EXHIBITION:
IHM - TRADE FAIR MUNICH
INTERNATIONAL DESIGN AND CRAFT FAIR
FRAME BOOTH B1:763
4TH - 8TH OF MARCH
NEXT EXHIBITION - NEWS IN THE GALLERY
AT TEGNÉRGATAN 4 IN STOCKHOKLM OPENS 19TH OF MARCH
Next week, friends and colleagues in contemporary jewellery will once again gather in Munich, that special time of year when galleries, curators, organizers, artists, collectors, and enthusiasts who are passionate about jewellery meet annually.
PLATINA will present selected jewellery at the IHM International Craft & Design trade fair in Munich. Alongside EXEMPLA, SCHMUCK, and TALENTE, you will find FRAME, where several renowned jewellery galleries have their stands.
You can find us there at B1.763. Opening hours: 9:30–18:00.
This year we will present new works by several artists, some previously shown in exhibitions during the year, and others made especially to be shown for the first time.
We will also present works by the finalist of the AJF Young Artist Award 2026, an important award supporting young artists in their careers, generously supported by Karen and Michael Rotenberg.
PREVIOUS EXHIBITIONS
EXHIBITION:
MATERIAL WITCHCRAFT
TEREZA SEABRA
CATARINA SILVA
MARTA COSTA REIS
5TH - 26TH OF FEBRUARY
How do objects change the life of people? How much do they carry in their sometimes humble form? The most intimate of them, jewellery, clinging to our bodies, creates ripples of meaning.
The works of the three artists from Lisbon in Portugal, Tereza Seabra, Catarina Silva and Marta Costa Reis, converge in a shared territory where jewellery becomes more than adornment, it becomes a ritual object, a spell, a fragment of the invisible. They meet here as alchemists of form, weaving together memory, desire, and transformation.
At the root is Tereza Seabra, whose work invokes the ancient function of jewelry as protector and talisman. Her materials agates, pearls, metals, are carriers of energy, chosen not only for their beauty but for their symbolic potency. In her hands, jewelry becomes a repository of belief, a gesture toward the sacred.
Catarina Silva, restless and playful, takes this lineage into a dreamlike and surreal dimension. Her pieces often assemble unexpected materials into amulets that hover between the archaic and the contemporary. Love tokens, glass beads, and everyday symbols are recomposed into objects that recall the rhythms of ancient chants, the repetitions of spells, and the intimacy of secret offerings.
Marta Costa Reis moves between reflection and creation, attentive to the signs and codes that have guided human meaning across time. Her work meditates on the fading of symbols, on what is remembered and what is forgotten, transforming jewelry into an act of divination, an attempt to glimpse beyond the visible, to touch the mystery that lies hidden.
Together, these three artists reveal jewelry as a field of enchantment, objects that bind us to others, that carry the aura of protection, that whisper of love and loss, and that open small portals to the unknown
THE STOCKHOLM JANUARY ACCORDS
ANDREA HVISTENDAHL
TOVE KNUTS
KARIN ROY ANDERSSON
SANNA SVEDESTEDT
SOFIA BJÖRKMAN
17TH - 31ST OF JANUARY 2026
Leonardo da Vinci’s painting the Mona Lisa is considered priceless, yet it is often estimated to be worth around 23 billion Swedish kronor, or approximately 2.1 billion euros. Sweden's defense budget in 2025 was between 138 and 148 billion, i.e. about 6 Mona Lisas. Running Sweden's largest hospital, Sahlgrenska University Hospital, cost about 21.6 billion kronor in 2024, barely one Mona Lisa.
A lot of things are very important right now. We can talk about priorities and values, what is important, more important and most important and compare the different foundations on which a society rests. But does it make sense to place it in a hierarchical order? Art is important, very important if you ask us! What would we be like without art? Would we manage?
In the exhibition, OUR MOVE by Andrea Hvistendahl is on display and can be played. It is a board game, an artwork, and a dialogue tool that visualizes, among other things, structures and power balances in society or complex systems. It has been used in various conflict resolution contexts such as the Syrian Talks and in Iraq, but also for future looking work or problem solving in places like Lusaka, Rio de Janeiro, New York, Geneva (UN, UNECE), the The State Environment Agency, at different universities, and more.
You are also invited to browse and explore the printed folder “Om krisen eller hopplösheten kommer” (“If crisis or hopelessness comes”). And as always, look and try jewelry on show. In this exhibition by Karin Roy Andersson, Sanna Svedestedt, Tove Knuts and Sofia Björkman whose works, in different ways, relate to social changes and preparations for something that may come.
RED AND WHITE DOTS
11TH - 30TH OF DECEMBER 2025
Artists in the exhibition:
Ameli Dévé, Caroline Broadhead, Catarina Hällzon, Felieke van der Leest, Hanna Liljenberg, Manon van Kouswijk, Mari Ishikawa, Marta Boan, Åsa Portnoff Sundström, Sanna Wallgren
tockholm
We are marking the conclusion of a successful year, symbolically letting red dots fall like snow.
The exhibition in white and red includes the brooch Snow White by Felieke van der Leest, ruffs and necklaces crafted from white glass beads by Caroline Broadhead, porcelain pieces by Manon van Kouswijk, rings like red and white dots by Marta Boan, braided white silver by Ameli Dévé and Catarina Hällzon, red silk jewellery by Mari Ishikawa, earrings and brooches by Hanna Liljenberg, red aluminum works by Sanna Wallgren, silver white rings by Åsa Portnoff Sundström, as well as additional pieces in the same palette.
Artists in the exhibition:
Ameli Dévé, Caroline Broadhead, Catarina Hällzon, Felieke van der Leest, Hanna Liljenberg, Manon van Kouswijk, Mari Ishikawa, Marta Boan, Åsa Portnoff Sundström, Sanna Wallgren
Image to the left: Works by Caroline Broadhead
BODILY
SARA GACKOWSKA
20TH OF NOVEMBER - 6TH OF DECEMBER
Stockholm
The exhibition BODILY explores the relationship between the body and matter, the ways in which materiality becomes an extension of bodily experience, memory and touch. We see sensitive and fine-crafted jewellery and objects made of stone, pearls, and latex, materials of striking symbolic and sensual presence. Stone carries the weight of permanence, the pearl embodies organic delicacy and intimacy, while latex holds the tension between protection and sensuality, between skin and its surface.
Forms emerging from these materials refer to the human body, to its fragments, gestures, and traces. The works do not imitate the body, or narrate its stories, but rather evoke it through texture, softness, gloss, rhythm, and touch. The exhibition moves along the boundaries between the personal and the collective, matter and sensation, the object and the body that wears or remembers it- where presence is inscribed in matter.
Sara Gackowska is a Polish artist whose practice explores materiality through bold and experimental approaches. She holds a BA in Industrial Design from the Koszalin University of Technology and studied Jewellery Art at Saimaa University of Applied Sciences in Finland. She completed her MA 2013 in Jewellery at the Academy of Fine Arts in Gdańsk, graduating with distinction. Her work has been internationally recognised and awarded.
She is currently a lecturer at the Academy of Art in Szczecin, where she leads the Jewellery Design Studio at the Faculty of Design, and is also pursuing her PhD research.
BLUE SEA, RESTING MOUNTAIN
KARIN JOHANSSON
2ND - 25TH OF OCTOBER 2025
Stockholm
This exhibition brings together work from the series COLORS and JOURNEY and the inspiration comes from two Artist in Residence on Capri 2023 and New Zealand 2020. Impressions were collected, primarily through photo documentation that she later brought back to the studio.
In addition to the theme of a specific place, enamel is what further unites the two series in the exhibition. A material and technique that Karin Johansson has returned to over the years.
- A combination of decisions and control, together with an element of chance, makes the enameling process interesting and adds a moment of surprise too. The fact that enamel is its own material, not just a color makes it special. Even with the thinnest layer, you can achieve depth and perspective. An imagination of something both near and distant, macro and micro at once.
Karin Johansson lives and works in Gothenburg. She received her MFA degree in 1994 from HDK-Valand Academy of Art and Design at Gothenburg University, where she later, between 2007–2019, was Head of Department/Professor in Jewellery Art/Crafts. Her work is represented in several private and public collections, and she is recipient of several major grants and awards.
MARITIM
DOERTHE FUCHS
29TH OF AUGUST - 27TH OF SEPTEMBER 2025
Utställningar i Stockholm
Doerthe Fuchs’ first encounter with fish took place in childhood, literally at eye level, when she saw them laid out on ice with their large, gleaming eyes in a delicatessen window.
Since then, the universe of fish has influenced her artistic practice, appearing both in drawings and in jewellery. Soldered silver eyelets flow gently around the neck, in motion reminiscent of an ocean wave.
The exhibition Maritim reflects this deep love of the sea and the oceans. Here we encounter fish in many forms, music boxes created as tributes to those who lost their lives at sea, as well as boats and ships.
Among them are the great ships known as windjammers, named for the sounds produced when the wind whistles between their sails and plucks at their many ropes like the strings of an instrument. The act of “rigging” a ship, its complete equipment of masts, sails, and ropes, suggests an elaborate adornment, a concept that resonates within the world of jewellery.
Doerthe Fuchs is a jewellery artist from Munich in Germany with a diploma from the Academy of Arts Munich.
NOTES
KAJSA LINDBERG
26TH OF APRIL - 15TH OF MAY
Utställningar i Stockholm
“I collect and map like a kind of contemporary archaeologist, in a constantly ongoing process. Letters, numbers, and symbols continuously emerge through the materials, are always present.”
Everyday objects such as receipts, notes, instructional drawings, manuals, and rulers, form a kind of working archive in Kajsa Lindberg’s studio. Sorted, reshaped, and reassigned, they become integral elements in jewellery and art objects.
“There are invented systems that simplify our lives. A meter is a meter, an A is an A. It happens I disrupt them. I make small shifts from the original function.”
Collecting and visual repetition becomes a working method. By elevating the overlooked and shifting the given, she imbues her objects with new meanings and offer new perspectives and different tools to perceive the everyday, also to listen more closely to the quiet language that surrounds us.
48
TORE SVENSSON
26TH OF MARCH - 12TH OF APRIL 2025
2020 was the year that most things were canceled and people had to stay where they were. Tore Svensson was in Berlin and unable to travel back to his studio in Sweden. He decided to find a new way of working, and the veneer replaced the iron, which had previously been the primary material in his work.
Throughout his long career, geometric forms have been a defining characteristic of his jewellery, and each project takes time. One project extends into the next, and a new project often emerges from an ongoing one, altering its expression and content. The series 48, exhibited at Platina, originates from a series of 100 brooches, where a square section was cut from a 60x60x1 cm iron plate. What remained was 27 square centimeters, which inspired the title and are divided into different parts, rearranged, and new signs and symbols emerge.
The principle behind the new works remains the same, but the total area is larger, 48 square centimeters, as indicated by the title. 48 is also the total number of brooches in the series.
Tore Svensson is one of Sweden’s most renowned jewellery artists. He graduated in 1978 from HDK – Academy of Design and Crafts in Gothenburg. From 1989 to 1996, he was a lecturer at the same institution and later worked as an adjunct professor for two years in the jewellery art department.
In addition to jewellery, he is also known for his forged iron bowls. His award-winning works are exhibited worldwide and are included in numerous private and public collections.
PINK & PUNK
KARIN ROY ANDERSSON, CAROLINE BROADHEAD, TIM CARSON, PAUL DERREZ, GERALDINE FENN, TOVE KNUTS, DANIEL KRUGER, FELIEKE VAN DER LEEST, HELENA LEHTINEN, ERIC LOUBSER, REKA LÖRINCZ, HANSEL TAI
23D OF JANUARY - 22ND OF FEBRUARY 2025
PINK & PUNK is an explosion of edgy interpretations, wild ideas, humorous figures, and irresistible creations. The exhibition features unexpected, bold pieces that push boundaries.
Twelve fearless artists from diverse backgrounds are invited to create and show this unique, fun and slightly mad collection, raising questions and offering answers on a variety of subjects.
Artists: Karin Roy Andersson, Caroline Broadhead, Tim Carson / Timothy Information Limited, Paul Derrez, Geraldine Fenn, Tove Knuts, Daniel Kruger, Felieke Van der Leest, Helena Lehtinen, Eric Loubser, Reka Lörincz, Hansel Tai
WINTER LINKS
BIBA SCHUTZ, HELENA SANDSTRÖM, JULIA WALTER, NILS HINT
4th - 21st of DECEMBER 2024
We warmly welcome you to the final exhibition of the year at Platina showcasing jewelry that harmonizes with the season and rhymes with the time. The exhibition December Links weaves together moments of the past year and moments that are yet to come, artistic skills with surprising expressions and ornaments.
New York-based Biba Schutz draws inspiration from space, shadows, and nature within the urban environment. For her, walks and public transport serve as a living library.
Helena Sandström embraces surroundings in Stockholm where a misty lake can make her think about the circular nature of time. Another year has passed, annual turns add to annual turns.
Nils Hint from Tallinn is known for reforging equipment and flattening tools. Here iron knives are transformed into ornaments like curled ribbons.
Curled and swirling are also the earrings by Amsterdam based Julia Walter and above the entire shines her golden star that of course is wearable as a pendant.
THE GEMSTONE APOTHECARY
SONDRA SHERMAN
24TH OF OCTOBER - 16TH OF NOVEMBER 2024
The Gemstone Apothecary by Sondra Sherman is a series that weaves together themes of science, superstition, and the symbolic language of jewelry. The pieces in this collection prominently reference science, with chemical diagrams as a visual element. Even for those unfamiliar with chemistry, the visual cues evoke a sense of scientific rationality and objectivity.
However, beneath this scientific facade lies an exploration of the superstitions that persist in daily life, often without conscious acknowledgment—such as the familiar habit of “knocking on wood.” In recent years, there has been a cultural resurgence of interest in crystals, gemstones, and amulets, particularly within New Age practices and mainstream culture. As the psychologist Stuart Vyse notes in Believing in Magic: The Psychology of Superstition, “The absence of control over an important outcome creates anxiety. So, even when we know on a rational level that there is no magic, superstitions can be maintained by their emotional benefit.”
Sherman's inspiration for this series stems from her residency at Trier University Idar-Oberstein Campus in the summer of 2019. Immersed in the gemstone industry, which defines the city of Idar-Oberstein, Sherman sought to respond to the unique environment while continuing to explore her ongoing interest in ‘process as metaphor’ and jewelry’s psychological and social roles.
Though initially struggling to find a connection between her research and the gemstone industry, Sherman became intrigued by the healing stones sold in local tourist shops. Entire rooms were dedicated to these stones, each accompanied by 'prescriptions' for their supposed healing powers. Through conversations with local colleagues, she discovered that many in the area sincerely believed in the gemstones' abilities to heal.
It was through this lens that the healing stones became a new symbol within Sherman's work, representing the psychosocial contexts of jewelry that have long informed her artistic practice. These elements coalesced into The Gemstone Apothecary, a series where healing stones are reimagined as both objects of superstition and as conduits for emotional and psychological expression.
SILVER LINING
THIS EXHIBITION TOOK PLACE AT STADSMUSEET IN STOCKHOLM
(Stockholm City Museum), Address: Ryssgården, Slussen
3d - 6th of October 2024
Participating artists: Anders Ljungberg, Annette Dam, David Clarke, Else Nicolai Hansen, Hanna Havdell, Hongxia Wang, Janne K. Hansen, Jorge Manilla, Kim Buck, Klara Brynge, Maria Eugenia Muñoz, Marie-Louise Kristensen, Markus Pollinger, Sarah Hurtigkarl, Sofia Björkman
Stockholm has a long tradition of silver, both as a trade commodity and, notably, as crafted objects. The combination of tradition and the exchange of goods and experiences is reflected in how silver takes shape.
SILVER LINING is an exhibition and a collaboration between PLATINA Stockholm and SPACIOUS Copenhagen and showcases silver crafts, featuring silversmiths and artisans from Stockholm, along with international colleagues who have been important in shaping what we see today. Fifteen artists within the disciplines of silversmithing and jewelry art each present their unique perspective on the history of silver and how they have developed techniques and language through the material.
Image to the left: Sara Hurtigkarl, Vision of a Spoon #2
MOUTH TO HAND
THIS EXHIBITION TAKES PLACE AT PLATINA, Tegnergatan 4
OPEN DURING STOCKHOLM CRAFT WEEK ONLY
5th of October the rockband THE DEAD KIDS plays new releases.
Lauren Kalman and matt lambert’s practices meet through explorations of the ideal, and identity. Approaching societal constructions and unpacking and questioning them through multidisciplinary artistic practices. Taking theory and practice together, to form praxis. Connecting mouth to hand.
Lauen Kalman is an artist based in Detroit with a completed PhD. By using her own body, she investigates constructions such as the feminine and relationships to identity and self-image.
matt lambert is a non-binary, trans, multidisciplinary collaborator and co-conspirator working towards equity, inclusion, and reparation. lambert was born in Detroit and is currently a PhD candidate at Konstfack.
The Dead Kids is a rock band from Stockholm and consists of Markus Örn (Dog Days), Kalle Djurberg Malm (Dödsfest, K. Malm), Peter Erell and Lisa Ekstig.
Together, The Dead Kids create brittle melodies, drenched in emotional charge and distortion. While life goes on outside, they are on tiptoe in the rehearsal room. When you're sitting on the bus, standing in line or picking up your children, The Dead Kids create their magic. The Dead Kids' debut album "Rauschen" contains eight songs about changing things in mid-life.
DAWN
LISBON CONTEMPORARY
JEWELLERY BIENNIAL 2024
PLATINA and FOUR EXHIBITS IN THE JEWELLERY ROOM AT
MUSEUM OF PORTUGUESE DECORATIVE ARTS – FRESS, LISBON
28TH -30TH OF JUNE
In the last week of June, Lisbon will host the second Contemporary Jewellery Biennial 2024 with several exhibitions around the city, a symposium, talks and other events. The title of the event is Madrugada, inspired by a famous poem by Sophia de Melo Breyner (in English, Daybreak).
Platina Stockholm and Four Göteborg cooperates and exhibit in the Jewellery Room at Museum of Portuguese Decorative Arts - FRESS and have brought together a group of 14 artists from Sweden.
Participing Artists: Tove Knuts, Jenny Jansson, Klara Brynge, Staffan Jonsson,Tore Svensson, Kajsa Lindberg, Sanna Wallgren, Annika Petterson, Marcelo Ferreira Gustafsson, Gustaf Lindblom, Agnieszka Knap, Hanna Havdell, Sofia Björkman, Karin Roy Andersson
More info about the theme and events: https://en.jewellerybiennial.pt/
The biennial is organized by PIN (the Portuguese association for contemporary jewellery)
FLORA CURIOSA
HANNA LILJENBERG
11TH OF APRIL - 5TH OF JUNE 2024
- For me the forest is a mysterious place filled with both darkness and John Bauer magic - inhabited by plants and creatures living together in symbiosis or the brutal reality of nature. I have a strong fascination for the world of flora much like my fascination for the deep sea. It is a realm beyond my understanding, and I both fear it as yearn for it. My pieces of jewellery attempt to capture my ambiguous feelings into wearable pieces in shape of leafy growth and creepy little bugs.
As starting point I use thin steel or brass sheets that I saw in fine formations to be hammered and bent for dimension and body. These folded shapes serve as the foundation for my pieces, which I cover with hundreds of paper parts as well as dried seed cases to evoke a sense of growth and new imaginary qualities. By painting them in many layers, I aim to bring an organic depth and a touch of melancholy and magic into the pieces. (Hanna Liljenberg)
Hanna Liljenberg is based in Gothenburg, Sweden. She studied jewelry art at HDK-School of Design and Crafts in Gothenburg and Hiko Mizuno College of Jewellery in Tokyo. Since 2010, she has been a part of FOUR gallery and studio in Gothenburg.
DESTINATION BIJOU -
THE GIRL WHO MAKES SILVER SENSUOUS
We go to France to exhibit at Château Grimaldi in Cagnes-sur-Mer, France
2nd – 5th of May 2024
Destination Bijou is an event organized by the city of Cagnes-sur-Mer, curated by Isabelle Busnel, Sébastien Carré and Juan Riusech and will take place in the medieval area of Cagnes-sur-Mer.
12 international exhibitions in the 3 main museums : Château-musée Grimaldi, MdAC & Espace Solidor. 3 local artists, 6 talks, 1 movie, 2 workshops and 2 guided tours will complete the program.
It was close to here, Swedish born Vivianna Torun Bülow-Hübe moved and established her workshop. Torun has during the years inspired and been a role model for silversmiths and jewellery artists. So, for the exhibition Sofia Björkman from PLATINA has curated for the event, 6 Swedish jewellery artists who are working in silver, are invited to honor Torun and show how we have developed into independent silversmiths and jewellery artists. The title of the exhibition, "The girl who makes silver sensuous," is taken from a headline of an article in The Star Weekly Magazine from 1962, published in the book, I samtal med Torun by Ann Westin.
COOKIE CANDY CORPUS
SÖT SMAK LEKSAK HUSTAK
HELENA JOHANSSON LINDELL
21ST OF MARCH - 6TH OF APRIL 2024
COOKIE CANDY CORPUS - Söt smak, leksak, hustak is the title of Helena Johansson Lindell's third solo exhibition at PLATINA. It sounds like all good things at the same time and that's exactly what it is. Söt smak, leksak, hustak is Swedish for sweet taste, toys and a rooftop.
Helena Johansson Lindell argues that life and art are interconnected. None of them can exist without the other. The inclusion of the word "rooftop" in the title is a hint that the roof of her new house needs to be replaced, and the income from the sale of the art thus covers this expense.
In the exhibition are things for each person, it’s a mix of jewellery and objects that can be interpreted in various ways. Colorful pieces from toys, household items, jewellery, and other everyday objects are wildly mixed. She embraces materials and methods that, from a societal perspective, are considered to have low status but are widely used in popular culture. Plastic and wood are recurring materials, and to that, textile and strings are added.
KATACHI form + focus
MARI ISHIKAWA, FUMIKI TAGUCHI, TAKASHI KOJIMA, ITTO MISHIMA
26TH OF JANUARY - 17TH OF FEBRUARY 2024
KATACHI form + focus
"Creation is to turn an invisible “form” into a visible “form”.
The individuality of the work resides in that perspective.
Depending on the artist`s point of view, the shape created from the image will differ.
A work that has become a visible “form” has the potential to bring about the discovery of another perspective depending on the viewer.
Furthermore, by wearing the work of jewelry, it is possible to incorporate the perspective of another approach into the work.
The expression of jewelry is greatly influenced by the surrounding environment.
Please feel the presence of Japan through our work."
"Katachi" is a combination of "kata" (pattern) and "chi" (magical power) and means form, but the concept has complex meanings in the Japanese understanding of the term, revealing intricate relationships between form, function, and meaning.
Snow is falling here, earlier than usual. The white blankets the dark. The title of Karin Roy Andersson's exhibition HUG A TREE can be interpreted in several ways; hugging a tree saves it and provides salvation to a lost soul but takes on an additional meaning in Swedish as it alludes to the word HUGGA, meaning cutting down.
"The forest provides recovery and perspective. Twigs, stones, cones, and the smell of pine needles. Heavy snow changes the forest's shapes, sound environment and light. Here, shy animals can be seen if one is quiet and observant, while the ones used to people simply give a quick look and continue with what they were doing.” - Karin Roy Andersson
The exhibition HUG A TREE is Karin Roy Andersson's first solo exhibition in Stockholm. Many know her from Four in Gothenburg and as an internationally established jewellery artist with exhibitions worldwide. For several years, Four and PLATINA have collaborated on both exhibitions and projects.
"When slowly assembling these pieces, slice by slice, I contemplated the frozen garden beneath a snowy coat. It is the darkest time of the year in the North now, but other forces of darkness are scattered across the globe. It is hard to imagine that the green color will once again awaken, tiny green shoots that will peek out from the soil, but this green vitality, despite its twists and turns, is truly essential." - Janna Syvänoja
Janna Syvänoja is known for her jewellery and sculptural objects made from recycled printed paper, such as newspapers, maps, catalogues, and old books. In the exhibition Green Power Plant, paper from an electric equipment catalogue is also used. The pieces she makes, are rich by their past, carrying along certain places and accidental meanings. This material also gives the pieces their individual exterior and interior decoration, their ornaments. The artist decides how the results should be but in the end the pieces take the shape of its own. When certain formed components start to follow each other and find their rhythm in the making, the miracle happens. It is a slow, meditative, and a very natural process. Beyond the language of the material, there is an additional reality, the information that refers to communication between people - messages and expressions. A piece of jewelry is worn for the same purpose.
EVERYTHING LOOKS GOOD
CURATED BY: Elin Flognman and Kristina Skantze
PARTICIPING ARTISTS: Anna Tedestam, Anna Rikkinen, Ellinor Augustini, Elin Flognman, Kari Steihaug, Kristina Skantze, Malene Kastalje, Pauliina Turakka Purhonen, Susanne Hangaard.
5TH – 27TH OF OCTOBER 2023
The exhibition is a part of the program of Stockholm Craft Week 2023
EVERYTHING LOOKS GOOD
Everything Looks Good can be a way of ignoring the actual state of things and focus on the surface and facade. It can reflect posts on social media where life seems flawless and always from the right angle to blur out what seems imperfect. For artists, these platsforms can function as an accessible, democratic art space with the ability to reach anyone with access to a screen. The nine participating artists in the exhibition have for some time shared pictures of their works with each other where they think everything often looks good. Now they meet in a physical exhibition where the visitors will be able to come close the works and the details. Will everything look good?
The exhibition is a part in the program of Stockholm Craft Week 2023 and made with support of Swedish Arts Grants Committee, Nordic Culture Fundation, Kulturfonden för Sverige och Finland and Swedish Arts Council.
