Opening Thursday 18th May 6-9pm
Call me
Curated by Johan Deurell & Oscar Carlson
- Mathis Altmann
- Magnus Andersen
- Gina Beavers
- Brian Belott
- Nicholas Cheveldave
- Alex Da Corte
- Tatjana Danneberg
- Debo Eilers
- Jana Euler
- Michael Fullerton
- Cy Gavin
- Henning Hamilton
- Adam Helms
- Uwe Henneken
- Henry Hudson
- Henrik Olai Kaarstein
- Ed Kay
- Oliver Laric
- Sean Landers
- Leigh Ledare
- Austin Lee
- Jason Matthew Lee
- Sven Loven
- Jimmy Merris
- Caroline Mesquita
- Stuart Middleton
- Oliver Osborne
- Djordje Ozbolt
- Athena Papadopoulos
- Erik Parker
- Jon Rafman
- Ry Rocklen
- Samara Scott
- Tobias Spichtig
- Evelyn Taocheng Wang
- Rob Thom
- Jinsong Wang
- Grace Weaver
- Jonas Wood
JASON MATTHEW LEE, 2015, Welded payphones, magnets, payphone dust, duct tape, small mammal trap, thud magazine, 53 × 19 × 30cm
Alex Da Corte, Dead Ringer, Anodized metal frames, Plexiglass sprat, digitally printed poplin, sequin pins, foam, velvet, hardware, 143 × 142 cm
Installation View
Tatjana Danneberg, happy and unlucky, 2017, Alabaster plaster, bone glue, pigments, berg lass, epoxy glue, styrodur, polyurethane foam, slaked lime, stainless steel, 135 × 130 × 25 cm
Installation View
Alex De Corte, Ender, 2017, Anodized mental frames, plexiglass, spray paint, digitally printed pollen, sequin pins, foam, velvet, hardware , 142.24 × 142.24 × 5.08 cm
Right : Jana Euler, deviceless 2, 2015, Acrylic on canvas, 200 × 150 cm
Installation View
Right : Cy Gavin, Reclining Nude ( Nel-lie De Costa Smith ), 2017, Acrylic and oil on denim, 218.44 × 160.02 cm
Installation View
Rob Thom, Drone, 2005, Oil on linen stretched over board, 120 × 180 cm
Installation View
Sven Loven, I never gave you my all because I never knew if i would get it back, 2017, Acrylic on canvas, 213.50 × 229 cm
Sean Landers, Νάρκισσος [Narcissus, 1993, Single channel video, display dimensions : 00:37:13
Oliver Laric, Hunter and Dog, 2014, Resin, Pigment, 90 65.60 × 5.50 cm
Floor: Caroline Mesquite, The plane Wing ( The Young Business Man & The Little Prince), 2017, Oxridized, brass, resin, 173 × 30 × 17 cm and 135 × 135 × 55 cm
Caroline Mesquita, Detail View
Left: Athena Papadopoulos, Thong, Throngs and Hose Beasts, 2016, Hair dye, lipstick, nails polish, bleach, image transfer, thread and pins on a bed sheet over canvas, 210 × 200 cm Right : Nicholas Cheveldave, 2016, photolaminate, acrylic, paper, friendship bracelets, hemp and metal canvas, 203 × 200 cm
Samara Scott, Still Life VII, 2015, Carpet, household paint, spray paint, metal frame, 480 × 300 × 80 cm
Kenrik Olai Kaarstein, A Monsieur Who Cares, 2017, Lacquer, vinyl paint, acrylic mediums, soft pastels, oil pastels, charcoals, tissue paper, varnish on canvas, 250 × 215 cm
Installation View
Henrik Olai Kaarstein, General David Petraeus in his New Power Suit, 2015, Mixed Media on cardboard, 215 × 115 cm
Brian Belott, Untitled, 2016, Mixed Media on canvas, signed on verso, 217 × 191.80 × 12.70 cm
Installation View
Michael Fullerton, Estee Lauder Advertisement, Print media, late 90's , 2017, Oil on linen, 45 × 35 cm
Michael Fullerton, Concept for a Nautical Themed Lockheed Martin Advertisement , 2017 , 45 × 35 cm
Installation View
Caroline Mesquite, The Mechanic, 2017, Oxidized brass, resin, 121 × 69 × 97 cm
Installation View
Installation View
Installation View
Installation View
Henry Hudson, Self Deconstruction #2 Pride, 2017, Plasticine on Aluminium board, 120 × 95 cm
Left : Use Henneken, Pather, 2016, Oil on canvas, 124h × 110w cm Right: Caroline Mesquite, The Teenager, 2017, Oxridized brand, Resin, 148 × 58 × 77 cm
Caroline Mesquite, The Teenager, 2017, Oxridized brand, Resin, 148 × 58 × 77 cm
Magnus Andersen, Something Forever, Forever Somthing , 2016, Acrylic on Canvas, handmade frame, 180 × 135 cm
Left : Magnus Andersen, Something Forever, Forever Somthing , 2016, Acrylic on Canvas, handmade frame, 180 × 135 cm, Right: Magnus Anderson , Karl Kraus, 2017, Oil on canvas, wood, 75 × 85 cm
Left: Stuart Middleton, Umtitled, 2013, Acrylic and ink on paper, 100 × 65 cm
Installation View
Installation View
Installation View
Jason Mathew Lee, BFP:xxx, magnets, ballbearings, on cut and welded payphone, 53 × 20 × 24 cm
Jason Mathew Lee, BFP:xxx, magnets, ballbearings, on cut and welded payphone, 53 × 20 × 24 cm
Jason Mathew Lee, BFP:xxx, magnets, ballbearings, on cut and welded payphone, 53 × 20 × 24 cm
Installation View
Jimmy Merris, Untitled ( Room 2 ), 2017, Oil on Board, artists frame, 124.50 × 83.80 cm
Erik Parker, For Sure, 2017, Acrylic and collage on canvas, 187.80 × 213.30 cm
Left: Austin Ledd, Goodbye, 2017, Acrylic on canvas, 213.36 × 152.40 cm Right: Debo Eilers, Rattleback, 2016, Acrylic marker, paper, canvas, enamel, vinyl wire, aluminium, urethane, plexiglass, epoxy, 236.20h × 90.20 cm
Installation View
Jonas Wood, Installation View
Right: Jonas Wood, Jerry Turner, 2009, Gouache and coloured pencil on paper 35.50 × 25.50 cm Left: Jonas Wood, Pete Vuckovich, 2009, Gouache and coloured pencil on paper, 35.50 × 25.50 cm
Arron Banks, 2017, Oil on Linen, 34 × 26 cm
Installation View
Installation View
Ed Kay, Indifferent Gherkin II, 2017, oil on canvas, 45 × 35 cm
Ed Kay, Indifferent Gherkin III, 2017, Oil on canvas, 45 × 35 cm
Ed Kay, Indifferent Gherkin 1, 2017, Oil on canvas, 45 × 35 cm
Gina Beavers, Pop Lips ( Four Views ), 2017, Acrylics on canvas on panel with the wood frame, 78.74 × 78.74 cm
Ry Rocklen, Gap Stripes, 2016, Porcelain, 38.10 × 27.90 cm
Wang Jinsong, 1998, Three Angle Space, Acrylic colour and Gouache on yuan paper, 72 × 82 cm
Djordje Ozbolt, 96 Degrees in the Shade, 61 × 81 cm
Installation View
Tobias Spichtig Installation View
Left: Tobias Spichtig, Can somebody kill the princess please? , 2016, Textile, resin, metal, 150 × 50 × 70 cm Centre Wall: Tobias Spichtig, Theresa, 2016, Inkjet print and oil and canvas, 120 × 100 cm Right Wall: Tobias Spichtig, Earth , Oil and C-print on canvas, 160 × 125 cm
Tobias Spichtig, Earth , Oil and C-print on canvas, 160 × 125 cm
Henning Hamilton - Installation View
Henning Hamilton - Installation View
Henning Hamiltion - Installtion Veiw
Hanning Hamilton, ANIM-ALIA(2) , 2016, Debris, 120 × 120 × 33 cm
Henning Hamilton, EUROPEA NA(20) , 2016, Debris, 66 × 30 cm
Henning Hamilton, EUROPEA NA(24), 2016, Debris, 70 × 20 cm
Henning Hamilton, UL-TRAMAR-IN(8) , 2016, Debris, 100 × 33 cm
Henning Hamilton, UL-TRAMAR-IN(9), 2016, Debris, 95 × 25 × 20 cm
Henning Hamilton, EUROPEANA(22), 2016, 44 × 20 cm
Henning Hamilton, EUROPEANA(21), 2016, Debris, 105 × 75 cm
Henning Hamilton, EUROPEANA(26), 2016, Debris, 135 × 28 cm
Taocheng Wang, Pracitice of portrait Op. 5, 2011, Water colour, acrylic, pencil, mineral colour , tea, white wine, aluminium, stamp on refined rice paper mounted on raw rice paper, 33.50 × 67.70 cm
Exhibition Text
Shall I compare thee to a summer’s day?
No season is more ridden with clichés than summer, and summer shows are rarely an exception, with their curious mix of pretty landscapes, still-life flower arrangements and portraits of famous people, elected by a jury of academy members (or famous people). Even for nineteenth century painter John Constable, known for his Romantic renderings of English country life, the Royal Academy’s annual exhibition represented
“the time of year when the devil comes and spews art over London.”
Subverting a traditional summer show, this exhibition brings together 40 artists whose work turns conventional aesthetics on its head, and locates a new kind of convulsive, rebellious beauty. It is a beauty that dares to reveal the grotesquery of fine art, makes no rigid distinctions between the digital and the “real”, and uncovers the dormant beauty of the vulgar and the popular. Here the normal rules of society are suspended,
so that other systems of meaning can emerge.
It is in such spirits that Carl Kostyál, Stockholm, has the pleasure of welcoming you to our most sinister summer show yet.
Photo by Jean-Baptiste Béranger. © the artists. Courtesy of Carl Kostyál