Galleri Lars Bohman is proud to present Elis Eriksson’s second exhibition at the gallery. In his latest exhibition entitled “The red and the”, Eriksson presents a series of new paintings, collages and drawings.
Elis Eriksson is one of Sweden’s most individual artists and a legend within the Swedish artworld. He received his breakthrough during the 1960s after abandoning a number of realistic and post-cubic styles, adopting instead a freer experimentation with objects between image and text, he also developed a special collage technique. During this period Eriksson was part of the circle of “concrete” poets including Åke Hodell and Öyvind Fahlström and played an important role in the activities at the new Moderna Museet. His exhibition ”Pavan, indijaner och en kåvboj” in 1964 at gallery Burén is widely regarded as Sweden’s first installation. Since then he has enjoyed a leading position in Stockholm’s artworld and is regarded as both an inspiration and a precursor for today’s younger artists.
In 2000 he received the prestigious, annual Major Grant award from the Swedish Arts Grants Committee, with the following motivation “for his absolute individuality and for his convincing reflection of his own time, using a language ahead of his time. In the 1960s Eriksson left tradition behind by positioning himself against the artworld’s demands for a personal style and artistic responsibility. Instead, he carefully documented everyday nonsense about politics, poetry, slapstick and erotica in the form of books, maps and games. Paradoxically, this denial of style led to his developing one of the most personal artistic styles of the 20th century. He is completely of his own time and, at the same time, ahead of his time. The visual arts today follow in his footsteps. Younger artists have, therefore, much to thank him for.”
Elis Eriksson, born in 1906 in Stockholm, lives and works in Stockholm. He attended the College of Arts, Crafts and Design, and the Royal Academy of Fine Arts in Stockholm during the 1930s.
Elis Eriksson is one of Sweden’s most individual artists and a legend within the Swedish artworld. He received his breakthrough during the 1960s after abandoning a number of realistic and post-cubic styles, adopting instead a freer experimentation with objects between image and text, he also developed a special collage technique. During this period Eriksson was part of the circle of “concrete” poets including Åke Hodell and Öyvind Fahlström and played an important role in the activities at the new Moderna Museet. His exhibition ”Pavan, indijaner och en kåvboj” in 1964 at gallery Burén is widely regarded as Sweden’s first installation. Since then he has enjoyed a leading position in Stockholm’s artworld and is regarded as both an inspiration and a precursor for today’s younger artists.
In 2000 he received the prestigious, annual Major Grant award from the Swedish Arts Grants Committee, with the following motivation “for his absolute individuality and for his convincing reflection of his own time, using a language ahead of his time. In the 1960s Eriksson left tradition behind by positioning himself against the artworld’s demands for a personal style and artistic responsibility. Instead, he carefully documented everyday nonsense about politics, poetry, slapstick and erotica in the form of books, maps and games. Paradoxically, this denial of style led to his developing one of the most personal artistic styles of the 20th century. He is completely of his own time and, at the same time, ahead of his time. The visual arts today follow in his footsteps. Younger artists have, therefore, much to thank him for.”
Elis Eriksson, born in 1906 in Stockholm, lives and works in Stockholm. He attended the College of Arts, Crafts and Design, and the Royal Academy of Fine Arts in Stockholm during the 1930s.