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Moderna Museet - Malmö

Ola Billgrens plats 2–4, 211 53 Malmö

MAIL: info@modernamuseet.se

TLF: +46 40 685 79 37

WEB: modernamuseet.se/Malmo

Tirsdag - fredag 11-18, lørdag - søndag 11-17


Alias: CFR

Carl Fredrik Reuterswärd

Kurator: Andreas Nilsson

02.02.2019 - 05.05.2019
FACEBOOKEVENT


PRESSEMEDDELELSE

On February 2, two major exhibitions open at Moderna Museet Malmö at the same time. Alias: CFR features the work of Carl Fredrik Reuterswärd (1934–2016). Known to many for his famous sculpture Non-Violence, a knotted revolver, Reuterswärd worked diligently for nearly seven decades, using several pseudonyms and most artistic techniques. The works on view will include the intriguingly ambiguous installation Kilroy, an object group that is seldom shown. After putting a now-legendary notice in the New York Herald Tribune in 1963, Reuterswärd went on a nine-year “holiday.” During this period, he created nine objects within the framework for Kilroy, and this exhibition features that work in its entirety. In addition to the installation, the exhibition includes objects, lasers, and sketches related to Kilroy

Alongside Kilroy, visitors will find a series of large-scale, expressive drawings that Reuterswärd made after his 1989 stroke, which forced him to switch from working with his right hand to his left. In these monumental pastels, dating from the late 1990s, both mythological figures and acrobatic exercises emerge among the motifs. The scenes are mysterious and dreamlike, and although they are distinct in their expression from the artist’s earlier conceptual work, the two periods are nevertheless united by Reuterswärd’s relentless exploration of new styles and approaches.

“Carl Fredrik Reuterswärd has been described as a one-man collective that continually migrated among different artistic styles and pseudonyms,” says Andreas Nilsson, the exhibition’s curator. “The exhibition Alias: CFR presents at least two sides of Reuterswärd’s multi-faceted career as an artist, the early conceptual and philosophical work later giving way to a more emotional expression.”

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