine Prouillac, Cultural Counsellor at the Institut Français, writes, “His work is a source of enjoyment because of its simplicity and the modesty of its ambitions. The observer will soon learn to like what Chappert-Gaujal is doing.”
Patrick Chappert-Gaujal was born in 1959 in Bédarieux, France, and studied at the Academy of Art in Perpignan from 1975 to 1980. He now lives in La Franqui in the south of France. There, on the shores of the Mediterranean, he finds his motifs in the alternately soft and harsh landscapes of this region. Chappert-Gaujal first discovered Sweden when he moved to Malmö in the mid 1980s. During the years he spent here he shared a studio with several other young artists in the empty leather factory in Malmö, which at the time was the focal point for a lively artists’ collective.
Encouraged by Siwert Bergström, he exhibited at GKM in Malmö for the first time in 1988. It marked the beginning of a long collaboration, which has resulted in several other exhibitions under the aegis of the gallery. Patrick Chappert-Gaujal has also taken part in many exhibitions in France, other European countries and the USA.

Johan Persson

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An exhibition where most of the artists with whom we are working
are represented with art in different shapes such as
sculptures, paintings, prints, carpets, books and objects

Welcome to the opening on Saturday 25th of November, 12.00 - 17.00

The exhibition is on until 23rd of December, 2006.

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Welcome to the opening on Saturday 16th of September, 12–17.
The gallery is open on Sunday 17th of September, 13–16.

The exhibition is on until 21st of October.
The artist will be present during the opening.

Cloned goats and dogs radiate red and yellow. Folds of dresses in mauve, mint-green and pink suggest movement and exhibit a fanciful frivolity.
Sweetlove thrives on the superficial, placing it in razor-sharp contrast to the sententious.
Through a number of variations on the same theme he creates friction between the artificial
and the substantial, completely obliterating the boundaries between toy and work of art in certain of his works. His is a world in which poodles, giraffes and penguins are rendered into artefacts which unite dadaism, surrealism and pop art in a common post-modernistic synthesis.
William Sweetlove was born in 1949 in Ostende, Belgium. For the past three years he has
been a member of the artists’ collective “The Cracking Art Group” in northern Italy.
As the physical medium that provides the basis for their works of art, the members use a
type of plastic produced via a thermo-chemical reaction in crude oil. This reaction, known as
“cracking” is also the origin of the group’s name. In their manifesto the Cracking Art Group call upon their members to spread a vision of the world suffused with elements of irony and
ecological awareness.To those, Sweetlove adds the conviction that art must also be an antidote to overconsumption and overproduction. His paintings, sculptures and assemblages are his impressions of existence reproduced in materials such as polyester, animal hides and textiles.
William Sweetlove shapes his own world.

Johan Persson – August 22, 2006

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Welcome to the opening on Saturday 10th of June, 1200–1700.
The gallery is open on Sunday 11th of June, kl. 1300–1600.
The exhibition is on until 26th of August, 2006.

Arman explores reality. He strives to transform and sublimate artefacts into works of art. Everyday objects become poetry for the eye. Forks, women’s shoes, credit cards, bottle caps and revolvers. Cast, welded together or enclosed in plexiglass “vitrines”, these things are metamorphosed into a form of art that he calls “accumulations”.
Starting in the late 1950s, Arman immersed himself whole-heartedly in these inventories of reality until he passed away last year. He collected and amalgamated piles of junk, pens, paint tubes, rubber stamps and much else. These accumulations became his hallmark, just as much as the sliced, burnt and sawn objects of his “tantrums”, ranging from violins and Roman gods to veteran motorbikes and telephones. Arman’s sculptures lent new dimensions to objects that already were perfect as they were.
Armand Pierre Fernandez was born in Nice in November 1928. He developed his passion for artefacts in his father’s antique shop. At the age of 18, he studied at the Nice Academy of Art, but left three years later in protest against the conservative leadership. Now he set out on his own path, began to paint in earnest and, under the influence of Pollock, Schwitters and Duchamp, evolved his own idiosyncratic language of form and ideas.
Initially, in the late 1950s, he painted abstract motifs. Then he turned his talents to sculpture, which in turn led to his breakthrough. After a catalogue entry at the legendary Galerie Iris Clert accidentally omitted the final ‘d’ from the artist’s name, he resolved that from that time on, he would sign his works simply ‘Arman’.
When Yves Klein met Arman at a judo course in the autumn of 1949, there immediately arose a close affinity between the two men, who subsequently divided the world between them. Yves assumed responsibility for the spiritual world, Arman for the material. In 1960 they joined with César, Pierre Restany, Niki de Saint Phalle, Jean Tinguely and Rotella, among others, to form the Nouveaux Réalistes.
This was also the year when Arman put together his much noticed show titled Plein (“Full up”), a neo•realist exhibition at Galerie Iris Clert. The installation consisted of a monumental heap of junk – trash piled from floor to ceiling in a manner reminiscent of Raymond Hains’ collage Slum Sculptures.
Arman wrote, “The bow on the strings releases an explosion of sounds,” in the book Trio à cordes published by GKM Siwert Bergström nearly twenty years ago. The words are his own. The book is a tender homage to music and expresses the artist’s predilection for the tones of violin, cello and double bass. Lyrically orchestrated poems are conflated with ingenious detail images: multi-coloured violins and a delicately painted cello are but two of the motifs drawn against the straight lines of the score.
The first steps towards collaboration with GKM Siwert Bergström came with an exhibition in Malmö, when Arman staged a “happening” in Malmö Concert Hall. This was followed by several exhibitions in Malmö, at the Stockholm Art Fair, at FIAC in Paris and at the Glyptoteket in Copenhagen. Contacts with GKM subsequently led to an exhibition of Arman’s works at the Lund Konsthall gallery with the support of Marianne Nanne-Bråhammar. This also included a happening.
Arman died in October 2005 at the age of 76. For the last 30 years of his life he maintained two homes and studios, in New York and in Vence, in the south of France.
His works featured in a total of almost 500 separate exhibitions during his lifetime. In addition to being well represented in museums around the world, he also created several works of art for public spaces, ranging from welded shopping carts, to clocks, double basses and cars stacked on top of each other. Among his best known are Hope for Peace in Beirut, À la République in the Elysée Palace in Paris, L’heure de tous and Consigne de vie outside Saint Lazare railway station in Paris.
There is something animated in Arman’s work – a provocation, a challenge, an inner power in the things in which his art resides – that links the past to our own age, and casts the soul and the body as one.

Johan Persson 3 maj, 2006

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Opening on Friday 10th of March, from 6pm to 9pm
The exhibition is on from March 11th to April 23rd 2006.
Open all days from 2pm to 6.30pm, except for Mondays and holidays.

VILLA TAMARIS - CENTRE D´ART
Avenue de la Grande Maison, 83500 La Seyne-sur-Mer, France
T. 04 94 06 84 00 • F. 04 94 30 71 89
villatamaris@tpmed.org

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Welcome to the opening on Saturday 28th of January, 12.00 - 17.00
The gallery is open on Sunday 29th of January, 13.00–16.00.
The exhibition is on until 4th of Mars 2006.

“I paint because painting is a private Utopia,” Erró writes of his art.
The landscapes in Erró’s work are a constantly changing kaleidoscope of images, multivalent and mysterious, not infrequently controversial, bursting with life – and titillating, too! There is room in his pictures for both paradise and visions of fear.
Erró is the alias of Gudmundur Gudmundsson, born on 19 July 1932 in Olafsvik, in north-western Iceland. Since Gudmundur first became enthralled by pictures of works of art in a catalogue from the Museum of Modern Art in New York at the tender age of ten, painting has been his passion and his mission in life. He was accepted into art school in Reykjavik as a 19-year old, subsequently complementing what he had learned there with further studies in Oslo. Erró travelled extensively in Spain, Italy, France and Germany in the 1950s, studying at the Florence Academy of Art in 1954 and at the School of Byzantine Mosaic Art in Ravenna in 1955. It was around this time that he began to exhibit his works, first and foremost in Paris, where he chose to make his home in 1958.
During the 1960s he established contact with the Swedish museum director Pontus Hultén, who encouraged him and took him under his wing.
Over the years Erró has taken part in hundreds of exhibitions and today his works are on show in museums all over the world, including the Centre Pompidou in Paris.
Erró’s pictorial world is peopled by comic-strip characters and autocratic despots alike. Donald Duck with his Daisy, Chip & Dale, and other Walt Disney creations are unselfconsciously juxtaposed with Greek gods and madonnas. Elsewhere the German dictator Adolf Hitler stands shoulder to shoulder with his Iraqi counterpart Saddam Hussein, while the Chinese leader Mao Zedong is portrayed in truly monumental proportions.
Erró adopts the same provocative spirit to expose leaders whose propaganda machines advocate dictatorship, conformity and uniformity as he does, in others of his series of pictures, to allow his veiled Oriental women to expose their own breasts. Weapons, violence and sexuality are mainstays among his motifs. Pastiches of Picasso, Léger, Disney and Dalí have also become something of a hallmark for Erró, as he deploys a potpourri of styles and pictorial languages with wilful abandon. Some of the works from his earlier years bear traces of Roberto Matta’s evocatively cosmic creatures, while others resemble the comic strip-inspired paintings and popular culture pastiches produced by his friend, Öyvind Fahlström. But Erró also shares a close kinship with artists like Roy Lichtenstein, Andy Warhol and James Rosenquist.
In the summer of 2001 a museum was inaugurated in Reykjavik dedicated to Erró. Here visitors can see the full breadth of the artist’s work, from his very earliest paintings to those of more recent years.
Observing his art is like fitting together the pieces of a jigsaw puzzle. The images blend, fuse and coalesce. The visual synthesis they create personifies a lusty joie de vivre and a playful vitality that stand in stark contrast to the opposing brutality of dark destructiveness.

Johan Persson, 11 November 2005

 

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Welcome to the Erró exhibition "Aesthetics & Politics"
January 13 to April 16 at Nordatlantens Brygge, Strandgade 91 in Copenhagen.
The exhibition is arranged in collaboration with The Reykjavik Art Museum.

Read more at www.bryggen.dk

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An exhibition where most of the artists with whom we are working
are represented with art in different shapes such as
sculptures, paintings, prints, carpets, books and objects

Welcome to the opening on Saturday 3rd of December, 12.00 - 17.00

The exhibition is on until 23rd of December, 2005.

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Welcome to the opening on Saturday 29th of October, 12–17.
The gallery is open on Sunday 30th of October, 13–16.
The exhibition is on until 19th of November 2005.

We will show a selection of his pantings and present the book ”Illusion or Reality”
text by Göran Hellström and Johan Persson, published by Galleri GKM Siwert Bergström.
The artist will be present during the opening and sign his new book.

Illusion or reality?
Wherein lies the difference between fantasy and fact, night and day, happiness and pain? Yrjö Edelmann’s paintings often inhabit the zone between the dreamed and the experienced, a vacuum where the eye wanders in a seemingly endless labyrinth. The borders between the animated and the vacuous are exposed on the canvas.
Bright nuances stand with muffled colour tones. Here the cube contrasts against the coarse crumpled sheet that forms a paper swallow. There the square and rectangular frames are immersed in a stylised, cobalt-blue light.
For centuries artists have sought to fool the eye of the beholder, to conjure up a trompe-l´oeil. Thus too Yrjö Edelmann – his folded paper, stormy seas, which could as well be clouds sailing in a clear-blue sky as wavelike, secretive packages.
He studied free-hand drawing at University College of Arts Crafts and Design in Stockholm towards the close of the 1950s. Under the influence of French surrealism’s irrational and dreamy subjects, he developed his own imagery, even trying his hand at hyperrealism.
Though marked by the photo-realistic movement of the 1960s with Ola Billgren in the vanguard, Yrjö has found his own style during the most recent decades. Gradually his subjects have settled around packages, string and tape.
Since as far back as his artistic debut in his thirties, Yrjö has worked with graphics and oils. His inspiration has come from such masters as the Italian Renaissance painter Michelangelo Caravaggio, whose daring, innovative, chiaroscuro images have fascinated a whole world.
Yrjö Edelmann’s paintings have become an aesthetic play with colour and form, an experiment with proportions and colour tones.
Some see his paintings as an artistic somersault, while for others they are a post-modern still life. His works take the beholder into the regions of the unconscious, beyond the understandably concrete.
His creativity challenges our senses, shaping the feeling of hovering between that which exists and that which is but the shadow of a dream.

Johan Persson

Welcome!
Thomas and Karl-Johan Bergström
Galleri GKM Siwert Bergström

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10/9 – 22/10 2005

Welcome to the opening on Saturday 10th of September, 12–17.
The gallery is open on Sunday 11th of September, 13–16.
The exhibition is on until 22nd of October 2005.
To celebrate James Coignard 80 years, we will show a selection of his paintings
and carborundum engravings.
In this connection we present the book L’ŒUVRE GRAVÉ No V.
The artist will be present during the opening and sign his new book.

With just a few strokes of his brush he conjures up an entire world. James Coignard extends the boundaries between concrete and abstract. He knows how to create chromatic melodies that shift in timbre from cobalt blue to blood red, from earthy tones to blocks of colour as black as night. His paintings embrace everything from vast expanses of colour to spaces enclosed. His pictures are an artistic epicentre where lines, letters and numbers meld with vigorous swashes of colour.
He varies his subject matter endlessly – in one painting the focal symbol might be a secret sign; in another, a sensually conceived female body. His themes might as easily be small squares that seem to describe an urban formation, cave paintings of animals that may well have been taken from Spain’s Altamira or France’s Lascaux, or a full-blooded scene from a brutal bullfight.
The paintings become magical. They trace an immense line over the heavens, a clean-cut brush stroke that transforms into a view of a mysterious, infinite universe. Paradoxically, Coignard casts the tangible and the unspeakable in the same mould, placing the luminous in opposition to the dull; the asperous against the fulgent.
Several works from his early years reveal an unquenchable thirst for life, an indefatigable desire to paint whatever touches our innermost feelings and the landscapes that surround. Other works inculcate a rather more melancholy mood against a sombre backdrop. The facility for creating symmetrical lines that contrast with the chaotic and irrational has become a hallmark of Coignard’s work.
Many of his paintings present saturated colours as a contrast to the grey, almost extinguished and effaced. Life meets death. Such is his pictorial universe, spinning like a never-ending whirligig populated by humans, animals and phantasmagoria.
Born in Tours in 1925, James Coignard moved to Paris with his parents at the age of three. Even as a child he had an insatiable appetite for drawing and painting. In 1948, 23 years old, he made up his mind to become an artist and enrolled at the École des Arts Décoratifs in Nice. The following year he and his fellow artist, Marchand des Raux, staged a joint exhibition at the Musée de l'Ile de France in St Jean Cap Ferrat. Around the same time Coignard came into contact with the great Henri Matisse and was influenced by his work for a while before he began to seek his own ways forward. Not long afterwards Coignard discovered the modernists’ handling of colour via the techniques of Georges Braque and Marc Chagall.
His contact in the late 1950s with a number of Spanish artists and his special fascination for Catalan sculptures and frescoes proved decisive for his artistic development.
Coignard’s first Paris exhibition came in 1960. Since then he has exhibited in numerous galleries and museums, and is well represented in both private and public collections that include the Guggenheim Museum in New York and the Museum of Modern Art in San Francisco, California.
In the late 1960s Coignard produced his first etchings in the gravure au carborundum technique. Earlier in the same decade he had also begun to create sculptures in bronze and glass, which he has continued to produce parallel with his paintings and graphic work.
Today he is based in the south of France, with a studio in Antibes and a home on the outskirts of Cannes.
James Coignard’s paintings and graphic works are an artistic adventure, an aesthetic game in which the destructive and the momentous mingle freely with the spontaneous and the sensual.

Johan Persson

Welcome!
Thomas and Karl-Johan Bergström
Galleri GKM Siwert Bergström

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Welcome to the opening on Saturday 29th of January 12.00–17.00
The gallery is open on Sunday 30th of January 13.00–16.00
The Artist will be present.
The exhibition is on until 5 March 2005.

Pierre Mathieu

Mathieu always goes his own way. He uses lines, human forms, animals, figures and highly imaginative blocks of colour to create a densely concentrated and wilfully idiosyncratic pictorial world, giving birth to his artistic landscape in almost mosaic-like conflations of spontaneity and flights of wild fancy. He adopts and affirms the gaze of the child, yet simultaneously sees the world through the eyes of an adult. Many of his pictures may be interpreted as an aesthetic game at the same time as they are infused with a deadly seriousness. Perspectives shift. Mathieu is cast back and forth between motifs that revolve around the great questions of existence and those that touch upon much lesser themes, between those that offer affirmation of life’s positive qualities and those that proffer nothing but futility, between the ostentatious and the unobtrusive, the dark and the dazzlingly bright.
Pierre Mathieu was born in France in 1964. His mother and his grandparents on his mother’s side were political refugees from Franco’s Spain, a factor which has contributed strongly to his interest in politics. It has by no means always been certain that he would pursue a career as an artist. Indeed, it was not until the age of 28 that he began to paint in earnest, after a traditional academic education and graduation from a French-English business college in 1987. It was then that his curiosity was aroused and his commitment affirmed for the fight against Third World poverty. Travels in Latin America and subsequently in Africa gave him a sound insight into social conditions in these areas. Between 1996 and 2002 he lived in the USA and it was there that Mathieu first began to exhibit his art. Since then he has contributed to almost two dozen exhibitions in different galleries in Europe and the USA. For the past few years his home has been in Marseilles, France.
Influenced by the desire for experimentation that drove the Cobra Group, particularly as expressed by Karel Appel and Asger Jorn, Pierre Mathieu has gradually evolved his own pictorial language. The unconventionality of Willem De Kooning and Jean Dubuffet has also been a rich source of inspiration, provoking and questioning the rational and existential. Mathieu moves in the borderlands between fiction and reality, the sensual and the grotesque, infusing his paintings with a flow of images that possesses its own rhythm, its own artistic idiom. It leaves no one unmoved.

Johan Persson 3 january 2005

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27/11–23/12 2004
Welcome to an exhibition where several of the artists
with whom we are working are represented by works in different forms such as
sculptures, paintings, carpets, books and objets d’art.

We wish you all a Merry Christmas and a Happy New Year!

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"New Paintings" 2/12 – 23/12 2004
Thomas and Karl-Johan Bergström are pleased to invite you to this exhibition in collaboration with Agnès and Thierry Salvador, Galerie Salvador in Paris.


The exhibition is on until 23 December 2004. Open Tuesday - Friday 14.00 - 19.00,
Saturdays 11.00 - 13.00 and 14.00 - 19.00.

MariaManuela

MariaManuela calls her pictures Pop Icons, as the figures in them are portraits of women painted in Pop Art fashion.
She derives her inspiration in part from old Japanese woodcuts and their motifs of fantastically coiffured women with red lips, dressed in kimonos adorned with beautiful patterns. Through the lens of her work she reinterprets such images by using a modern expression of this traditional idiom and its pictorial composition to point to associations between these women and their contemporary counterparts. At the same time MariaManuela also seeks to depict strong, modern women – women who reject old traditions and dare to stake out their own path in life.
MariaManuela has always been fascinated by the complexity and immediacy of Haiku poems which her father, Jan Vintilescu, introduced in Sweden by interpreting and translating them into Swedish. These poems are often to be found in her work as well as motifs alluding to the seasons. Repeating the motif of patterns, flowers or other decorative elements along the edge of the painting to create a more complete unity is another way of conveying care and a sense of aesthetics, so often reflected in the Japanese culture.
MariaManuela builds up her pictures by painting with vinyl on linen canvas, applying at least five layers of the thin, clear colours one on top of the other in order to achieve the effect of a printed surface, or one reminiscent of japanned lacquer.

Biography
MariaManuela Vintilescu was born in Stockholm, Sweden, in 1959.
Her first major art experience was at the age of 7 when visiting the gigantic and overwhelming sculpture “She” by Niki de St. Phalle at the Museum of Modern Art in Stockholm in 1966.
After graduation from the French School in Stockholm, she studied graphics, silk screen and painting in France, England and Sweden.
In 1998 she started to paint Pop Icons and showed “Angels” in a group exhibition in Stockholm that year.
In 1999 she painted her first Japanese Pop Icons and in 2000 she participated at the Stockholm Spring Show at Liljevalchs Museum with “Flower Year”, an installation of 12 pictures, each with a different flower name and representing one of the four seasons.
For the occasion of her first visit to Tokyo in 2001 she published the book “Flower Year” where Haiku poems are put together with her paintings.

Galerie Salvador, 16, rue Dauphine, 75006 Paris.
Tel: +33 (0)1 43 54 14 90

Thomas and Karl-Johan Bergström
Galleri GKM Siwert Bergström

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at Spitz Gallery, 109 Commercial St.Old Spitafields Market,
London E1 6BG. Location map.

For the first time in London, it is a great pleasure for us to have
the opportunity to show a selection of some of Galleri GKM’s
most important artists in an exhibition that will include works of art in
different forms and media; paintings, graphics,
sculptures and other objets d’art.

Artists represented in the gallery:
• Valerio Adami • Arman • Martin Bradley • César • P. Chappert-Gaujal
• James Coignard • Robert Combas • Corneille • Jan Desmarets
• Jacques Doucet • Yrjö Edelmann • Erró • MariaManuela • Sam Francis
• Robert Indiana • Peter Klasen • Yves Klein • Bengt Lindström
• Pierre Mathieu • Roberto Matta • Raul Meel • Reinhoud • Mimmo Rotella
• C-F Reuterswärd • Niki de Saint-Phalle • William Sweetlove
• Christian Silvain • Vladimir Velickovic • Tom Wesselmann

UK representatives Sofie Ralin and Gabriella Svenningsen,
will represent the gallery during the exhibition.

The exhibition will run from November 11 to 21,
Monday – Friday 12am-7pm, Saturdays 12am- 5pm, Sundays 11am – 5pm

UK Representative
Spitz Gallery
Sofie Ralin, GSM: +44(0)7952 036398. +44(0)7968470326.
E-mail: sofie@gkm.se
Gabriella Svenningsen, GSM: +44(0)7775634031.
E-mail: gabriella@gkm.se

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Carrousel du Louvre. 21– 25 October 2004

Artistes présentés à Art Paris 2004 :
Valerio Adami • Arman • César • P.Chappert-Gaujal • James Coignard • Robert Combas
• Corneille • Jan Desmarets • Jacques Doucet • Yrjö Edelmann • Erró • Sam Francis
• Peter Klasen • MariaManuela • Pierre Mathieu • Roberto Matta • William Sweetlove

Contact Paris:
Karl-Johan Bergström
Phone: +33(0)1 42 86 89 32. Gsm +33 (0)6 85 43 57 52
Fax: +33(0)1 42 86 89 32. E-mail: kalle@gkm.se

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Read More...
Please select Language Siteseeing

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Opening on Saturday June 5th, between 12.00 - 17.00.
Most of the artists with whom we are working willl be represented in
different forms of art such as paintings, sculptures graphics and objects.

With hope of a warm and nice summer we wish you very Welcome!
Thomas and Karl-Johan Bergström

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Sam Francis’s paintings are a journey into a dream, a voyage into the landscapes of the soul where colours are lights on fire.
Alongside names such as Jackson Pollock, Willem de Kooning and Franz Kline, Sam Francis is an artist who has succeeded in demonstrating a total mastery of abstract expressionism’s impassioned and spontaneous genre.
The explosions of colour – red, blue, green and yellow – the streaks, strokes and bold lines of his pictures are the physical synthesis of the deepest crevices of the soul. His colours create rhythmical motifs that, characteristically enough, can be called the “musicality” of his paintings.
The work of Sam Francis provides a visible meeting place for the conscious and the unconscious. His pictures are the cross-fertilisation of what has already been experienced with what exists still only as desire, a struggle between melancholy and merrymaking.
Influenced by C.G. Jung, the father of psychoanalysis, Sam Francis spent a large portion of his life exploring the premise that dreams, instincts and intuition provide, the keys which unlock the mysteries and meaning of our inner lives. He was also fascinated by the four ancient elements – earth, water, air and fire – which developed into a leitmotif in his work.
Sam Francis was born in San Mateo in California, USA in 1923. After starting to paint at the age of around twenty, he soon found himself increasingly consumed by the power of art.
He spent much of the 1950s in Paris, from where he not only made frequent excursions to a number of European cities, but also embarked on many journeys to South America and Asia.
He continued to move from place to place, primarily in the USA and Japan, right up until his death in 1994.
Sam Francis’s first exhibition was in Paris at the Galerie Nina Dausset in 1952. Since then, however his work has been exhibited in numerous institutions and galleries all over the world. Today he is represented in most museums of modern and contemporary art.
Sam Francis’s paintings are, at one and the same time, both disintegration and unity, fragments and totality – works of art that reflect the soul.

Johan Persson, 1 March 2004

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With just a few strokes of his brush he conjures up an entire world. James Coignard extends the boundaries between concrete and abstract. He knows how to create chromatic melodies that shift in timbre from cobalt blue to blood red, from earthy tones to blocks of colour as black as night. His paintings embrace everything from vast expanses of colour to spaces enclosed. His pictures are an artistic epicentre where lines, letters and numbers meld with vigorous swashes of colour. Born in Tours in 1925,
James Coignard moved to Paris with his parents at the age of three. Even as a child he had an insatiable appetite for drawing and painting. In 1948, 23 years old, he made up his mind to become an artist and enrolled at the École des Arts Décoratifs in Nice. The following year he and his fellow artist, Marchand des Raux, staged a joint exhibition at the Musée Îsle de France in St Jean Cap Ferrat. Around the same time Coignard came into contact with Henri Matisse. For a while he was influenced by his work before he later began to seek his own ways forward. Not long afterwards Coignard discovered the modernists’ handling of colour via Georges Braque and Marc Chagall.
His contact in the late 1950s with a number of Spanish artists and his special fascination for Catalan sculptures and frescoes proved decisive for his artistic development.
Coignard’s first Paris exhibition came in 1959. By 1968 he had a vernissage at Franska galleriet in Malmö, Sweden. Since then he has exhibited in numerous galleries and museums. His work is well represented in both private and public collections, including the Guggenheim Museum in New York and the Museum of Modern Art in San Francisco, California.
In the late 1960s Coignard produced his first etchings in the gravure au carborundum technique. Earlier in the same decade he had also begun to create sculptures in bronze and glass, which he has continued to produce parallel with his paintings and graphic work.
James Coignard is based in the south of France, with a studio in Antibes and a home on the outskirts of Cannes.
Over the years he has held many exhibitions in Sweden, including some arranged by Editions Sonet. His first exhibition at Galleri GKM Siwert Bergström in Malmö was in 1984.
James Coignard’s paintings and graphic works are an artistic adventure, an aesthetic game in which the destructive and the momentous mingle freely with the spontaneous and the sensual.

Johan Persson, 5 January 2004

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Reality or fantasy? What is the difference between fantasy and fact, between night and day, between torment and transports of delight? Yrjö Edelmann’s pictures are frequently located in the territory between dream and experience, in a vacuum where the eye wanders through a labyrinth of almost infinite proportions.
For centuries artists have endeavoured to delude the eye of the observer by conjuring forth a trompe-l’oeil image. And so too does Edelmann, with his wrinkled wrapping paper — storm-tossed seas that may just as readily be clouds sailing through a clear blue sky, or mysteriously undulating packages.
Ever since he stepped onto the stage as a thirty-something artist, Yrjö Edelmann has devoted himself to oil painting and graphic art. More recently his works have caught the eye of both public and critics, not only here at home in Sweden, but abroad as well, with exhibitions in New York, Tokyo and Paris. Since 1976 his works have been on display continuously in the USA.
Yrjö Edelmann was born in 1941 and moved from Helsinki in Finland to Sweden with his family ten years later. He started to draw at an early age, initially in comic strip magazines, and worked for many years as an illustrator with the publishers Åhlén & Åkerlund in Stockholm. While there he produced several book covers and other works in the magazine genre. Towards the end of the 1950s he studied freehand drawing at the University College of Arts, Crafts and Design in Stockholm. Influenced by French surrealism with its irrational, dreamlike motifs, he developed his own pictorial language and also experimented with hyperrealism before becoming increasingly engrossed in his packages, wrapping paper and pieces of string.
His paintings play with shape and shade, with proportions and the properties of colour. His creations challenge our senses, capturing the sensation of hovering between what truly exists and what is merely the shadow of a dream.

Johan Persson 22 September 2003

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“Adami is the maestro of the unadulterated line,” writes the Swedish poet Lasse Söderberg in his reflection on the Italian artist, whose fame has now spread far beyond the fertile, undulating landscape of his native Bologna. After more than half a century of working creatively, Adami has evolved his own iconography, an ingenious pictorial language that embraces both past and present, and within whose frontiers strange creatures keep company with famous faces from history: the French Revolutionary politician Robespierre, the author James Joyce and the composer Gustav Mahler. Adami’s art teems with figures from the great works of literature: a young Prince Hamlet preoccupied with gloomy thoughts of suicide outside Kronborg Castle in Elsinore, and the gaunt and grizzled knight Don Quixote with his faithful companion, Sancho Panza.
Erotic motifs have been a constant theme throughout Adami’s production: women and loving couples in their most intimate moments, captured in mythically saturated shades, in evocative deep reds and a myriad shades of blue.
Valerio Adami was born in Bologna in 1935 and developed an interest for drawing and painting at an early age. In 1951, at the tender age of just 16, he was accepted into the Accademia di Brera in Milan, where he studied and painted until 1954. He made his first trip to Paris in 1955, and by the age of 20 had already had the opportunity of meeting the painters Roberto Matta and Wilfredo Lam, who inspired him and encouraged him to develop his talents.
Since his first one-man exhibition in Milan in 1959 Adami has had numerous exhibitions around the world, and today his works hang in many museums of modern art as well as in private collections. In 1985 he was the subject of a full-scale retrospective at the Musée National d’Art Moderne at the Pompidou Centre in Paris, where a representative selection of his production was on show. In 1989, to commemorate the bicentennial of the French Revolution, he was commissioned to produce a monumental mural for the Théàtre du Châtelet in Paris.
Numerous authors have written about Adami’s art, among them Octavio Paz, Italo Calvino and Carlos Fuentes.
Siwert Bergström arranged a rendezvous with Adami in Paris in the mid 1980s. They met in his studio and home, which had previously belonged to the artist Salvador Dalí, just a stone’s throw from the church of Sacré-Coeur, to discuss art and future collaboration. These contacts resulted in Galleri GKM showing Adami’s pictures for the first time in 1989. In conjunction with the exhibition, the gallery also published a book about the artist’s work, accompanied by poems by Lasse Söderberg and a text on Adami written by Alain Jouffroy.

Johan Persson 12 august 2003

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Patrick Chappert-Gaujal
The sea provides him with inspiration and material.
Colourfully shimmering sculptures fashioned from driftwood and other flotsam and jetsam plucked from the Mediterranean shores have over the years become the distinguishing feature of Patrick Chappert-Gaujal’s art. But he is just as well known for his melancholy, meandering works and his dynamic imagery. Many of his paintings resemble townscapes viewed from a helicopter. His love of the sea and his fascination for wooden objets trouvés washed ashore often find expression in his works. Torn cardboard boxes and scraps of paper glued together are transformed into valuable materials in his paintings and pictorial collages.
Everything he does is full of contrasts. In an ever-changing interplay between conventional structures and the resistance they meet from the spontaneous impulses of colour and form, he is forever creating patterns at the same time as he undermines their integrity.
In an article about the artist published in connection with his first exhibition in Sweden at the Institut Français in Malmö in 1986 Martine Prouillac, Cultural Counsellor at the Institut Français, writes, “His work is a source of enjoyment because of its simplicity and the modesty of its ambitions. The observer will soon learn to like what Chappert-Gaujal is doing.”
Patrick Chappert-Gaujal was born in 1959 in Bédarieux, France, and studied at the Academy of Art in Perpignan from 1975 to 1980. He now lives in La Franqui in the south of France. There, on the shores of the Mediterranean, he finds his motifs in the alternately soft and harsh landscapes of this region. Chappert-Gaujal first discovered Sweden when he moved to Malmö in the mid 1980s. During the years he spent here he shared a studio with several other young artists in the empty leather factory in Malmö, which at the time was the focal point for a lively artists’ collective.
Encouraged by Siwert Bergström, he exhibited at GKM in Malmö for the first time in 1988. It marked the beginning of a long colla-boration, which has resulted in several other exhibitions under the aegis of the gallery. Patrick Chappert-Gaujal has also taken part in many exhibitions in France, other European countries and the USA.

Jan Desmarets
Jan Desmarets captures a moment frozen in time, mastering in his sculptures the art of simultaneously creating both movement and a static “snapshot” of life. Desmarets was born in the Belgian town of Ieper in 1961. Since his debut exhibition in 1985, after completing his artistic training at the Ghent Academy of Art, he has displayed his talents at several galleries and official expositions around the world. Although influenced by the classical tradition in sculpture, he nevertheless imbues his creations with their own proportions and personal characteristics, and his familiarity with the techniques of casting gives him freedom when transforming an idea into a finished work of art. He is represented in various European contexts by numerous public works of art, among them several monumental works.
He has, for example, created a number of bronze figures in a frenzy of forward momentum, and captured men and women in mid-leap. Gradually he has deepened his perspectives, and repeatedly he returns to variations of highly diverse animal motifs, having depicted a large number of horses, dogs and storks over the years. According to many interpreters the stork symbolises happiness and joy, and biblical exegetists often present the bird in a positive light, as its habit of feeding on snakes is seen as an eradication of destructive instincts. The horse symbolises courage, victory and strength.
Jan Desmarets’ artistic landscape is populated by mythological figures, among them the Roman god Janus with his mysteriously duplicated face, and the mythical figure of Icarus, cast into the sea when his artificial wings were singed by the sun.
It is here, between humanity and mythology, classical and modern, that Jan Desmarets finds the lifeblood for his work.

Johan Persson 20 februari 2003

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“The heart is an eye,” writes Nobel laureate Octavio Paz in an essay on Matta’s paintings. Matta creates a world coloured both by a sunny faith in the future and by visions of impending doom.
Roberto Sebastian Echaurren Antonio Matta, who died aged 91 on 23 November 2002, was born in Santiago, Chile, on 11 November 1911 into a family with Spanish, French and Basque roots, and raised in an atmosphere of religiosity. By the age of 21 he had graduated and begun work as an architect, but his leisure time he devoted to sketching and painting. In 1933 he travelled to Europe for the first time, visiting Greece, Yugoslavia, Italy and other countries, and subsequently taking the initiative to collaborate with the architect, Le Corbusier. As time passed, however, Matta’s enthusiasm for a career in architecture waned, and he began to devote himself full-time to art, making early acquaintances with surrealists such as Max Ernst, Salvador Dalí, André Breton and others.
Between 1939 and 1948 Matta, like many of his artistic contemporaries, lived in self-imposed exile in the USA, but, after almost 10 years’ absence from Europe, he returned to make first Rome and then, a few years later, Paris his home. Throughout most of the rest of his life Matta commuted between his studio in Paris and his creative refuge in the monastery outside Rome. And it is here, in Italy, that he produced his greatest paintings.
Matta’s first retrospective in Sweden was organised in 1956 when his works were exhibited in what was then Galerie Colibri – run by, among others, the artist C O Hultén at number 36 Södra Förstadsgatan in Malmö, Sweden. This was also the time when Matta began to collaborate with poets and other artists in Sweden. He produced the illustrations for Lasse Söderberg’s first anthology of poems, Akrobaterna (“The Acrobats”), published in 1955, and was also responsible for the cover of the Swedish art and literary magazine Salamander.
In 1959 the first museum exhibition of Matta’s work in Europe was arranged at the Museum of Modern Art (Moderna Museet) in Stockholm. Held under the aegis of Pontus Hultén, it was entitled “Fifteen Forms of Doubt” and included 15 or so gigantic paintings and about 3 dozen drawings. Today Matta is represented in virtually all world-class museums.
Siwert Bergström first contacted Matta in Paris in 1976, visiting him in his studio there and later at his home in Rome. The outcome of the meetings was an exhibition at Galleri Kända Målare in Jönköping, Sweden, later the same year. In 1988 several of Matta’s works were shown at Galleri GKM in Malmö, and in conjunction with this exhibition the gallery published a book on Matta with texts by Octavio Paz, including the prose poem “The Heart is an Eye”. The book also contains contributions by Lasse Söderberg, Ingemar Leckius and text fragments penned by Matta himself, one of which is his prose poem “The Earth is a Man”.
In the autumn of 1991 Galleri GKM organised a second Matta exhibition at which five omnibus volumes of engravings were shown in their entirety for the very first time.
The ambiguity of Matta’s motifs owes much to the fact that the multiplicity of their abstraction is occasionally tempered by an exactness reminiscent of the unerring precision of satellite photographs.
The paintings are often peopled by hybrid figures – half-human, half-alien – and harbour an explosive power – a volcanic energy and forward momentum that possesses the ability to engender simultaneous sensations of both delight and despair.
Matta is the true surrealist who passionately portrays an inner and external reality. He himself explained that he wanted to capture the invisible, the intangible. Drastic visions of the future melt into memories of the past. Great chunks of colour, black as night, are mixed with moss greens and luminous palettes of lemon yellow, as melancholy and the malignantly destructive are married on his canvases with more idyllic impulses and impressions that celebrate the wonder of life. The result is paintings that embody both a sense of joy and a vision of fear.

Johan Persson 8 januari 2003

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An exhibition where most of the artists with whom we are working
are represented with art in different shapes such as sculptures, paintings, prints, jewellery, carpets, books and objects

Welcome to the opening on Saturday 30 November, 12.00 - 17.00
when we are serving warm soup in our garden !
The gallery is also open on Sunday 1 December 13.00 - 16.00.
The exhibition is on until December 23, 2002.

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Salon d´Automne
The exhibition is from 26/10 to 23/11 2002.

Tom Wesselmann – Yves Klein – Lindström
Coignard – Adami – Arman – Desmarets
Appel – Corneille – Doucet – Farhi – Sam Francis
Niki de Saint-Phalle – César – Velickovic

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ERRÓ ”Amazon Women ”
21/9 – 19/10 2002

Erró – Gudmundur Gudmundsson, called Erró, was born in Olafsvik in Iceland the 19th of July 1932. He lives and works in Paris, in Thailand and in Spain. The 23d of June 2001, a museum dedicated to his work was opened in Reykjavik, Iceland.
Painting is the laboratory of the possible: a place where one can experiment, make old out of new. I paint because painting is a private form of utopia, the pleasure to contradict, the happiness to be alone against everybody, the joy to provoke.
The world of fiction intrigues me: the circulation of stories, the disguise of forms give us the power to believe in it.
I work inside the composition, well aware of the fact that my painting is my vicious circle.
Painting consists in overcoming silence and shock. Like an observer without religion, without ideology, a passer-by, a tourist. There is an amount of perception, a collective conscience which can be enlarged and enriched by art.
When I paint, I never imagine that I should subordinate my work to some standard or to a formula imposed, nor to the rules of any kind of doctrine.
My pictures are inadapted, hesitant companions, whith all kinds of defaults.
This gives me something to do while dying, this makes it possible to feel the infinite in all its variations.

Erro: from "Discontinuous Narration"

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"Summer Breeze". 1/6– 29/6 2002.

MariaManuela calls her pictures Pop Icons, as the figures in them are portraits of women painted in Pop Art fashion.
She derives her inspiration in part from old Japanese woodcuts and their motifs of fantastically coiffured women with red lips, dressed in kimonos adorned with beautiful patterns. Through the lens of her work she reinterprets such images by using a modern expression of this traditional idiom and its pictorial composition to point to associations between these women and their contemporary counterparts. At the same time Maria Manuela also seeks to depict strong, modern women – women who reject old traditions and dare to stake out their own path in life.
MariaManuela has always been fascinated by the complexity and immediacy of Haiku poems which her father, Jan Vintilescu, introduced in Sweden by interpreting and translating them into Swedish. These poems are often to be found in her work as well as motifs alluding to the seasons. Repeating the motif of patterns, flowers or other decorative elements along the edge of the painting to create a more complete unity is another way of conveying care and a sense of aesthetics, so often reflected in the Japanese culture.
MariaManuela builds up her pictures by painting with vinyl on linen canvas, applying at least five layers of the thin, clear colours one on top of the other in order to achieve the effect of a printed surface, or one reminiscent of japanned lacquer.

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20/4 – 25/5 2002.

Bengt Lindström is a big man from the central parts of the Norrland province and was born in Storsjö Kapell on 3 September 1925. He has been residing in Paris since 1948, but during the summer months, he stays on the coast of Norrland. From the age of fifteen, he has continuously, but with indefatigable strength, devoted himself to painting in a personal manner, mostly large, colourful paintings.
After his graduation at academic upper secondary school, he studied at various art schools in Stockholm, Copenhagen, Chicago, and Paris. He has studied under art-world celebrities like Isaac Grünewald in Stockholm, and André Lhote and Fernand Léger in Paris.
When Bengt Lindström moved to Paris, his art was to be influenced and affected by the COBRA group. COBRA was founded in 1948 by artists like Asger Jorn, Corneille and Karel Appel. The group worked with colour as a means of expression of its own, quite regardless of previous conventions, but with feeling and intuition as important ingredients. This was also to become Bengt Lindström’s way of expressing himself in his painting.
His motives come exclusively from the realms of man and of animals. Howling, growling, screaming and laughing beings cover the surface. His painting is driven by a primitive force, a furious energy, which seems to originate from the dawn of time. He has also found inspiration in Nordic mythology, the Viking Age, and in folk art from various countries and epochs.
As an exiled Norrlander, Bengt Lindström strictly adheres to certain Norrland qualities. The titles he gives to his paintings often point to Norrland and Nordic sources of inspiration.
Bengt Lindström has become successful in the art world and has held exhibitions at many well-known and well-reputed art galleries and museums around the world. As ”Le Grand Viking du Nord”, and in company with artist like Öyvind Fahlström, Max Walter Svanberg, Bengt Olsson, and Erik Dietman, he has become one of Sweden’s internationally most renowned painters.

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”Hommage à Corneille 80 år”
26/1 – 9/3 2002

Corneilles pictures are a mirror. They express sensual motifs where the woman, the cat and the bird often are depicted against a deeply red, dark blue or lemon coloured sky.
The pictures reflect our inner visions of passion, delightfulness, and beauty. These reflections in Corneille open up a mirror that faces towards a fantasy landscape where the woman and the bird are in symbiosis. The woman represent beauty and voluptuousness and the bird symbolize freedom and strength.
Corneille van Beverloo was born in 1922 in Liège, Belgium, by Dutch parents. After his school years he studied drawing at the Arts Academy in Amsterdam during the years 1940-43. As a painter he is autodidact.
The first exhibition was shown 1946 in the Dutch city of Groningen together with artists from the Dutch Experimental group Reflex.
Corneille came to Paris for the first time in 1946, and immediately he felt at home in the pulsating art metropolis. Together with Karel Appel, Asger Jorn, Dotremont and Constant, Corneille founded the COBRA-group in Paris 1948. Many other artists, poets and architects joined the group; among them the Swedish artists C-O Hultén, Max Walter Svanberg and Anders Österlin.
During his travels around the world Corneille has got impulses and inspiration to new works of art. Especially the African culture has influenced and enriched his work, and during his journeys to Africa the interest for African art aroused and made him a devoted collector of African sculptures and masks.
Ever since the debut in Groningen half a century ago, Corneille has taken part in hundreds exhibitions at galleries and museums all over the world.
Fascinated by Corneille and the joy of life in his painting Siwert Bergstrom went to see the artist in Paris 1976, where they met in a sidewalk cafeteria by Rue de Clignancourt. Corneille promised to produce a sequence of engravings for the gallery, at that time called Galleri Kända Målare and situated in Jönköping. This was the beginning of a fruitful friendship and work fellowship that resulted in a multitude of books and graphical editions as well as innumerable exhibitions in Sweden and Europe.
Despite his eighty years old, one can still see the child in Corneille. He is always on the way. "Corneille tojours en route", published 1991 is exactly the title of one of the books edited by the gallery. Another publication is "Elles belles mortelles" which gives shape to the erotic theme put in opposing relation to the death dance motifs.
Corneille makes an inventory of reality, both the inner and the external. The range of colours in his pictures span over a wide spectrum, the red meets the green, the yellow meets the blue. There is an energetic movement forward in his pictures.
The motifs that have streamed from his brush trough the years form an endless chain of pictures depicting animals and humans in an continuous process of development. Corneille is always on his way.

Johan Persson 9 januari 2002

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1/12–23/12, 2001.

An exhibition where most of the artists with whom we are working
are represented with art in different shapes such as sculptures, paintings, prints, jewellery, carpets, books and objects

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TINGENS MAGI
27 oktober – 25 november 2001

ARMAN him self starts the introduction: "The human being depicts her self, shows her time, her anxiety, her screams, her tears and her laughter."
One form of Arman's expression are the cut up or sawn apart objects, that are then assembled together in new ways. Most know and famous are his divided string instruments. The instruments are often made in life size. In its content and form we can perceive greetings back in time to Picasso and Braque. However Arman has taken a step further and casts his works in bronze. At first he deconstructs the object and deprives them their meaning as a playable instrument, he starts a process of decay. But by casting the object in bronze he ceases the process. What is left is a sculpture of music.
Arman–Armand Pierre Fernadez was born in Nice 1928. His father an antique shop owner, something that would live an imprint in his relation to objects. After studies in mathematics and philosophy, Arman continued at an art school, but decided to end his studies due to conservatism within the management. He has also studied archeology and oriental arts.
Arman started to paint seriously in the end of the 40-ies. During the 50-ies he developed his abstract painting in the sprit of its time. But it was as a sculptor that Arman achieved his great artistic brake through. The path to that went trough a from of print where he used regular office rubber stamps. Inspiration was taken from Dada-artist Kurt Schwitters. The stamping technique evolved to become imprint of different objects dipped in paint.
Parallel with his artistic work, Arman developed his skills in judo. His interest for judo brought him together with Yves Klein, a friendship that became significantly important for both of them. Together they carried out several happenings during the 50-ies and came to be two of the for ground figures within the French neo realism, the European counterpart to pop art.
In 1960 Arman had his famous exhibition "Full" at Galerie Iris Clert in Paris. He filled the gallery with trash and garbage. This exhibition should be seen in the light of Yves Kleins exhibition two years earlier, where emptiness was displayed. Two days after Arman's vernissage, the neo realist manifesto was signed in Paris.
During the last years of the 50-ies and the first years of the 60-ies Arman developed different forms of expression, that he consciously continued to investigate. The Accumulations are perhaps the most known. These accumulations are collections of identical or similar objects taken from every day life. The multiple objects are collected in boxes and welded together into heaps or piles.
The sculptures could consist of practical things like tools, pliers or iron boards. They often give an impression of musical repetition. The relation to Marcel Duchamps readymades is clear.
The trash and garbage sculptures that Arman came to cast into transparent poly-chrystal was conserved household waste. These objects of art can resemble great flat ice cubes that have conserved remnants of our civilization.
Arman has also cut up copies of antique bronze sculptures into small slices. These sliced up statues take on a fantastic sense of movement that brings the thought to Giacomo Ballas tripping dog.
Incineration is yet another form of expression where parts of an object like a cupboard, chairs or books are consciously burned up. Big parts of the objects are burned away. These objects are greatly reduced, but one can still perceive the original shape and function. As with the cut up objects Arman takes a further step and cast them into bronze
By multiplying, deconstructing, destroying and transforming object from our everyday life, Arman questions our civilization. In this play with our recognition he makes us stop and look.

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POPART
29 september – 21 oktober 2001

The Pop art was a revolutionary and explosive movement in USA and Europe in the mid 1950´s. Art took a gigantic evolutionary step when it recognized the everyday events in its motives.
Before and after the second world war many established European artists went to the United States. Among the most prominent were Max Ernst, Salvador Dali, Marc Chagall and Willem de Kooning. They had a surrealistic image with existential and spiritual thoughts, as well as mental processes as starting point for their creations.
The philosophy of those artists came to inspire the American art and the abstract expressionism appeared. One of the front figures in the United States was Jackson Pollock. As a contrast to the profound expressionism, the popular pop art so developed. The artists recognized and approved the everyday, something that was previously nonexistent in the art history.
Depicting food products such as hot dogs, ice cream and pie became a common thing. Even cartoons, packaging, consumer goods and last but not least money was treated in the motives. All of a sudden these motives gained cultural status and an artistic value in themselves.
The artists began seriously to show that art could be created with help of the consumer society, which was the new and unusual with Andy Warhol, one of the great and interesting pop artists. Many artists, like Roy Lichtenstein, were fascinated by the skillful handicraft of poster and cartoon artists and they used the technique, form and content from their products.
In the beginning the audience was inappreciative since the art and the common everyday activities appeared to be one and the same.
The motives were not only new, but they were also presented in an astonishingly literally manner, as never before.
Thus the pop art liberated "the beautiful art" from a troublesome and bothering reverence; something to look up to and honour. It has also affected the American and European art market in a positive and interesting way which has been shared with the audience trough exhibitions around the world under the name of Pop-Art — one of the most revolutionary and explosive movements of the 20^th century.

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“Waiting for spring”
28 april – 27 maj 2001

Arman • Chappert-Gaujal • Corneille
Jan Desmarets • Christopher Galvin-Harrison
Christian Immonen • Berit Johansson • Anders Källström
Maria Manuela • Sam Francis

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Jan Desmarets
Välkomna till vernissage lördagen den 27 januari kl 12–17.
Konstnären närvarar.
Även öppet söndagen den 28 januari kl 13–16.
Utställningen pågår 27 januari – 25 februari 2001.

Jan Desmarets
"Jag försöker ibland föreställa mig hur den första människan böjde sig ner på knä, tog en hand full av regndränkt lera som han tvekande vägde i handen innan han började knåda den, sökande efter en form som om han ville blåsa liv i den..."
Det var så Jan Desmarets började, med en lerklump i handen när han som barn lekte vid kanten av bäcken. Uppmuntrad av sin äldre bror fortsatte han att skulptera; en hand, ett ansikte, en kropp... Ibland bestämde han själv formen men lika gärna lät han leran ta över och söka sin egen skepnad. Så är det forfarande säger Jan Desmarets. "Jag betraktar naturen och fångar in bilden av en människa, ett djur, ett föremål; en speciell rörelse som jag sedan försöker överföra till en fast form, oftast i vax som sedan blir till brons... Det rör sig om ett ständigt samspel. Kraften i arbetet finns inte bara inom en själv utan även i materian som välvilligt böjer sig för händernas mjuka rörelser men spjärnar emot om man behandlar den hårdhänt. Materian är flyktig men generös, lömsk och ogripbar, full av hemligheter som avslöjas för den som hänger sig med kropp och själ."
Jan Desmarets verk förefaller kanske enkla men de grundar sig på stor skicklighet, mogen eftertanke samt ett oupphörligt sökande och ständigt hårt arbete.

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Välkomna till vernissage lördagen den 2 december kl 12–17.
Även öppet söndagen den 3 december kl 13–16.
Utställningen pågår 2 december – 23 december 2000.

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Galleri GKM Siwert Bergström
Utställningen pågår 28 oktober – 20 november 2000.
Välkomna till vernissage lördagen den 28 oktober kl 12–17.
Konstnären närvarar.
Även öppet söndagen den 29 oktober kl 13–16

Patrick Chappert-Gaujal
fångar verkligheten, utifrån de konkreta stycken av verklighet som han använder för att skapa sina verk. Men i samma ögonblick, samma rörelse, verkar och återverkar dessa verklighetsfragment på hans sätt att måla, att ge kropp och volym, att skapa. Ett fruktbart och dynamiskt samtal börjar och binder samman tinget med skapandet och vice verca, en källa till nyhet och förnyelse.

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Galleri GKM Siwert Bergström Välkomna till vernissage lördagen den 16 september 2000 mellan kl 12 - 17. Även öppet söndagen den 17 september mellan kl 13 - 16. Utställningen pågår 16 september - 15 oktober. En fascinerande spontanitet och rik fantasi präglar de färgglada dukarna. Tankarna förs till Miró, kanske till COBRA, men man känner också frändskapen med Paul Klees måleri. Martin Bradley anser sig dock mer påverkad och inspirerad av forntida hällristningar och grottmålningar liksom av japansk och kinesisk kalligrafi. Hösten 2000.

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• Arman • César • Corneille • Chappert-Gaujal • Desmarets
• Engström • Frode • Indiana • Klasen • Klein • Koons • Kriki
• Källström • LaLanne • Niki de Saint Phalle • Pavlos • Reinhoud
• Rougemont • Silvain • Solin • Sosno • Stenberg-Hultén

Se hela utställningen - siteseeing

Galleri GKM Siwert Bergström
ställer ut tredimensionell konst 6 maj till 4 juni.
Vernissage lördag 6 maj klockan 12 – 17.
Söndag 7 maj klockan 13 – 16.

Skulpturer
Visst är det konstigt att man på utställningar och museer inte får vidröra föremålen. Dessa som skapats av händer. Nu har vi samlat på tredimensionell konst under en längre tid, och kan visa ett brett utbud. Här finns objekt i alla tänkbara material och som formats för att gestalta drömmar och visioner. Kom hit och låt både synen och känseln beröras av den tredimensionella konsten, för här är det helt i sin ordning att både se och röra föremålen.

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Utställningen pågår 25 mars - 23 april.

Välkomna för en närmare presentation:

James Coignard
James Coignard föddes 1925 i Tours, Frankrike. Familjen flyttade 1928 till Paris. Han visade tidigt ett stort intresse och fallenhet för teckning och måleri, men var för sin försörjning tvungen att söka arbete inom den statliga förvaltningen. Denna tjänst lämnade han så småningom för att sedan helt ägna sig åt konsten. Han bosatte sig på Rivieran.

1950 ställde Coignard ut på Galerie Hervieu i Nice. Redan 1949 hade Hervieu haft en separatutställning med honom på sitt galleri i Malmö. 1959 ställde Coignard för första gången ut i Paris.

James Coignard har haft ett stort antal utställningar på muséer och gallerier i Skandinavien och övriga Europa, liksom i U.S.A där bl.a museum of San Francisco och fondation Guggenheim förvärvade ett antal verk. Galleri GKM har haft ett flertal separat och grupputställningar med Coignard.

1968 presenterade konstnären Henri Goetz en ny teknik "gravure au carborundum", som öppnade nya möjligheter för Coignard att överföra sina intensioner till grafik. Den nya tekniken är mer direkt och snabbare, och ger större frihet att uttrycka sig på ett sätt som kommer målningen mycket nära. Den passar alltså speciellt för konstnärer, som har måleriet som utgångspunkt. Procedé Goetz inspirerade snabbt ett stort antal framstående konstnärer utöver Coignard och Goetz, bl.a Ciavé, Miro och Papart.

Vi visar på denna utställning ett stort antal gravyrer med denna speciella teknik, carborundum, som Coignard har blivit en mästare i att utnyttja vid sitt skapande.

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Galleri gkm ställde ut på Sollentunamässan, monter 360.
Visade följande konstnärer:
Adami • Arman • Cesar • Desmarets • Erró • Francis
Indiana • Klasen • Klein • Les Lalanne • Silvain • Wesselmann

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Välkomna till vernissage lördagen 29 januari 2000 mellan kl 12 - 17.
Utställningen pågår 29 januari - 18 mars.

Sam Francis (San Mateo 25/6 1923 – Santa Monica 4/11 1994)
Sam Francis var en bland de viktigaste målarna i den amerikanska abstrakta expressionismen, som fick sin påverkan från Europa, då en stor ledande grupp av konstnärer med Willem de Kooning i spetsen kom till New York strax före andra världskriget.
Den abstrakta expressionismen gav uttryck för "målandets process" som en viktig företeelse.
Sam Francis bilder målades i stora format med kraftiga färgfält och fria former som i många fall har sitt ursprung i den österländska konsten och särskilt i kalligrafin, där penselskriften var av största betydelse.
Redan vid tiden för andra världskriget fascinerades Sam Francis av den rena färgen, vilken han gjorde till ett "egenvärde" där också form och ljus blev viktiga komponenter.
1947 gjorde han sin första abstrakta målning där han tog intryck av Monet och den amerikanske konstnären Jackson Pollock.
Sam Francis studerade i Paris och gjorde åtskilliga resor runt om i världen, bland annat till Thailand, Japan och Indien.
Tillbaka i Kalifornien arbetade han på sina stora generösa dukar som han täckte med ett fyrverkeri av varma och sprakande färger vilket gav en speciell utstrålning.
Målningarna finner ofta sin egen väg över duken i form av linjer och rytmer som kan liknas vid vattenfall eller smältande lavaströmmar.
Sam Francis ser sina målningar som en process – en pågående – där kontroll och slump sammanfaller på ett medvetet samtidigt som ett omedvetet sätt. Här råder både ordning och kaos på en och samma gång vilket ger bilderna spännande dimensioner.
Genom sina många intressanta och spännande utställningar i gallerier och muséer, bl. a. Moderna Muséet, Stockholm, Louisiana Museum, Danmark, Guggenheim Museum, New York, Jeu de Paume, Paris, har Sam Francis nått internationellt erkännande världen över.
Sam Francis virtuosa bilder kan man likna vid måleriska poem rikt sammansatta genom sin underbara kolorit och med en underton av evighet.

Se även Sam Francis "Paintings 1947-1990" på
Malmö Konsthall 29 jan-1 maj.

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27 November - 27 December 1999

Stora Nygatan 30, SE-211 37 Malmö
Phone +46(0)40-611 99 11, Fax +46(0)40-611 85 45
office@gkm.se