marți, 16 septembrie 2014

LA Apartment Galleries - a New Trend in Town






LOS ANGELES — The contemporary art world often seems to be on a super-sized trajectory, with the rise of mega-galleries and record-setting auction prices all the rage. Alongside this bigger-is-better mindset, there is a competing approach that favors the humble, the personal, and the DIY, from artist-run spaces, to backyard performance art, to micro-galleries. One of the newest additions to this group is Del Vaz Projects, an apartment gallery and residency project located in Los Angeles’ Little Osaka neighborhood (it’s west of the 405, not to be confused with Little Tokyo). Over cups of tea and plates of dates and almonds from a local Iranian kosher market, we sat down with Del Vaz’s founder Jay Ezra Nayssan to get the lowdown on the new space, why he started it, and his ideas about art.
Nayssan’s enthusiasm for contemporary art is clear when speaking with him, but he originally came to the art world as an outsider. A native Angeleno, he studied anthropology and business and now works in his family’s construction and development firm by day. In 2012, he got his first opportunity to organize an exhibition, co-curating Synesthesia, a group show at LA’s M+B with Daniele Balice of Paris’ Balice Hertling Gallery. Last winter he organized a residency for French artists in LA and this past summer he offered French artist Lucile Littot a cottage, which was slated for demolition, to exhibit her work.

 Jan Ezra Nayssan at Del Vaz Projects, in front of work by Benjamin Phelan and Spencer Longo 

The decision to open a gallery in his apartment was the result of a fortuitous setback. What became his inaugural show was originally scheduled to open at a New York gallery this fall, but was eventually postponed until early 2015. Unable to sit on the project for four months, he decided to hold the exhibition in his new apartment and Del Vaz was born. The name comes from the Farsi phrase dast-o-del vaz meaning “open-handed and open-hearted,” and it speaks to the informal and collaborative atmosphere that Nayssan hopes to foster. He intends to open the space up to artists, writers, and curators to organize shows in the future.
Nayssan acknowledges the commercial aspect of the gallery system, but envisions his space as somewhere visitors can find respite from the heavy hand of the market. “Art in its true and honest sense is a place for discussion, for feeling, for beauty, and there’s a kind of a nobility to it still for me, even though some people don’t believe in that, but there’s still a respect and a dignity for me in it. It’s a place where you can shed this marketplace attitude, though that’s not always the case,” he says.
He cites an early experience in a souk with shaping his vision for the space:
“I’m Persian, so for me a marketplace is like a hot, stuffy crowded place, it’s really a visual that’s been with me all my life, and I’m like, ‘I don’t wanna be in a souk,’ then I remember one time being in a souk and my mom being curious about something and the proprietor being like, ‘come to the back,’ and we ended up spending an hour there, sitting down having tea, in the shade, having good discussion, hearing about the city, his family, and so I was like, ‘OK, if I open up a space in my apartment, this will be a little somewhere in the shade, out of the hustle and bustle of the marketplace, to come down and have dates and good discussion.’ So that’s what it was really. That’s how it kind of unfolded.”
This first show sprawls from Nayssan’s modest living room, into a more modest second bedroom. (Most future shows will be confined to the bedroom.) Titled Bathymetry – the study of undersea topography – the group show deals with issues of the human body, hyper-consumerism, and technological obsolescence, and envisions an open-ended future defined by “Proto-” as opposed to “Post-.”
“I wanted to give the viewer the liberty and the power to imagine a future and to kind of do a discovery on their own, taking into consideration the ideas of the post-human body, post-consumerism — that’s a substrate for the show — but it really was about an exercise on imagination for the viewer, not daring to tell people how or what to think,” he says.

 Max Hooper Schneider, “The Last Caucasian War” (2014), Acrylic tank, 1996 Toshiba Tecra 700CT, polymer resin, mud, leaf litter, gravel, found detritus, Ocypodid crabs

The works in the show give the impression of being created, then abandoned by humans. Benjamin Phelan’s extruded Styrofoam sculpture, Natalie Jones’ planters made from a casts of her head and citrus fruits, and Spencer Longo’s computer-etched loofahs have the washed-out look of beach fossils. With her “Checkerboard Mountains,” Liz Craft creates a handmade tabula rasa, and Max Hooper Schneider’s “post-conflict tide pools” re-imagine outdated technology as landscapes for crabs and scorpions.


Liz Craft, “Checkerboard Mountains” (2010/2013), ceramic, steel


Nayssan enlisted Brazilian architect Pedro Câmara for the exhibition design, who ended up using cinder blocks to create structures that emulate the different levels and textures of the ocean floor. “We decided to create a parcours, like a runway and give people the freedom to walk around and be in this atmosphere,” Nayssan says. “I didn’t have any furniture, so he made these modular ones that move around, and anything with foam, you can sit on.”
Bathymetry will run through November, followed by a group painting show slated for mid-January. Nayssan doesn’t have specific exhibition plans after that, but said that he would like to see LA artists use the space to show their work before it leaves for an exhibition elsewhere. “I went to Human Resources and Joel Kyack had a one day painting party before he shipped all his paintings off to Paris, so that people could see his work. That was so good … with all of these different blogs, young artists today are hesitant to reshow the same piece in another show because it’s already been seen all over the world. I’m hoping with LA artists, before they have a show in Belgium or London or whatever, that they come do a one night little thing, so we who live here with them, in this city, get to see the work in person.”
The space is open by appointment only, so visitors should email or call if they’re looking for a shady spot to see some art, engage in discussion, and maybe share a cup of tea.
Del Vaz Projects is located at 1600 Westgate Avenue, Little Osaka, Los Angeles. Bathymetry runs through November 22.



Natalie Jones, “Untitled (Head Planter)” (2013), Plaster, wig, lacquer, rope, paint


by Matt Stromberg on September 15, 2014 for hyperallergic

Long-Running Moscow Art Fair Canceled




A key Russian contemporary art fair has been canceled in its 18th year and appears unlikely to return, The Art Newspaper reported. Art Moscow — by one account the city’s “oldest fair for contemporary art“; by another, “Russia’s oldest art fair” — seems to have been facing both economic and political troubles, including EU and US sanctions on the country, “which organizers fear may hurt the fair, since the half of the exhibitors are from abroad,” as well as an episode of censorship that happened at this past June’s International Book fair. According to The Art Newspaper (TAN):
A precedent was set this June at the International Book fair, when two plays were eliminated from the program: one for a profusion of foul language, another because of an accusation of hidden gay propaganda. The organizers self-censored the works, although there was an implication of external pressure.
As artnet News points out, the blog of Moscow-based Baibakov Art Projects sums up the cancelation of the fair as “due to a combination of reasons ranging from politics (by now its hardly surprising that some galleries and artists could boycott a fair in Russia) to economics (the art market in the country is not exactly booming) to good old – fashioned censorship.”
In a follow-up interview with TAN, Vasily Bychkov, chief executive of Art Moscow organizer ExpoPark Exhibition Projects, admitted that the decision to cancel the fair was made in the winter, adding, “We decided to relocate the resources usually employed for Art Moscow — people, money — to another project.”
An article about last year’s edition of Art Moscow indicates the fair was already struggling financially, facing “budgetary woes and a stagnant art market in Russia.” Meanwhile, another contemporary art fair, Cosmoscow, will open in Moscow on Friday as planned. This is Cosmoscow’s second year after an initial outing in 2010, according to Baibakov; its website identifies it as “Russia’s only international fair for contemporary art.”

joi, 11 septembrie 2014

Arts District Opens The Door For New Live/Work Units, But They Can't Be Tacky

The Arts District (Photo by Juliet Bennett Rylah/LAist)

The Arts District is working to maintain its status as a cool, eclectic neighborhood and avoid becoming a super-gentrified concentration of yuppies.
The new Interim Live/Work Zone will allow new live/work units, but they have to follow strict rules that ensure the neighborhood keeps the artists and aesthetics that made it so attractive in the first place, Curbed reports.
Currently, developers can't build any new live/work spaces in the Arts District; they can only be put into buildings that already exist. Under this temporary rule, developers can apply to construct new live/work units in a certain zone while the Department of Planning works on a larger, permanent zone. Only a limited number of projects will be allowed, and these will be used as a test.
The affected area is bounded by 1st Street to the North, 7th Place/Violet Street to the south, Alameda Street to the West and the Los Angeles River to the east.
There are some rules for these new developments, in terms of how they are used, how they look and their impact on the neighborhood. Perhaps most important to potential new tenants is that each project must have a minimum number of affordable units.
The individual units must have high ceilings, open floor plans, plenty of natural light and must be no smaller than 750 square feet. These are not supposed to be traditional apartments—they must be created with working artists in mind. Each project must also have on-site, communal spaces for residents to work and create.
There must also be space for green projects (like living walls) and art murals, the latter of which now legal in downtown Los Angeles. The buildings must look like they belong there from design to signage—so no concrete monstrosities or billboards. And no unsightly dumpsters; trash has to be enclosed.
All new construction must also be sustainable, using solar reflective roofs, installing bike parking and planting trees. Big sites will have to break up the buildings and put in pedestrian-friendly areas. Parking is encouraged to be put underground, and is "unbundled." This means that you purchase the spot(s) if you need one, but it's not included in your rent if you don't.
Source: laist.com


Art Consultants: Seven Secrets Every Artist Should Know




Secret #1: Build Your Own List
I should let you know right now that I’m not going to give you a contact list. Not because I’m being coy or territorial, but because the first secret to being successful at this is to customize your own list based on what kind of work you do and then make targeted, individual contact with the art consultants who specialize in that kind of work. If there’s one generalization that can safely be made about art advisors, it’s that they hate to receive portfolios from artists who haven’t done their homework. It’s a waste of their time to handle them; it’s a waste of your time and money to send your work out into the void or, more specifically, the wastebasket. First impressions matter, and the first impression that carpet-bombing your portfolio makes to art consultants is that you don’t respect their time or understand how the business works.
Art consultants are so numerous that the challenge is how to not end up working with so many that you don’t have enough supply to meet the demand. My strategy has been to build relationships with 20-25 who are a very good fit with my particular style of work so that I never have to compromise what I want to make. One of the most refreshing things about selling work through art consultants is that you don’t have to give them an exclusive like galleries often demand. They’ll ask you to because they don’t want their offering of artists to overlap with their competitions’, but unless they’re selling enough of your work to give you a steady, livable income, you should politely decline.

Secret #2: Be Selective
Because there are a lot of art advisors, you can (and should) be selective about the criteria you use to qualify them. What I look for is an impressive client list, and I need to like the quality of the work of the other artists they’ve dealt with. All of this can usually be found on their web sites the old-fashioned way by Googling “art consultant” and “art advisor.” Do the leg work and keep your eyes open. When you see a restaurant, corporate lobby, hospital or hotel with beautiful artwork in a design magazine or in the real world, contact the interior designer or architect and ask who was the art consultant on that project. Most of the large framing companies have art-consulting arms (and don’t assume they only show the generic work inside the rectangles in their showrooms). Ask other artists outright. When perusing the web site of artists whose work you like look at their resume or gallery page to see if they’ve listed the art consultants they work with.
After you screen consultants for quality and compatibility with your aesthetic, check their web sites for instructions on how artists should submit work. If there are none, send them a short e-mail introducing yourself as an artist who came across their web site and sees an affinity between your aesthetic and theirs. Then ask how you would go about submitting work. I always include a link to my web site inviting them to preview my portfolio to see if there’s a reason for further communication. This is actually a Trojan Horse because by then I’ve already done a ton of compatibility research and know that when they see my web site they’ll get the obvious connection between what I make and what they sell and probably want to go to the next step of having me send more information. As a teaser you can also attach one or two JPEGs (NOT your entire portfolio) being careful that they are formatted to download fast and fit on a computer screen. And while it pains me to say it, make sure the resolution is low enough so that it can’t be reproduced by anyone unscrupulous. It wouldn’t be a bad idea to put a watermark or copyright symbol on it while you’re at it, at least until you’ve established trust.

Secret #3: Follow-Up
This must be a secret because so few artists do it! Unless they’ve specifically told you they’re not interested, there’s nothing wrong with reminding them that you’re still out there by sending them images of new work at one- or two-month intervals. More than once I’ve gotten a sale because images of my work had just landed in a consultant’s inbox the same week they were looking for work for a big project. Every time I send out a mailing I make at least one sale. If it doesn’t work that way for you, it likely means you haven’t made the right fit between your work and what those particular art consultants specialize in selling. You need to take a step back and rethink your strategy.
There’s always that fine line between being persistent and being a pest. If I don’t hear back from them for two weeks after my initial contact, I follow-up with an e-mail saying something like “I hope I’m not bugging you but I wanted to make sure you got my e-mail a couple of weeks ago and had a chance to look at it. I’d love to work with you if you think my work would be a good fit with your projects.” If I don’t hear from them after the second follow-up, I put them on the back burner to contact in 6 months or when I have new work. But that’s my personal comfort level. I know more aggressive artists who seem to be doing very well.
Keep in mind that art advisors are in the same entrepreneurial boat that you are, so make follow-up a two-way street by sending them leads to possible projects. If you find out that there’s going to be a big new hotel, convention center, or hospital built, forward that to one or two of your favorites. You don’t want to be promiscuous about it, though. Art consulting is a tremendously competitive field and it would water down the specialness of this favor if they found out you had sent it to 15 other firms.
Secret #4: Make It Easy for Them to Find You. Art consultants don’t represent artists like galleries do. In order to stay competitive, they constantly need fresh blood. In her book "Becoming a Corporate Art Consultant", veteran art advisor Barbara Markoff devotes a lot of ink to helping would-be art advisors figure out how to find artists because, as she says, “I describe the stable of artists an art consultant has as their ammunition to close a sale. Finding artists that your competitors do not have is critical.” Markoff suggests these target-rich environments for finding artists:
1. Attending art festivals
2. Investigating local artist organizations
3. Networking groups
4. Exchanging information with other gallery owners
5. Looking at poster catalogs
6. Attending trade shows such as the West Coast Art and Frame Show
7. Visiting galleries while traveling
8. Posting inquiries on your website
9. Social networking sites such as LinkedIn
10. Looking at websites of artists and other galleries
11. Asking your artists for introductions to artists they know.
12. The Guild.com
Lest it doesn’t go without saying, this is a veritable playbook of where we should have our work to make it easy for them to find us. Notice how galleries do not loom large in this list. Unless they’re dealing with big-ticket artworks, independent art advisors for the most part prefer not to work with galleries because they’d have to split the commission if that’s how they’re making their fee. For those consultants who are getting paid a retainer or flat rate by their clients, they’ll negotiate a discount with the gallery to pass onto the client. The majority, however, make their fee from commissions off of the sale and framing services.
“The Artist’s Guide to Public Art: How to Find and Win Commissions” by Lynn Basa
Because art consultants are constantly trolling for artists you will start getting cold calls from them. Yes, that’s right. You don’t always need to cold-call them. They will cold-call you. Recently, an artist told me that she periodically gets e-mails from art consultants saying they saw her work and want to talk to her further. She said she deletes all of them because she assumes they are spams. (Whereupon I asked if she could forward them to me from now on!) Yes, there is a weird phishing spam going around that’s easy to recognize because it’s some BS about someone who saw your work on-line and they’re moving to London but they’ll send you a check blah blah blah, but more than half of my golden art consultant contacts have come from them contacting me. The real ones are easy to check out because all you need to do is go to their web site and if it looks legit call them back and get a sense of what projects they’re working on and where they think your work might fit. Ask them how they found out about you so you can track where your most effective marketing is taking place. If I still have a flicker of doubt, I will call one or two of the artists that they’ve worked with.
Secret #5 Brand Yourself
I know that talking in commercial terms about art is taboo but I’m going to say it anyway: You need to brand your work. Think of it as editing your portfolio. The less of a hodge-podge it is, the easier you’ll make it for the art consultant to appreciate and sell your work. You can still have different bodies of work, but be intentional about which ones to show which art consultants based on her market niche. And don’t ask the art consultant to do a portfolio review. By the time you show her your portfolio it’s got to be all tailored, groomed and shiny. She’s your client, not your art professor.
Secret #6: Be Flexible
The demand for certain mediums and price points will fluctuate depending on the economy. The fact that any image that can be digitized can be printed on almost any substrate as a giclee*, means that you can sell inexpensive multiples of your originals. In addition to paper, images of your 2-D work can now be printed on ceramic, glass, fiber, aluminum, bamboo, acrylic, you name it. If your medium is so tied to your message that the intent of your work would suffer if reproduced on another material, that’s okay. Just make that clear to the consultant. It will limit how much of your work she can sell — partly because you should raise the prices of your originals to offset the loss in cashflow from not doing multiples — but how you feel about your work is priceless.
Another form of flexibility that not all artists can stomach is that you will be asked to do commissions on variations of your own work. Like, “Can you take this section from this other painting and put it over here on this one?” or “Could you do that same painting but make it bigger and square?” I used to feel a twinge of resistance about these requests, but after revisiting my work a few times in response I realized that I not only enjoyed it but was learning a lot from recreating something I had made spontaneously the first time.
Secret #7 Have Your Act Together
Quick! What’s your artist’s net for a 20″ x 24″ print? Don’t know the answer to that off the top of your head? Then you, my friend, do not have your act together, according to Markoff. Before your initial approach to a consultant, you should have the following materials ready:
  • Images of work available for sale (remember, low-rez JPEGs only)
  • “Artist’s net” (i.e. wholesale is 50% of retail) pricelist divided by format (i.e., originals, giclee, substrate)
  • Resume
  • Artist statement
Find out in what form the art consultant wants to see your portfolio. Markoff and many others prefer 3-ring binders because they can spread out the work on a table for their clients to mix and match. Some only want to use your web site while others need JPEGs in an e-mail or on a CD. Keeping track of what you’ve sent them when and in what format adds up to one heck of a bookkeeping chore. I’ve hired a studio manager to keep up with it all.
No names please. Unlike a gallery, art consultants don’t want their clients to see the names of the artists they’re showing them until they sign on the dotted line. They remove the temptation from the client to go around the art advisor’s back directly to the artist and cut them out of their 50% (usually) commission. And when you do get a call from an unknown prospective client, casually ask them how they heard about you.
Whatever material she needs, get it to her right away. Lisa Boumstein-Smalley of Chicago Art Source says that clients are typically calling her at the last minute in a panic to get something on their walls. Even though the art is the first thing people see when they walk into a room, it’s usually the last thing that’s planned for. In such a fast-paced business, artists who can keep up will get repeat sales, those who need their hands held will soon be road-kill.
This should be enough to keep you busy for a while!
* Giclee: A recently made-up word for “ink-jet print” that sounds more arty and expensive.
Lynn Basa is a full-time artist living in Chicago. She teaches in the Sculpture Department at SAIC and is the author of The Artist’s Guide to Public Art: How to Find and Win Commissions.


marți, 2 septembrie 2014

1000 Ways to See It - Yvette Gellis @ Garboushian Gallery


GARBOUSHIAN GALLERY is pleased to welcome the creative takeover of artist Yvette Gellis in an exhibition called 1,000 Ways to See It. This marks her second solo exhibition with the gallery.

The gallery is completely transformed from all sides by Gellis’ interactive painting, and can even be observed through peekholes outside the gallery, aiding the viewer in seeing through the walls, and directly into the painting itself from all sides. Multiple vantage points and floating painted transparent panels provide dozens of different angles to view the same subject, the same painting—painted 1000 different ways.

Yvette Gellis is known for her intense and experimental paintings and installations that bring the two-dimensional experience of a painting into a three-dimensional world. Building on her recent artist residency in France, her new body of work and transformative gallery installation expands upon the idea of using space and environment to transcend the flat surface of traditional painting bringing her powerful mark-making off the canvas. With floating marks in space, three-dimensional paint growing from the floor up, and multiple vantage points, Gellis’ installation forces the viewer to play with the notion of perception from multiple perspectives.

“The installation is an outgrowth of my practice as a painter,” she says. “It is about painting. Painting that fills space almost like sculpture.” Gellis wants to break apart the visual world, turning the static imagery of a painting into a three-dimensional event. She wants visitors to interact with the work on many levels.

The driving force behind her concept and installation stems from the impermanence of matter and object, matching with the ephemeral and everlasting energy that resides within each being or object. She is fascinated with the memory of objects and places and trying to extract the meaningful core away from the material. She creates work by utilizing the space within and around the subject as an immersive frame, heightening the viewer’s awareness of the mind-body experience as a whole. ”There is something happening in the very atoms and molecules around us and my work is meant to expand upon the idea that as souls we are more than the matter that disappears, dissolves or decays.”

The inspiration for this installation came from her experience with the architecture in France. Seen from so many angles, over and over again during her residency, Gellis became transfixed by old chateaus and churches she encountered. She imagined the hundreds of years the buildings lived and interacted with people, providing thousands of perceived images to those who used them or just passed by them over the years. As the structure decays and changes, perceptions are invented and re-invented—in one structure’s lifespan there are thousands of ways for it to be seen. Gellis embodies this timeless notion of life and death in these meaningful places.

An opening reception for Yvette Gellis' 1,000 Ways to See It will take place at Garboushian Gallery on Saturday, September 13, 2014 from 6:00 to 8:00 pm. The exhibition will remain on view until October 17, 2014

ABOUT YVETTE GELLIS:
Gellis received her M.F.A. in 2008 from Clairmont Graduate University. Recent Solo exhibitions include CAMAC, Marnay-sur-Seine, France, Paint House in Tainan, Taiwan, The East / Gate Museum and The Licence Gallery in Taipei, Taiwan, The Garboushian Gallery, Beverly Hills, Conflux City festival in New York City, The Brunnhofer Galerie in Austria, and The Kim Light/LIGHTBOX Gallery.

Selected group shows include “Pretty Vacant,”Westwood, LA , Fellows of Contemporary Art, Los Angeles, The Torrance Art Museum, The Cerritos College Art Gallery, LA, Toomey-Tourell, San Francisco, MBA Museum of Biblical Art Dallas, Texas. Upcoming solo exhibitions include Villenaux-La-Grande, France, Vienna and Linz, Austria.

marți, 26 august 2014

Johan Wahlstrom - "House Of Lies" at HoftKabinet Gallery in Linz



Johan Wahlstrom  a Swedis born artist that lived in Spain is the 5th generation of artist. Most of his work can be seen in Austria.“I paint to keep myself insane. I paint anxiety to be calm. I paint war to have peace. I paint sadness to be happy. I paint the dark to be in the light. I paint death to be alive. I paint a story so that I don’t have to tell a story. “ His inspiration comes from  Jean Dubuffet, Paul Klee or Jean‐Michel Basquiat. Nothing fancy or literary elaborated, because this artist is from that category of artists that burn emotions while painting, so there is nothing left to be manipulated in words. I found his work over the internet and it really intrigued me because it pushed my feelings to the Balkan Expressionism , somehow.
 Johan Wahlstrom, represented by Van Der Plas Gallery (NY) will travel to Linz/Austria to open the exhibition "House Of Lies" together with the Austrian artist Herbert Schager at Galerie Hofkabinet
Opening: Thursday September 4th, 19.00/7.00pm
Exhibition runs until September 26th.
 
“Johan Wahlstrom is spontaneously, emotionally and a story teller” Dr.phil. Maria‐Ilona Schellenberg  Kunstpublizistin & Dozentin, Düsseldorf 2009

 ʺWe are drawn into a reality of the mind playing with known and unknown images; cultural and

spiritual continuity with disturbing distortions.ʺ Don Noyes‐More, Editor, Downton La Life

Magazine, Los Angeles, 2009

 “In their simplicity they have a primal feel to them,” “He brings the viewers’ attention to the environment and how human destruction of Mother Earth at this speed will leave nothing for future generations,” Sara Abrahim, Art Raw Gallery, New York, 2009

 “Wahlstrom invite us to enter into his world of reflections of life, with a touch od German expressionism, leading to a contemporary context that leaves a recurring message about modernity and the roles that each and one of us play within the social aspect of humanity”  Will Yaya, Crisolart Gallery, Barcelona, July 2011

 ʺThe work of Johan Wahlstrom delves deeply into the realm of human emotion and speaks directly and powerfully to our feelings and emotions. His work that has been displayed throughout the world omes to New York City at a most auspicious time. During this week of great upheaval, few artists can express the raw emotion of loss, turmoil and redemption as lyrically as Johan Wahlstrom” StephenAndrus, New York, November 2012

“It’s Boring to Die – Johan Wahlstrom evokes through his paintings, one should appreciate all emotion, because dying is certainly boring. As I walked through the show once again, the work of Johan Wahlstrom’s faces and strategically placed hands became familiar old friends. Some figures were floating, as in Chagall’s work and some, reminded me of Munch’s The Scream. The blues and explosions of red become meshed into a field of emotions that on closer inspection tells a myriad of different stories, like the art goers at the reception. Conversations were revealed and reveled in.” Olga Turchini, New York, September 2013


  House Of Lies Part 2 by Johan Wahlstrom 100x100cm

Private Prison by Johan Wahlstrom 200x120cm

Selected Solo and Duo Exhibitions
Gallery Ronnqvist&Ronnqvist, Malmo, Sweden, 2014

Gallery Hofkabinett, Linz, Austria, 2014 (with Herbert Schager)

Van Der Plas Gallery, (New York, NY) 2013

SO Stockholm Gallery, (Stockholm, Sweden) 2013

Espacio Tres Gallery, Malaga, Spain) 2013

Gallery New World Stages (New York, NY) 2013

Liebe Glaube Hoffnung (Bonn, Germany) 2013

Gallery Colorida (Lisbon, Portugal) 2012

Gallery Miva, (Malmoe, Sweden) 2012

Temporary Gallery (Berlin, Germany) 2012

Alamos 38 (Malaga, Spain), 2012

Crisolart Gallery  (New York, NY), 2012

Galerie Quint‐Essences (Neuchatel, Switzerland), 2011

Crisolart Gallery (Barcelona, Spain) 2011

Galeria Henarte (Malaga, Spain) 2011

Gallery Kocks (Stockholm, Sweden) 2011

Henarte Gallery (Malaga, Spain) 2010

Gallery 21 (Stockholm, Sweden) 2010

Le Petit Atelier (LLeida, Spain) 2010

Strandgalleriet (Stockholm, Sweden) 2009

Gallery Espacio Tres, (Malaga, Spain), 2009

Infusion Gallery (Los Angeles, CA) 2008

Gallery Raco 98 (Majorca, Spain) 2008

Gallery Espacio Tres (Malaga, Spain) 2008

Gallery Studio 14 (Stockholm, Sweden) 2007

Crisolart Gallery (Barcelona, Spain) 2007 (with Niels Jensen)

Gallery Raco 98, (Soller/Majorca, Spain) 2007 (with Niels Jensen)

Gallery Espacio Tres (Malaga, Spain) 2007 (with Niels Jensen)

Gallery Club Del Mar (Puerto Banus, Spain) 2007 (with Natalia Koreshkova‐Pietch)

Alternative Art Space (Boston, MA) 2009, (with Fernando De Oliviera)

Gallery Patrice Vuillard (Berlin, Germany) 2009 ( with Ghass Rouzkhos)

Gallery Studio 14 (Stockholm, Sweden) 2006


Upcoming Solo exhibitions 2014‐2015

Cape Town/South Africa, Moscow/Russia, New York/USA, Venice/Italy, Rome/Italy,

Stockholm/Sweden, Kotor/Montegro


Selected Group Exhibitions


West Bank Gallery Nottinghill, (London, UK), 2014

Van Der Plas Gallery, (New York, USA), 2014

Fridge Art Fair (New York, USA) 2014

EX, Musem Exhibition, Malaga/Spain 2014

Human Rights, Museum exhibition, (Rovereto/Italy) 2014

Art Of Angel, Candid Arts Trust Gallery, (London, UK) 2013

Gallery Different “Faces”, (London, UK) 2013

Immigrants/Human Rights, Museum exhibition, (Rovereto/Italy) 2013

Fridge Art Fair (New York & Miami, USA) 2013

Seven Deadly Sins “Lust”, Monastery Francescani  Museum  (Lecce/Italy) 2013 Garage Milano (Milan,

Italy) 2013

Candid Arts Trust Gallery,  (London, UK) 2013

Museu D`Historia (Girona, Spain) 2013

Multiverso (Fiorentina, Italy) 2013

Gallery EAGL (Berlin, Germany) 2013

Conde Rodrigo (Ciudad Rodrigo, Spain) 2013

Gallery New World Stages (New York, NY) 2013

Gallery Different, (London,UK) 2012

Chianciano Art Museum (Chianciano, Italy) 2010

 “ The Peace Project” (Touring exhibition, 2010 

Gallery 9 (Culver City, CA), 2010

Meridian Gallery (San Francisco, CA) 2010

Gallery Max Lang (New York, NY) 2010

Arte Marbella festival  (Marbella, Spain) 2009

Opera Gallery (Budapest, Hungary) 2009

Art Raw Gallery (New York, NY) 2009

Gallery 212 (Costa Mesa, CA, USA) 2009

Pillars of Art (Berlin,Germany) 2009

Liberal Democrats Party Congress Hall, “ 20th Anniversary of the Fall of the Berlin Wall, Peace, Love,

Liberte” (Berlin, Germany) 2009

Gallery Henarte, “Death Penalty Installation” (Malaga, Spain) 2009

DeArte Art Fair (Madrid, Spain) 2008

Opera Gallery (Budapest, Hungary) 2008

Puro International Art Fair (Vigo, Spain) 2007

Sweden in Spain at Torremolinos Convention Center, Spain, 2006

Galleri Gummeson (Stockholm, Sweden) 2006

Caledan Gallery (Boston,MA) 2006