MARKET ART FAIR
117 43 Liljeholmen, Stockholm
24-26 March 2017
Friday 12.00 – 19.00
Saturday 12:00 – 18.00
Sunday 12.00 – 18.00
About the Fair:
The 12th edition of Market will take place at Färgfabriken, Stockholm, March 24-26. With the leading galleries from Sweden, Denmark, Norway, Finland and Iceland participating, Market will showcase an exclusive selection of the most interesting art on the Nordic art scene, once again focusing on carefully curated solo or duo projects. Market Art Fair is the leading Nordic fair for contemporary art and has become an important meeting place for collectors and art professionals. It was founded by a group of gallerists in 2006 and represents the leading galleries from Sweden, Norway, Denmark, Iceland and Finland. Market Art Fair features an ambitious programme of talks and projects and arranges a VIP programme for international collectors and art professionals.
Yuken Teruya and Henrik Strömberg
Yuken Teruya (1973, Japan) is an artist based in New York. He works with various materials such as toilet paper rolls, paper shopping bags and butterfly chrysalises. His ideas often reflect life and history of Okinawa, his homeland. Simplicity and extravagance mingled in these works of surprising amplitude. Using only common paper objects and ambient light, Yuken Teruya created entire solar systems and life cycles. When cutting out portraits of trees he uses a photograph and strictly follows it. It becomes a life cycle from tree to paper to product and back to become a tree again. A holistic approach realted to Japanese tradition.
Henrik Strömberg (1970, Sweden) is based in Berlin. Henrik Strömberg’s multifaceted work is all about the image: more precisely, the complex features of the image and its content. In his photographs, collages and objects, he combines or isolates visual elements, thereby exploring the constantly changing potential for interpretation. His medium is photography, he always takes as his starting point one or more photographic images. Strömberg began with classical subjects such as landscape and portrait, although even at this stage he was more interested in particular situations and occasions than in depicting the object itself. Details, patterns and structures in nature form the template for orientation, people are captured as figures in fleeting snapshots, moments in time are preserved, visual material gathered. Always shot in black and white using a handheld camera, these early works reveal several traits which Strömberg has retained to this day. Here, composition and light take centre stage, the content of what is depicted reveals little. He never pursues a documentary narrative – if at all, it is a kind of subjective documentation of personal experience – he is much more concerned with the interplay of the various compositional devices which, through the camera lens, come together to form an image. Later, he arranges sections of the picture – not only in a landscape, but also in an urban or studio setting. He finds as much interest in forests, plants and leaves as visual objects as he does in building facades, aligned perspective of building views and streets, which he often captures with a polaroid camera. Back in the studio, he starts to combine objects, to photograph them, to make new compositions, to re-record.
The connection between the two artists is created between the inside and the outside, the true essence of things and the mere sense of things.