Elis Eriksson (1906-2006) and PO Ultvedt (born 1927) shared a close and long friendship. During the 1960's they also participated in several exhibitions together and the closeness between them can also be seen in their respective works. They exhibited together for the first time in Gothenburg in January 1962. The exhibition, with wooden objects and mechanical works, resulted in both debates and many articles in different news papers. In Göteborgs-Tidningen (14/1 -62) one could read that two members of the art association cancelled their memberships as a reaction to the exhibition – but the writer assures the reader that even more persons join than left. With imageries full of life and fantasy, the two artists joined together and in a satirical and joyful way they made a revolt against the conventions of art. The same year Eriksson and Ultvedt also participated in the group exhibition "Spel" (games) at Galleri Burén in Stockholm. The following years one could also meet the two at Galleri Hedenius and at Bok-Konsum.
Also Dan Wolger's (born 1955) works contain playfulness and humour, and his ability to distort, provoke and retort leave few viewers untouched. In a well-timed and unerring way he presents a fresh view of life and seemingly meaningless objects. With his art Dan Wolgers follows his own path and he balances between life and death, happiness and sorrow in a finely tuned harmony of poetry, humour and reflection.
The gallery shows works from the 1960's by Elis Eriksson and PO Ultvedt and by Dan Wolgers works from the 1980's. When the three artists' works join together it becomes evident that many things combine them. The power to question, to expand and challenge the viewer's opinions and open the eyes for humour at the same time as one meets seriousness, and not the least the ability to create poetry in every day life. There is a social and political awareness with Eriksson, Ultvedt and Wolgers, which often takes form as satire on social structures and conventions.
Elis Eriksson was cited in Göteborgs-Tidningen in 1962 in relation to the exhibition with him and Ultvedt, "We need breathing space in the social dictatorship […]. We take ourselves so awfully seriously and we haven't had more fun since we lost all courage before regulations and directions. This exhibition can create joy and liberation. At least we hope so". We agree in this expectation and show with great pride the trio Eriksson-Ultvedt-Wolgers.
ELIS ERIKSSON "NATTENS HUNDAR"
It is with both pleasure and sadness that Galleri Lars Bohman presents the last exhibition with new works by Elis Eriksson. Elis Eriksson passed away in January this year, at the age of 99 years old. The new paintings, or the products as he preferred to call his works, he gave the name Nattens hundar (The Dogs of the Night).
Elis Eriksson was one of Sweden's most provocative artists. With his raw, anarchistic but also naïve imagery he constantly created immediate expressions in a chaotic surrounding. He received his artistic training at The University College of Arts, Crafts and Design and at the Royal University College of Fine Arts during the 1930's. He had his artistic breakthrough in the 1960's. Elis Eriksson had then abandoned some realistic and post-cubistic stiles and moved on to a more free and experimental form where he mixed texts and images, often in wooden constructions or small boxes. With the daily news on the radio and in newspapers as his primary source of anger and inspiration, Elis Eriksson portrayed critically and humorously injustice and double standard in a number of exhibitions and books.
Also the last works of Elis Eriksson, Nattens hundar, are made up of a combination of text and image. The language is no longer political, but the strength in the paintings is the same. The activities of the dogs are erotic and the line between intimacy and bestiality is difficult to draw. With exposed teeth the dogs raise their jaws and the strong touch in the painting enhances the feeling of an erotic struggle. Clear red, white and black dominates the palette and only the strips of text mitigate the tone in the paintings. Also the texts are erotic, but written with the soft poetry of Elis Eriksson in his unique way, without punctuation and obvious sentences. The texts run as comments to the events, or as witnesses of dreams of love, lust and closeness.
Elis Eriksson worked until the very end. In January his last book Vadå nått was released. Vadå nått joins the tradition of the previous books, with Elis Eriksson's hand written texts and drawings.
Elis Eriksson (1906-2006) lived and worked in Stockholm during his whole life. His exhibition "Pavan, indijaner och en kåvboj", in 1964 at Galleri Burén was pioneering and is referred to as the first installation in Sweden. Since then Elis Eriksson has had a central position in the art life in Stockholm and he has been an inspiration and ground-breaker for younger generations of artists. In 2000 Elis Eriksson received Sveriges Bildkonstnärsfonds Stora Stipendium.
Also Dan Wolger's (born 1955) works contain playfulness and humour, and his ability to distort, provoke and retort leave few viewers untouched. In a well-timed and unerring way he presents a fresh view of life and seemingly meaningless objects. With his art Dan Wolgers follows his own path and he balances between life and death, happiness and sorrow in a finely tuned harmony of poetry, humour and reflection.
The gallery shows works from the 1960's by Elis Eriksson and PO Ultvedt and by Dan Wolgers works from the 1980's. When the three artists' works join together it becomes evident that many things combine them. The power to question, to expand and challenge the viewer's opinions and open the eyes for humour at the same time as one meets seriousness, and not the least the ability to create poetry in every day life. There is a social and political awareness with Eriksson, Ultvedt and Wolgers, which often takes form as satire on social structures and conventions.
Elis Eriksson was cited in Göteborgs-Tidningen in 1962 in relation to the exhibition with him and Ultvedt, "We need breathing space in the social dictatorship […]. We take ourselves so awfully seriously and we haven't had more fun since we lost all courage before regulations and directions. This exhibition can create joy and liberation. At least we hope so". We agree in this expectation and show with great pride the trio Eriksson-Ultvedt-Wolgers.
ELIS ERIKSSON "NATTENS HUNDAR"
It is with both pleasure and sadness that Galleri Lars Bohman presents the last exhibition with new works by Elis Eriksson. Elis Eriksson passed away in January this year, at the age of 99 years old. The new paintings, or the products as he preferred to call his works, he gave the name Nattens hundar (The Dogs of the Night).
Elis Eriksson was one of Sweden's most provocative artists. With his raw, anarchistic but also naïve imagery he constantly created immediate expressions in a chaotic surrounding. He received his artistic training at The University College of Arts, Crafts and Design and at the Royal University College of Fine Arts during the 1930's. He had his artistic breakthrough in the 1960's. Elis Eriksson had then abandoned some realistic and post-cubistic stiles and moved on to a more free and experimental form where he mixed texts and images, often in wooden constructions or small boxes. With the daily news on the radio and in newspapers as his primary source of anger and inspiration, Elis Eriksson portrayed critically and humorously injustice and double standard in a number of exhibitions and books.
Also the last works of Elis Eriksson, Nattens hundar, are made up of a combination of text and image. The language is no longer political, but the strength in the paintings is the same. The activities of the dogs are erotic and the line between intimacy and bestiality is difficult to draw. With exposed teeth the dogs raise their jaws and the strong touch in the painting enhances the feeling of an erotic struggle. Clear red, white and black dominates the palette and only the strips of text mitigate the tone in the paintings. Also the texts are erotic, but written with the soft poetry of Elis Eriksson in his unique way, without punctuation and obvious sentences. The texts run as comments to the events, or as witnesses of dreams of love, lust and closeness.
Elis Eriksson worked until the very end. In January his last book Vadå nått was released. Vadå nått joins the tradition of the previous books, with Elis Eriksson's hand written texts and drawings.
Elis Eriksson (1906-2006) lived and worked in Stockholm during his whole life. His exhibition "Pavan, indijaner och en kåvboj", in 1964 at Galleri Burén was pioneering and is referred to as the first installation in Sweden. Since then Elis Eriksson has had a central position in the art life in Stockholm and he has been an inspiration and ground-breaker for younger generations of artists. In 2000 Elis Eriksson received Sveriges Bildkonstnärsfonds Stora Stipendium.