2020 The Visitors

Can the absence of a butterfly’s wing strokes make an entire world stand still?

The piece I showed at Centrifug was an installation and a work in progress, featuring fifty sculptures inspired by the Monarch butterfly, an endangered species, together with a lite panel lamp and three test tubes filled with watercolors.
During their annual migration, the Monarch head to California and to Central Mexico where they can be seen gathering in a huge number on the same tree.

In an experiment, a scientist modified the pattern of the wings on a group of Nymphalidae by either adding or painting over the dots. This had unforeseen consequences for the male’s ability to survive and attract a female.

During the artistic process, many decisions are made. Can aesthetic purposes be reconciled with scientific research processes? The white dots on the Monarch’s wings that are characteristics of this species, were removed as they did not fit into my artistic interpretation. On an aesthetic level, my artistic working process began to resemble science’s manipulation of the living.

The term Butterfly effect was minted by the mathematician and meteorologist Edward Lorenz.
The Butterfly effect is based on the theory that a marginal impact in a part of a system can result in large and unpredictable effects elsewhere in the system.

Installation view; 50 sculptures made of paper, watercolor, wax, pigment and shellac and a lite panel lamp. The sculptures are in scale 1:1

Test tubes in glass filled with watercolor that refers to the basic color pigments that were used to paint the butterflies.

2020 Where words are impossible

Fragment of grey, Installation view, Krognoshuset. Paper, salt, glue, texts, graphite powder and oil on plywood. 153 x 124 x 6 cm and 150 x 124 x 6 cm

The title of the show Where words are impossible is taken from a quote by contemporary philosopher Timothy Morton, who believes that the time has come for a new way of thinking. We must re-evaluate ourselves in relation to nature and understand that we are part of it – art is a way to this insight. In Magali Cunico’s new serie of works, the viewer is looking at parts of house bodies, ruins and winding plants. Here, decay embodies at the same time seduction and chaos as the way to a new order.Mosaik, mixed media and oil on linen, 140 x 65 cmEkon, mixed media and oil on linen, 140 x 96 cm Fragment of Grey, installation view, Krognoshuset. Photo; Erik HagmanFragment of Grey, detail.

No Victory, mixed media on linen and oil on acrylic glass, painted wooden frame, 75 x 49 x 9,5 cm
Ekosystem, detail, mixed media and oil on linen, 2020Ekosystem, mixed media and oil on linen, 97 x 75 cm. Photo; Erik HagmanSkuggornas tysta ord, oil on acrylic glass, painted wooden frame, 62,5 x 85,5 x3 cmLost Garden, oil on glass, and oil on linen, painted wooden frame, 26 x 23,5 x 5 cm Dilemmat, installation view, Krognoshuset, 2020Dilemmat, mixed media and oli on linnen, oil on acrylic glass, painted wooden frame, 124 x 84 x 11 cm. Photo; Erik HagmanThe structures will collapse; Site specific installation in the basement. Oil on glass, overhead projector,  paper, glue, pigment and tempera on board.  Photo; Erik Hagman

Installation views and detail

2019 Longing to a slightly unreal mood

Det är en Plats av Ingenting; notes, text, glue, paper, tempera, graphite powder and oil on linen, 101 x 78 cm

Installation views with the sculpture Fragment of Grey; paper, glue, texts, graphite powder, oil on plywood, list, 2 x 180 x 125 x 6 cm, Bångska Våningen.

Detail

Fragment of green; paper, glue, graphite powder, tempera and oil on linen, 140 x 110 cm Fragment of Green II, charcoal and graphite directly on the wall, oil on acrylic glas, 75 x 61 cm and 60 x 40 cmInstallation viewInstallation viewLonging to a slightly unreal mood II; paper, glue, tempera and oil on linen, 73 x 65 cmInstallation view with film lamps hanging from the roof.

Le Naufrage(Förlisningen); paper, glue, tempera and oil on linen, 57 x 83 cmInstallation viewLonging to a Slightly Unreal Mood IV; paper, glue, tempera and oil on linen, 73 x 55 cm
Longing to a Slightly Unreal Mood III; paper, notes, glue, tempera and oil on linen, 70 x 63 cmLonging to a Slightly Unreal Mood I; paper, glue, flour, tempera, water color and oil on linen, 73 x 65 cm

 

2017 Det Ondas Blommor(To Lie, To Love, To Die) / Evil Flowers(To Lie, To Love, To Die)

Installation view, Vargåkra Gård, 2017Installation view, W.I.P; Stockholm Konsthall, 2017

Det var dialogen med den tyska expressionist Emile Noldes verk Blummengarten som lade grunden för projektet. Verket Blummengarten är idag värd flera miljoner kronor och var i Moderna museets ägo fram till 2009. Verket visades vara nazistulen konst och efter många turer fick Moderna återlämna målningen till den familj som förlorat den under kriget. För ett par år sedan återlämnades ytterligare ett verk av Emil Nolde, Frauen im Blumengarten till de tidigare judiska ägarnas arvingar, denna gång av Lehmbruck-museum i Tyskland.

Den Ondas Blomma VI, paper, flour, plaster, salt, glue, tempera, oil and ink on linen, 63 x 43 cmDen Ondas Blomma I (Ursprung), paper, flour, plaster, salt, glue, oil on linen, 98 x 78 cmDen Ondas Blomma IV(Bleeding), paper, flour, plaster, salt, glue, tempera, oil and ink on linen, 132 x 88 cmDen Ondas Blomma VI, Am I good enough for you? ; self portrait in scale 1:1, plaster, petals, painted wooden box, 31 x 32,5 cm, 2017Installation view, Vargåkra GårdLet Me Love You To Death; paper, glue, tempera and oil on linen, 104 x 64 cm

“Finns det något samband mellan nutida massförstörelsen av konstskatter, en konstkupp i Verona, Noldes verk Blummengarten som gav upphov till en liten konstskandal i Stockholm, en konstauktion från 60 talet och det egna konstnärskapet?

I ett försök att problematisera och definiera de kulturella och sociala strukturer som utformar vår verklighet och dess olika skikt, lägger Magali Cunico ihop de olika fragment i en sammanställning där verken samspelar med varandra. Genom måleriets långsamma process träder nya lager fram. Nya ”meningsbyggen” skapas. Retrospektivt, kommer dessa ”meningsbyggen” att omtolkas av betraktaren.

Det finns inga enkla instruktioner för att begripa sig på vår samtid men det finns olika sätt att förhålla sig till den likaså till en bild, en händelse och slutligen en målning.”

Don’t Forget; paper, flour, salt, glue, tempera and oil on linen, 98 x 91 cmDon’t Get lost, paper, flour, salt, glue and oil on linen, 91 x 107 cm

Hidden truth, 72 x 46 cm
Don’t hide;  paper, glue, flour, plaster, salt, tempera and oil on linen, 114 x 92 cmAlienated I, flour, plaster, paper, glue, salt, tempera and oil on linen, 71 x 50 cmAlienated II, paper, glue, tempera and oil on linen, 77 x 50 cmInstallation viewDon’t Cheat ; 36 x 48 cm, paper, glue, tempera and oil on linen
Don’t Lie; paper, glue, tempera and oil on linen ,53 x 58 cm, 2017

2015 I thought you were a star but it turned out you were a fire, burning like a hole in the night, part II

In my latest project I have been interested to discuss issues related to the looting of art during World War II, which consequences extend until today.

Item 27(Transposing), acrylic, tempera and oil on linen, 140 x 106 cm, 2013

In an attempt at connecting our cultural heritage to identity aspects, I have tried to relate to these events by stepping out of my own position as an artist-consider it from the outside by drawing parallels to my own art practice.

In Item 27(Transposing) the soldier in the middle holds up an unknown painting. This is another version of one of my paintings Item 33(Erosion) that is missing. Perhaps it has been stolen, destroyed or exchanged? The soldier is flanked by two other soldiers who have seized a well-known painting by Picasso and a painting by Boucher, two of Art History’s iconic men.

Item 33(Erosion) , tempera and oil on linen, 83 x 56 cm, 2013-2014

Installation view, Skånes Konstförening, Malmö, 2015

Installation view with several paintings in various dimensions and props.

Item 15 (Mother & Son), after a painting of Raphaël; scratched oil on linen, golden frame and plaster, 2015

Item 22(Damaged),  oil on linen, 18 x 13 cm, 2013

Item 28(Athena), oil, sourmilk and pigment on board, 29 cm diameter, 2014

Installation view, Skåne Konstförening. Item 16 (Purifyning II) hangs from the ceiling in front of a lamp, 2015.

Item 15 (Twilight), oil on linen, 86 x 58 cm, 2015

Installation view, Skånes Konstförening, 2015.

Item 23 (Shadows, oil on linen, 105 x 65 cm, 2013

Item 22 (Purifying II), oil on a window, carpentry paint, ropes, lamp, 50 x 45 cm, 2015

Installation view with  Item 22 (Grey shades) oil, sourmilk and pigments on linen,  stones, 265 x 200 cm, Skånes Konstförening, 2015

2014 I thought you were a star but it turned out you were a fire, burning like a hole in the night, part I

Installation view, Domeij gallery, Stockholm

Item 17 (Purifying), acrylic, impasto(acrylic), tempera and oil on linen, 122 x 86 cm, 2013-2014

Item 19 ( All Cats are Grey In the Dark), acrylic, tempera and oil on linen, 57 x 75 cm, 2013

Item 16(The same night), tempera, oil on linen, 58 x 43 cm, 2013

Installation view

Item 18 (Crystal), acrylic, impasto(acrylic), tempera and oil on linen, 95 x 75 cm, 2013-2014

Item 32(A view), impasto(acrylic), tempera and oil on linen, 53 x 52 cm , 2013

2013 Inget finns överallt / Nothingness is everywhere

Installation views, Open House, Iaspis, Stockholm, 2013

Item 8, oil and pigments on linen , 2013

Item 2, acrylic and oil on linen , 89 x 57 cm, 2012-2013

Item 6, impasto, oil, sour milk and pigments on linen, 80 x 61 cm, 2013

Installation view, Open House, Iaspis, Stockholm

Item 1, acrylic, impasto and oil on linen, 116 x 140 cm , 2012-2013

2013 Black or white does not exist ; there is only a thousand different shades of grey / Poetic Uprising

Black or white does not exist ; there is only a thousand different shades of grey, acrylic, tempera, pigments and oil on linen, 265 x 200 cm, 2012-2013

During my residency period at Iaspis, I got interested in asking questions about painting as an exhibition object, and seeing how the painting in turn is affected by the exhibition space and the audience. What happens when the same painting is placed in different environments? What is the performativity of the painting?

March 7 at 2 pm, the painting is moved from my studio at the Swedish Arts Grants Committee on Maria skolgata in order to be temporarily installed under the Liljeholmsbron bridge, on Södermalm, for a few hours. The motif of the painting – an empty auditorium, which to a certain degree could be called a non-motif – will be shown in a non-place, in “the wrong environment”, in what I chose to call  a “Poetic Uprising”. The documentation of this temporary site-specific installation will be shown at the Open House at Isapis, where the same painting will be re-installed in yet another environment.

Photos taken by Jean-Baptiste Béranger, 2013

Poetiskt Uppror / Poetic Uprising, installation view 2013

Installation view at the dance studio during the Open House, 2013

The installation consisted on a light show, three sculptures made of painted wood, paper, hooks and metal part. Scales 1:1. The documentation of Poetic Uprising was shown on a monitor during the Open House.

2012 In a state of aphasia(Kulturhaus)

A circle of some undefinable substances
 oil on linen, 40 x 40 cm, 2012

Trapped by a paralyzing vertigo
acrylic, acrylic impasto ad oil on linen, 145 x 106 cm, 2011-2012

In a State of Aphasia
acrylic impasto and oil on linen, 96 x 72 cm, 2011-2012

”N” like in ”Nowhere”
Acrylic impasto, pigments and oil on linen, 120 x 97 cm, 2011-2012

Installation view, galleri Ping Pong, Malmö, 2012