Archive, at Lars Bohman Gallery, will be Lars Lerin’s first exhibition in Stockholm since 2010 when he showed the highly appreciated En viss mängd ljus (A Certain Amount of Light) at Angelika Knäpper Gallery. With the exhibition at Lars Bohman Gallery, Lars Lerin, who recently exhibited at Nordiska Akvarellmuseet, will make one of his very rare appearances in the context of a commercial gallery.
With an iconography that to some extent is new to Lerin, we find ourselves in front of stern filing cabinets, dioramas and vitrines. With transparent layers of paint and characteristic technical brilliance, Lerin evokes images of human recollections and the physical manifestations thereof. Binders, folders, book spines and magazine files – the messy and the arbitrary, supposedly comprehensible and organized in apperance. Binders, folders, book spines and magazine files – iterations in the severe austerity of the filing cabinets. The pale umber of the aged folders indicate the passage of time as they stand next to the brightly coloured crimson red binders. The past and the present gazing into the future. Or, the sometimes washy colours of the binders that seem to imply that the very information of the archive is about to fade.
Taxidermy birds in tidy rows, carefully shielded behind the transparent glass of the display case. Only the reflections in the glass elude classification. Although human absence is almost tangible in the works of Lars Lerin, human beings, their actions and the traces thereof are at the very core of his images.
Lars Lerin was born in 1954 in Munkfors, Sweden. He lives and works in Karlstad. He received his artistic training at Valands konsthögskola (1980-1984) and at Gerlesborgsskolan (1974-1975).
In conjunction with the exhibition, Lars Bohman Gallery will publish an extensive book about the artistry of Lars Lerin. In addition to the affluent number of images the book contains two texts written by Torgny Lindgren and Sebastian Johans.
A new book is released in conjunction with the exhibition.
With an iconography that to some extent is new to Lerin, we find ourselves in front of stern filing cabinets, dioramas and vitrines. With transparent layers of paint and characteristic technical brilliance, Lerin evokes images of human recollections and the physical manifestations thereof. Binders, folders, book spines and magazine files – the messy and the arbitrary, supposedly comprehensible and organized in apperance. Binders, folders, book spines and magazine files – iterations in the severe austerity of the filing cabinets. The pale umber of the aged folders indicate the passage of time as they stand next to the brightly coloured crimson red binders. The past and the present gazing into the future. Or, the sometimes washy colours of the binders that seem to imply that the very information of the archive is about to fade.
Taxidermy birds in tidy rows, carefully shielded behind the transparent glass of the display case. Only the reflections in the glass elude classification. Although human absence is almost tangible in the works of Lars Lerin, human beings, their actions and the traces thereof are at the very core of his images.
Lars Lerin was born in 1954 in Munkfors, Sweden. He lives and works in Karlstad. He received his artistic training at Valands konsthögskola (1980-1984) and at Gerlesborgsskolan (1974-1975).
In conjunction with the exhibition, Lars Bohman Gallery will publish an extensive book about the artistry of Lars Lerin. In addition to the affluent number of images the book contains two texts written by Torgny Lindgren and Sebastian Johans.
A new book is released in conjunction with the exhibition.