aeulf

“Most visibly and politically effectual were the twelve large-scale photographs by Elisabeth Ohlson Wallin (b. 1961) forming the exhibition Ecce Homo (1998). The photographs depict classical situations in the life of Christ, but they are staged in contemporary settings with obviously gay and lesbian models – naked, in leather gear, transvestites, HIV-positive, etc...”
― Ludwig Qvarnström, Swedish Art History : A Selection of Introductory Texts

“In The New Swedish Art from 1923, a publication that attempts to describe contemporary currents in Swedish art labelled as ‘modern’, the modern artist is imagined as standing freer than during the 19th century: ‘He no longer wishes merely to replicate, but to create. He does no longer strive for optical illusion, but for artistic synthesis’. This seems true if comparing the techniques of a so-called modern artist with the academic painting principles of the 19th century.”
― Ludwig Qvarnström, Swedish Art History : A Selection of Introductory Texts

“From Town Plan to Cutlery (Från stadsplan till matbestick) was the evocative title of a Swedish exhibition held in Zürich in 1949. It can be viewed as a symbol of the 1950’s dream of being able to design everything in society and in everyday life – down to the smallest detail.”
― Ludwig Qvarnström, Swedish Art History : A Selection of Introductory Texts

“I suddenly realized that we were on borrowed time, that time is always borrowed, and that the lending agency exacts its premium precisely when we are least prepared to pay and need to borrow more...”
― André Aciman, Call Me by Your Name