Timeline Stories

All timeline stories.

The nasty ones. Nightmare and reality in Swedish 1960s.

The 1960s were characterized by change, conflict and rebellion against the prevailing systems. There were many protests around the world against, among other things, the Vietnam War and the Soviet Union's brutal invasion of Czechoslovakia, while race riots raged in the United States. 1968 was a year of many disruptive events in the world, and the exhibition The Nasty Ones was a mirror of the contemporary political climate.

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An international and political decade

During this decade, no less than 15 international exhibitions were organized. After the Second World War, many countries wanted to cooperate in international organizations to avoid new major wars and facilitate economic development. In 1946, for example, the United Nations was created to work for peace and security. The aim of these international exhibitions was often to strengthen relations and cultural

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They went to Paris.

From the fall of 1985 to the beginning of 1986, the major Nordic initiative 1880s in Nordic Painting was shown at the National Museum. It was the first time that Nordic art from this important period was highlighted in a unified presentation. Although there were women artists in this exhibition (Anna Ancher, Helene Schjerfbeck, Maria Wiik, Harriet Backer, Kitty Kielland, Eva Bonnier

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Art - British 1980s

Parallel to neo-expressionism in Germany and the Italian transavant-garde, a similar art movement emerged in Britain in the 1980s, where a new generation of artists challenged modernism by mixing high and low, rhetoric and gags, art and non-art, gallery and street culture, production and consumption, heroic and mundane - a kind of leveling of all hierarchies.

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American 1980s

After World War II, the United States, and New York in particular, became an important center for avant-garde art: abstract expressionism in the 1950s, pop art in the 1960s and 1970s, and postmodernism in the 1980s. The American 80s exhibition consisted of a collection from the Neue Galerie in Aachen, Germany, belonging to the chocolate manufacturer Peter Ludwig and his wife Irene. Alongside Charles Saatchi

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Kjartan Slettemark – The Poodle

Kjartan Slettemark submitted himself in a poodle costume to Liljevalchs Vårsalong in February 1975. Kjartan Slettemark's poodle was seen but rejected. Thanks to the photographer and friend Brita Olsson, the moment was immortalized - which can now be counted as one of the most important in Swedish art history and especially in Swedish performance art. The origins of the artist's period in the poodle costume were

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Friends of handicraft 100 years

In 1874, Sophie Adlersparre founded the association Handarbetets Vänner to give women the opportunity to earn a living. Right from the start, there was an educational ambition in parallel with the artistic work. At the turn of the century, Carin Wästberg and Maja Sjöström were responsible for artistic expression together with the industrial designers Gunnar Wennerberg and Alf Wallander and the artist Anna Boberg,

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Miró

The 1972 exhibition at Liljevalchs consisted of a collection of paintings and sculptures that Miró himself had donated to his Catalan hometown of Barcelona with the intention that it would form the basis of a museum. It was the first time this collection was shown outside Spain and the largest single exhibition of the artist in Scandinavia. Joan Miró was

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Arman. Accumulations Renault.

When Liljevalchs Konsthall exhibited Arman in the early 1970s, he was one of the brightest stars among artists of the time. In the 1960s, Arman was one of the founders of the Nouveaux Réalistes group, which included César, Jean Tinguely and Yves Klein. This art movement is seen as the European equivalent of Pop Art in the United States. In a press release about

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Kollwitz & Barlach

The war years are usually referred to as the 'five lean years' in cultural circles in Sweden. There were lively protests in some cultural circles against the fact that the navy had occupied Liljevalch's premises so that no exhibitions were possible. When the German artists Käthe Kollwitz and Ernst Barlach were honored with a memorial exhibition in 1949, it was a long-awaited event. Both artists' works were counted in

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