Bøger udgivet af Arvinius+Orfeus Publishing

Completely unexpected, seven trunks and a couple of wooden bins arrive to the Ontological Museum in Stockholm. The anonymous donation contains notes and diaries, photographic negatives on glass plates, a peculiar cranium and dried in traces of scent. The diaries turn out to be written by Beata Gardelius, palaeontologist at the Swedish Museum of Natural History. The photographs and the drawings are done by Inga-Lisa Blomgren, assistant at the Institute of Geology in Uppsala. The research material is nothing than remarkable. In September 1897, Beata Gardelius and Inga-Lisa Blomgren disappear during the expedition to the Siljan Ring. The faith of the two women has until now remained unknown.

The publication Between Affinity and Rupture: Tracing Bubbles collects 18 contributions exploring the notion of the 'bubble' a symbol of our personalised mental and social landscapes, where collisions with different realities shape our perceptions, biases, and responses. These insular realms influence how we perceive and react to realities and values, while also offering avoidance or empowerment amidst opposing viewpoints. The collected essays include explorations by the nine artists who participated with their works in the homonymous group exhibition Mellan tillhörighet och uppbrott: Spåra bubblor (Bergsjöns Konsthall, 2022), as well as reflections by seven external interdisciplinary practitioners. This selection aims to further investigate the idea of the bubble from across multiple disciplines, and to synthesise artistic and theoretical approaches.

Water is needed to grow food and keep ecosystems thriving, not to flush down toilets. We also need to realise that our waste is not waste but a valuable resource.  The current sanitation infrastructure needs to be critically reassessed in the context of global freshwater shortages and broken nutrient flows, which cause serious ecosystem damage globally. By questioning the so far indisputable position of the water-based sanitation system, this book aims to inspire architects and professionals to start looking for alternative solutions to better serve the world we inhabit today.   The topics of sustainable sanitation are explored through expert articles, which provide in-depth knowledge such as on the history of sanitation, nutrient flows and circular waste economies. This book accompanies The Dry Collective s exhibition Huussi Imagining the Future History of Sanitation , curated by Arja Renell and presented by Archinfo in the Pavilion of Finland at the 18th International Architecture Exhibition of La Biennale di Venezia.   Adjusting our ways of living in the face of climate change is taking place now, not in the future. In the future, the flushing toilet as we know it will be history.

This book presents the practice of artist Tove Kjellmark and her extensive artistic research project 'The Horse, the Robot and the Immeasurable: A Practice-Based Exploration of Matter as a Movement That Constantly Takes on New Shapes'. With the relationship horse-human-robot in focus, the aim is to challenge the limits of measurability, investigate liminal states and sedimentary expressions sprung from translations between materiality and immateriality through digital, analogue and performative techniques. Fragments of the horse's spirit, traces of movement shaped as physical echoes, imprints that remain after many digital translations from the encounter with a horse's physicality. The term 'translation' is used in its double meaning: as the transformation of a language or medium into another, and as the movement of a body from one point in space to another.

'In the studio, I think about colour meetings, the roar of pouring rain in a potato field, the squelch of dripping oil goo between the fingers and the very brightest Kings Blue deep.' 'Jenny Carlsson Grip tests the materiality of the oil colour by applying layer upon layer and trying to bring forth a discovery. She paints with brushes, spatulas, broad scrapers and directly with her hands. Ploughing the colour. Weeds, grass and vegetation in very physical form have been attached to the paintings. The works become tactile and open up in a sensory and sincere way. We can follow her movements as she paints. A pulse beating. Her paintings have a rhythmic and a musical depth that bursts up in a short staccato whose application seeps into the body.' Torun EkstrandIn the extensive monography Heart and Soil, we follow Jenny Carlsson Grip's painting practice during a decade's worth of exhibitions and excursions into the landscape of oil painting. With high quality documentations of paintings, paper works and public commissions, accompanied by immersive texts charting the painterly process from the study years through the major breakthrough and beyond, the walk goes into a place where the colour is in itself nature, a base matter that builds walls, runs in the ditches and claws towards the skies.

What does an object do to us, to a room, to the conversations we are having? What does it say about the community where it was made? In issue 04, we look at the things we surround ourselves with and what they mean to us. We visit the architect Petra Gipp on her island abode, and spend some time at home with brand director Petrus Palmer, who use his family home as a testing ground for new products and furniture. We discuss the concept of home with the renowned artist Miriam Bäckström and the architect Eero Koivisto, of architecture and design practice Claesson Koivisto Rune, shares his favourite objects with us. In his home a bowl is never just bowl, it is a bowl with a story. 'When you cease to see something, it s time to replace it with something else', Koivisto says. Elsewhere in the issue we visit a home resembling a spaceship, and one built to celebrate wood. We highlight some great initiatives and some really good pieces of furniture. 'I ve never fully understood how people can be so attached to new furniture', says design writer Hugo McDonald when asked about what he is drawn to. 'It takes several decades of heavy bottoms to shape a good chair into something irresistibly comfortable. There can be no greater proof of furniture s quality than time.'

This edition, the fourth in a series of monographs that chart the architectural and speculative output of the Danish office CEBRA, sees the firm expand internationally to Toronto, Monterrey, Abu Dhabi, and elsewhere across the globe.   Through a chronological presentation of projects from 2013 2020, a pattern emerges: in both large and small projects, bold expressions, CEBRA s signature crystalline geometry and what founding partner Mikkel Frost calls architectural fractals are tempered through a sense of approachability, tactility, and co-authorship. With an interview by designboom s Philip Stevens and 35 new projects, CEBRA files 04 marks the 20th anniversary of one of Denmark s most iconic design firms.

PANGEA is an autobiography written by the artist and author Björn Wessman today one of Swedens most distinguished contemporary artists. In his idiosyncratic image world he seeks the essence of nature within the present, in the magic of the unfolding of events. In PANGEA, the origin of all landscapes, the reader gets to experience how the continents once again are united in his painterly world. With a poetical abstracting glance, a sonorous colouring is created, a unique image world we can refer to, where the frontiers of natural abstraction stimulate reflection upon our own relation to nature. Wessmans art is far beyond the established representational codes. It constitutes a sort of resilience, in the form of a trust in natures own capacity to heal. In PANGEA, we chronologically follow the painterly development of the artist in image and text, starting with the Stockholm art scene in 1981. In this richly illustrated book, Wessman writes of the working processes of the studio, of influences from other artists, of journeys to exotic places, and of his own Vindö Park, the three-dimensional painting.

Boken Handkraft är en hyllning till alla de hantverkare som håller urgamla traditioner och hantverk vid liv. Historiskt sett är hantverken grunden till städernas framväxt, vilket ännu märks i gamla gatunamn som Kammakargatan, Hantverkargatan och Yxsmedsgränd. I boken träffar vi såväl hantverkare med fyrtio år i yrket som unga nykomlingar med full koll på dagens digitala medier. Vi får bland annat känna tatueraren Sofie, som lärt sig hantverket i Hongkong, dockmakaren Arne, som samarbetat både med demonregissören Ingmar Bergman och rockbandet Teddybears, perukmakaren Julia, som arbetat bakom kulisserna med stjärnor som Monica Zetterlund och Magnus Uggla, samt tapetmakarna Sara och Mats, som återupplivar gamla tapetmönster i en gammal fångvaktarbostad på Långholmen. Boken berättar historierna bakom de olika hantverksyrkena, samtidigt som den bjuder på unika inblickar i hantverkarnas dagliga arbete. Den är en sinnlig och inspirerande hyllning till handens kraft. Handkraft publiceras av Stockholms hantverksförening, och är en del av deras 175-årsfirande. Den är skriven av kulturjournalisten Bo Madestrand, med fotografier av Klara G och grafisk form av Pompe Hedengren.

Art jewellery has departed from its tradition of being decorative ornaments and it has moved beyond solely working as social markers into a new art form not restricted to specific techniques, materials, subjects or aesthetics. Artists working with jewellery as a medium should be considered equal to fine artists. The jewellery produced is unique pieces of art and not mass-produced design objects. The purpose of fine art and art jewellery is communication, conveying ambiguous messages and raising questions. Jewellery has the ability to open up for dialogue between the wearer and its audience. Its messages can contain many layers and urge us to reflect upon and question our own system of belief of what is considered precious and beautiful. In this book, noted art jewellery specialist Inger Wästberg shines light upon art jewellery as an independent art form through a number of pieces from her own collection. She shows jewellery that reflects the times we are living in; that challenges our perception of what is considered beautiful; and that deals with topics like gender equality, overconsumption, sustainability and the transience of life.

Erla S. Haraldsdóttirs konstnärsbok My Mother's Dream / My Dream utgavs i samband med en utställning 2021 2022 på Norrtälje Konsthall. Boken återger en dröm som skrevs ner i en dagboksanteckning av konstnären Erla S. Haraldsdóttirs farmors mormor. En faksimil av dagboksanteckningen ingår, liksom översättningar av drömmen från isländska till svenska, tyska, engelska och isindebele (som talas i Zimbabwe). Öppnar man boken från andra hållet har den tomma, linjerade sidor som bjuder in läsarna till att skriva ner sina egna drömmar det vill säga delta i bevarandet av drömminnen.  Under de senaste åren har Erla S. Haraldsdóttir gjort flera sviter av målningar som avbildar medlemmar i hennes fars gren av släktträdet. Genesis, 2016, på Konstepidemien i Göteborg och Patterns of the Family, 2019, på Reykjanes konstmuseum på Island är två exempel. My Mother's Dream, 2021, tar uppgiften att avbilda hennes släktingar till en djupare och intimare nivå. Haraldsdóttir delar minnet av hennes anmoder Svanhildurs möte med de osynliga (huldufólkið), en i högsta grad personlig erfarenhet, typisk för det sena artonhundratalets Island, där tron på de osynliga var vanligt förekommande.  My Mother's Dream / My Dream is an artist s book by Erla S. Haraldsdóttir, published on the occasion of a solo exhibition at Norrtälje Konsthall, Sweden. The book reproduces a dream recorded in a diary entry by the great-grandmother of the artist Erla S. Haraldsdóttir. A facsimile of the diary entry is included, as well as translations of the dream from Icelandic into Swedish, German, English and IsiNdebele. The reverse side of the book has blank lined pages that invite readers to record their own dreams in the book in effect to participate in recording of memories of dreams.  In recent years, Erla S. Haraldsdóttir has created several series of paintings that depict members of her father s branch of the family. Genesis, 2016 at Konstepidemien, Gothenburg, Sweden, and Patterns of the Family, 2019 at Reykjanes Art Museum, Iceland, are two examples. My Mother's Dream, 2021, takes the engagement of representing her relatives to a deeper, more intimate level. Haraldsdóttir then shares a memory of her ancestor Svanhildur s encounter with the hidden people (huldufólkið), an experience that was highly personal and very particular to the context of Iceland in the late 19th century, where belief in the hidden people was prevalent. 

The Swedish and French cultures have had a long and passionate love story in Paris. For 50 years, the 16th-century palace Hôtel de Marle has been an important meeting place for both cultures. In 1971, the Swedish state opened the Swedish Institute in Paris here Sweden s only house of culture abroad. This book tells the history of the unique city palace and of all exciting events that have taken place there. Among other things, one can read about how the singer Barbro Hörberg taught Georg Riedel to drink cassis, about an unforgettable gala night with the main characters from Christer Strömholm s controversial photo book The Friends from Place Blanche, how the Swedish Institute in Paris showed Hilma af Klint before she became widely known, and how a young Swedish photographer named Eva Klasson got her international breakthrough in Paris. There are also guest appearances from August Strindberg, Greta Knutson, Queen Kristina, Gunnar Ekelöf and many other cultural personalities who have made Paris a second home. This is a book about a house, about people, about culture, but first and foremost about friendship. Amitié!

Having survival kits used in Apollo and Mercury space missions as inspiration, the artist book Noah s Ark An Improbable Space Survival Kit advances a set of conceptual and artistic tools to be used in a crisis situation our present times and to imagine the future. The accelerated rhythm of global climate change, vanishing bio resources and the effects of the Anthropocene pose the urgency of survival in stronger and stronger terms. What are the possible scenarios to be followed? Nowadays, leaving the Earth and colonising outer space is gradually becoming a potential alternative reality. The unknown cosmos is gradually turned into a world to be seen, grasped, explored and inhabited. The Artemis Moon Mission is scheduled for 2024. Worlds, potentially hosting life or capable of sustaining it, are being envisioned and searched for; exoplanets are discovered; self-sustainable space habitats are imagined. Contemporary Noah s Arks are designed, human life prolongation is sought for, and Military Space Commands are created. Ethical questions abound regarding the attempt to colonise and inhabit space, as well as regarding human responsibility toward outer space, which starts to be marked by an Anthropocene stage. The actively sought for planetary migration toward space simultaneously contains the promise of the future as well as the germs of contamination and destruction of the worlds it encounters. Is outer space a viable scenario for life prolongation and survival? If so, does it breed life as we know it, or do we witness an ontological shift in what life means? This project is supported by Konstnärsnämnden, The Swedish Art Grants Committee. Artistic Concept: Corina Ilea and Stefan Constantinescu  Design: Radu Manelici   Illustration: Mihai ColibanText contributions by: Corin Braga, C t lina Curceanu, M RX Dentith, Simon Harel, Laura T. Ilea, Maria Lantz, Philip Leonard, Ilinca Micu, Tudor Mih escu, Dumitru Prunariu, Alexandru Solomon.     

The third book about Offecct's collaborations with various designers from around the world is a personal and open-hearted conversation with Lucy Kurrein. She s been very involved in the creation of the book and offers a unique insight into the world of images and ideas that has shaped her design philosophy.In the book, we follow design writer Max Fraser to Lucy Kurrein's studio for a personal and sincere conversation. The extensive visual material that Kurrein herself has selected reflects her personality, sources of inspiration and design process. Just as in her work, we meet a designer where care for every detail results in a natural simplicity that requires time. I am selective about the projects I take on. If I hired a team, I could take on three times as much work, but I enjoy designing everything with my own hands and allowing a slow and considered design process, she says.Lucy Kurrein also talks about how her creativity when young was nurtured by visits to art museums, sculpture parks and galleries and why the relationship between the product and the human body is so central to her.Lucy Kurrein began her career on an Art Foundation Diploma at the Leeds College of Art and Design. She went on to study Furniture Design at Buckinghamshire University where she graduated in 2007. After some years at Matthew Hiltons and Pearson Lloyds respectively, all British Royal Designers for Industry, she set up her own design studio in London in 2013. The same year she launched her first sofa in collaboration with SCP. In 2015 Lucy was awarded Young Furniture Designer of the Year by Homes and Gardens magazine. She is one of the most exciting new designers working in Europe today.

Der findes, ud over lejlighedsvise projektomtaler i forskellige tidsskrifter og blogs, endnu ikke en samlet fortælling om tegnestuen Cubo. Den arkitektoniske produktion er efter eget udsagn ikke signalarkitektur. De ellers produktive arkitekter er på mange måder gået under radaren . Det skal denne bog gerne råde bod på. Portrættet af Cubo er tænkt som et blik ind i det arkitektoniske maskinrum skrevet på baggrund af en række samtaler, Boris Brorman Jensen over en længere periode har haft med tegne-stuens partnere. Ideen med samtalerne var i første omgang at få indsigt i noget af den tavse viden, der driver værket, men sjældent udbasuneres. At skildre den særlige formative ballast, selvforståelse og etik, som erfaringen har skabt, og at løfte lidt af sløret for de interne diskussioner, der ligger til grund for tegnestuens arbejde.

Mind-Building tells the story of Finnish public libraries and library architecture. It presents 17 library buildings from different periods, grouped under specific themes and curated by architectural critic and scholar Anni Vartola, with texts describing the themes, drawings and photos of the buildings and extracts from different sources such as newspapers and architectural reviews.

This book on Luca Nichetto, is the second in a series offering deep insight into the brand's long history of collaborating with world leading designers, telling the story of the ideas, design and craftsmanship behind their products.In the book, Offecct teams-up with a number of well-known creators, such as the design writer Yoko Choy Wai-ching, China editor of the Wall-paper* magazine, photographer Björn Ceder, Andreas Ackerup and the team at Henrik Nygren Design. One can read about Luca Nichetto's first contact with Offecct in 2007 and how he adopted Scandinavian sustainability thinking into his native Italian design language. In a conversation with Dutch artist Daan Roosegaarde, Nichetto says: The more restrictions you have, the more creative you have to be. Sustainability is one of these restrictions that leads us to discover things that we have never considered before .Designer Luca Nichetto was born in Venice in 1976, where his artistic talents were inspired by the famous Murano glassmaking industry. He went on to study at Istituto Statale d'Arte in Venezia and then take a degree in industrial design at Università Iuav di Venezia (IUAV). He took the leap to setting up his own practice in the city in 2006. Five years later he moved to Stockholm, Sweden, to start his family and open a second studio there, combining his Italian flair with the Swedish spirit of modernity and sustainability. Over the years, Luca has served as art director for many international design brands and gained a reputation as a multidisciplinary designer. His highly researched, innovative projects have earned him an many international awards for designs that range from products, accessories and furniture to architecture, exhibition design and branding.

BEAT starts with the mesmerizing flow of movement in urbanscapes that is characteristic for artist Anders Moseholm. It continues with his work of elaborate but disrupted and dissolved interiors followed by his meditative paintings of nature. US art critic and poet Raphael Rubinstein and Danish professor and artist Erik Steffensen contribute to the book with texts about Moseholms work.

This is the first book in a planned series about Offeccts collaborations with various designers from around the world. Matti Klenell s collaboration with Offecct started in connection to the renovation of Nationalmuseum in Stockholm in the mid- 2010s. The result was the sofa system Font, launched in 2018 and now extra relevant with several freshly designed modules.

När blir man konstnär och hur går det till? Tjugofem yngre konstnärer som etablerat sig under 2000-talets första två decennier (och ett par äldre) skriver om vägarna till sina konstnärskap. Huvudredaktör är konstnären Susanna Slöör, biträdd av konstnärerna Maria Hall och Dan Wolgers vilka alla tre också bidrar med varsin text.

Tankerum är ett konstnärligt arbete i ord och bild. Boken innehåller texter som bildar grunden för konstnären Susanna Slöörs måleri. Texterna improviserades fram den varma sommaren 2018. Susanna Slöör (f. 1962) är konstnär, skribent, konstkritiker och curator. Hon är bosatt och verksam i Stockholm och ställer ut runt om i Sverige.

This series of photographs touches on our subconscious identification with well-known brands and how they are presented to us. The artist Joakim Eneroth explores the transformation of dense products associated with consumerism, and investigates their ethereal and transparent nature in its temporary expression. It becomes an exploration of how the sublime and etheric aspect of reality is an underlying potential in all forms, as well as in the formless. When the boundaries of the material world are dissolved, we enter the landscape of neither subject nor object the transparent interrelationship between the relative and the absolute. This artwork exposes and expands our definitions and associations with products of everyday life.

Since its opening, the Amos Rex Art Museum, designed by JKMM architects, has been a great public and architectural success. It is tucked away underground in the ancient glass palace in the heart of central Helsinki. Through its architecture, it has set new boundaries for what a museum can and should be. With its huge arched exhibition halls and eye-catching lanterns that make it feel as though it is above ground, the building never fails to surprise. Art museums seldom manage to be fully functional for all types of art, new and old, and at the same time deliver an architecturally strong experience that changes the city. But here, everything is in place, states Lars Nittve in one of the book s essays. In this book, a close-up of the museum is drawn in words, sketches, and pictures.

Through experiments, "design therapy" and alternative methods, this book tells the story about the experimental design project The Kinship Method, that took place 2018 to 2019. It s a story and example of how a practice based project can grow knowledge and contribute to change the designer role. As well as questioning the ideas of how design should be done and why we should make a "fun revolution". Five designers are challenged to break patterns in order to find new styles and methods.It starts individually with the designing of a chair each, only to be infiltrated by each other s shapes in the following two stages. Each chair moves on to the next designer, who in turn must use 20-40% of the chair s form elements for a new chair. Consequently, fragments, pieces and artistic expressions are inherited from the previous generation. Everything is done under time pressure and with no insight into what the others are doing. There are now three generations with a total of fifteen chairs that are related to each other. Each generation of chairs is followed by a group discussion where they reflect on: What happens to the style and design? What happens within us? What can we learn? Does it create diversity, development or conformity? The purpose of the project is not to make the best chairs or the best design. After following the project one might assume that it is about processing any possible design traumas, challenging authorship, finding new ways to collaborate. But for the initiator  Margot Barolo, those three are just ingredients, or means, for developing new ideas on alternative designer roles and design production. All that she will reveal in this book. It can be seen as an instruction, as well as a debate post, or an inspiration. For all of you who are interested in processes, artistic work, design and its place within production and goods this book are of interest. The participating designers are Margot Barolo, Andreas Nobel, Erik Björk, Mia Cullin and Fredrik Paulsen. 

Published on the occasion of the Nordic Art Association s seventy-fifth anniversary, this publication is initiated and produced by the Swedish section, tracing some of the association s activities in the entire region through the years. The book is an examination and a celebration of a visual art organisation in the Nordic region aimed at creating networks between artists since 1945. Historical texts by researchers critically engage with a newly retrieved archive, and the Nordic art world through the lens of association s records. The Swedish association's activities have developed in a direction that gravitates around the Nordic Guest Studio in Stockholm. In this book, international guests and collaborators reflect this in a guest book emanating from CRIS, Curatorial Residency In Stockholm, by sharing their thoughts on the notion of hospitality. NKF was founded 1945 with branches in Denmark, Finland, Iceland, Norway, and Sweden as well as the autonomies of Faroe Islands, Greenland, Åland and the Sámi People.The book has been edited by Björn Norberg, Camilla Larsson and Jonatan Habib Engqvist. It includes contributions by Abir Boukhari, Adam Kleinman, Alvaro Campo, Amara Antilla, Anna Tomaszewska, Basak Senova, Bengt Jahnsson-Wennberg, Berit Schuck, Björn Norberg, Britta Marakatt-Labba, Elena Agudio, Gotthard Johansson, Iaroslav Volovod, Joanna Sokolowska, Jonatan Habib Engqvist, Jonas Ekeberg, Juha Huuskonen, Jussi Koitela & Yvonne Billmore, Lorenzo Sandoval, Maria Nicolacopoulou, Maria Nordvall, Marina Fokidis, Marina Vale Noronha, Marta Edling, Michy Marxaruch, Nat Muller, Olga Hatzidaki & Maria Thalia Carras (locus athens), Power Ekroth, Riksa Afiati, Stefanie Hessler, Taru Elfving, Theodor Ringborg, Viktorija Siaulyte.

This book tells the untold story of Snowcrash (1997-2003), an international design company founded by Finns and operated by Swedes. Equipped with an optimistic view of the future, they succeeded in designing a collection that connected art with technology, and the real with the virtual world. The story takes the reader from a Finland in deep recession in 1993, to Sweden in 2003 recovering from a IT-boom hangover. DIY spirit, bold visions and progressiv design management is played out and told by the international group of creatives involved painting a picture of a unique design event that offers an alternative view on "Scandinavian Design". The book includes never before seen material from private archives, showing the design process and the legendary Snowcrash exhibition in Milan, 1997 as well as new photos taken off iconic objects in the groundbreaking collection that was made.

Katalogen Övergångar utkommer i samband med Erla S. Haraldsdóttirs soloutställning i Lunds domkyrkas krypta, 20 mars 20 april 2021. Boken innehåller reproduktioner och detaljåtergivningar av den isländska konstnärens senaste teckningar, målningar och mosaiker, från ett arbete som påbörjades 2020: Med utgångspunkt i påskhögtidens symbolik använder Erla S. Haraldsdóttir föreställande oljemåleri för att upprätta lekfulla och högst personliga tolkningar som visar 2000-talets bildspråk kring Kristi död och uppståndelse. Målningarna är på en och samma gång öppna och mångtydiga. Hennes konstnärliga praktik citerar ett brett kulturspektrum, däribland västerlandets konsthistoriska kanon, tidigmoderna konstnärer från den isländska landsbygden, Ndebelefolkets väggmålningar från Sydafrika, Benin-bronserna, den egna släktens fotografier och medeltida illuminerade handskrifter. Alla dessa källor ordnas enligt en ibland hemlig logik, styrd av uppgifter som konstnären genomför med en metod för konstnärligt skapande som hämtats från den franska litterära rörelsen OULIPO, där man utgår från regler och begränsningar. Hennes skickligt utförda målningar i större format skapar tablåer vilka inbjuder betraktarna att reflektera över möjliga världar som genomsyras av symbolik, minne, landskap, interiörer och släktrelationer. Transformations is an exhibition catalogue published on the occasion of Erla S. Haraldsdóttir s solo exhibition at the Crypt of Lund Cathedral, March 20 April 20, 2021. The book features reproductions and details of the Icelandic artist s recent paintings, drawings, and mosaics, from a project that she began in 2020: Taking the symbolism that surrounds the holiday of Easter as a departure point, Erla S. Haraldsdóttir utilizes figurative oil painting to construct playful and highly personal interpretations that present 21st century imagery of the death and resurrection of Christ. Paintings that remain open-ended and ambiguous at the same time. Her art practice cites heavily from a broad range of cultural production, including the Western canon of art history, regional early modern painters from Iceland, South African murals of the Ndebele people, the Benin Bronzes, personal family photographs, and medieval illuminated manuscripts. These varied sources are then arranged according to an at times secret logic driven by tasks that the artist will execute in a method of creating art based on rules and restrictions, structures adopted from the French literary movement OULIPO. Her skilful large format paintings create tableaux that invite viewers to consider possible worlds infused with symbolism, memory, landscape, interiors and kinship.

The New Era Magazine is a beautifully crafted print publication focusing on Scandinavian interiors, design, art and craft. With our base and area of expertise firmly in Scandinavia, we meet architects, interior designers, urban farmers, artists and craftspeople who contribute to our visual and material culture. We invite our readers to inspiring homes and spaces in the Nordics, while at the same time discussing topics relating to how we live in this moment of time. The New Era Magazine is a quarterly magazine published four times a year.In the second issue we visit the couple behind acclaimed interior architecture firm Halleroed at their forest hideaway, and we visit a 17th-century home and garden where time has stood still. Celebrated fashion designer Diana Orving creates a textile art installation in an empty museum exclusively for us, and we spend some time in the beautiful, sparse home of glass maestro Ingegerd Råman. We are not easily tempted to buy things, she says about her and her husband s decision to live with the bare minimum of objects. I will defend the empty space. Elsewhere in the issue, we discuss the profound effects of the built environment on our wellbeing. I want to be part of a cultural movement that recalibrate what matters in society, and in life, says Danish chef Fredrik Bille Brahe in Hugo Macdonald s article on reconnecting with our roots. I think courage to be local is important. Born at a time of change, our hope is to inspire new ideas on the subject of living well. It s time to welcome in a new era.   

Hon har stått på Dramatens scen, umgåtts i Paris salonger och varit påpassad av paparazzifotografer. Men också hjälpt unga forskare och konstnärer genom grundandet av olika stiftelser. Möt Marianne Bernadotte - skådespelerska, filantrop, medmänniska och ägare av en enastående samling haute couture-plagg - kläder som vittnar om hennes tidlösa känsla för stil. Boken är på engelska och svenska.

Nathalia Edenmont touches subjects that are often taboo in western society. Her artworks can be viewed as modern expressions of traditional iconography. With poignant texts by authors Barbara Pollack, Ingela Lind and Jean Wainwright, this beautifully illustrated book provides a retrospective of Nathalia Edenmont's artworks throughout her career as an artist, from 2002 until today.