The Renaissance and the Physical Body
CFHILL is proud to present the third edition of Ten by Ten, a gathering of ten works of art from different periods and places. The criteria for the selection is that the work reflects a particular high point in an artist’s production. The oldest piece in the exhibition is the sculpture of a woman by Edgar Degas. Degas was perhaps the most single-minded of the famous impressionists, with his obsession with the female body in motion. In Ten by Ten, “Femme surprise”, from the early 1900s, meets up with another liberated 70s figure: Niki de Saint Phalle’s “Nana moyenne danseuse”, who with her ample forms appears as at least as graceful - if not even more anarchistic and liberated. The formidable Thomas Ruff’s photographs “Nudes ama 01 (NUD020)” is a contemporary extension of Degas’ nude studies and provides the connecting reference in the exhibition: a mocking Venus, pixelated for the 21st century. Keith Haring took street art to another level and no one can remain untouched by his painting of a mother and child (in a monitor). The exhibition includes a work from Cecilia Edefalk’s series of icons, “En annan rörelse”, a post-modern milestone - also a study of human bodies.
The exhibition provides an excellent opportunity to be amazed at the regeneration of Swedish modernists in their encounter with the European avant-garde. Everything from Sigrid Hjertén’s bitter sweet “Interiör - Iván i grön soffa”, from the momentous year of 1915, to Erik Olson’s formidable summary of the first overwhelming months in Paris, “École”. A range that encompasses Otto G Carlsund’s consoling “Fuga i brunt” (Fugue in brown) and Olle Baertling’s strict post-war nihilism in the space age. “Oga” is undoubtedly one of Baertling’s most important works, with its lines stretching towards eternity and space, where Olafur Eliasson’s magical star, “Flower Ball”, is shining.