Category: Works

ID;I Galleri, Stockholm, December 13, 2024 – January 12 2025

Refugium and Refugium II, Impasto; glue, textile fibers, salt, paper, Barley flour. Tempera, oil and oven paint, on linen, painted wooden frames, 79 x 56 cm and 49 x 75 x 9,5 cm

Installation view med Refugium III

Refugium III, painted MDF boards, spotlight, blue photo filter, mixed media and oil on linen, oil on artifical plants, paper, glue, Barley flour, salt, vynil color and pigment on MDF board, 2 x 200 x 300 cm x 2 x 150 x 200 cm

Detail of the sculpture Revelation, view through the openingUppenbarelse,impasto, textile fibers, glue, paper, Barley flour, salt. Tempera and oil on linen, 122 x 86 cmMarken lyser även i mörkret, installation made with the  broken glass shards from the painting that is being cracked in the video piece Splittra.(below). Oil on glass, soil and spotlight

Disappearance/Reappearance. Tempera and oil on linen, 220 x 165 cm, 2023

Installation views, Tyresö konsthall

Disappearance/Reappearance shown together with Uppkomsten

Installation views, Tyresö Konsthall

The Uncollection. Oil on stone, oil on glass, support in metal and dried coral

Installation view. Refugium. Fabrics, salt, paper, Barley flour, glue, tempera and oil on linen. Oil on glass., pine wood, screws, white paint

Uncollected. Oil on glass and shelf, 30 x 35 cm

A piece of Arcadia. Oil on acrylic glass, 72 x 46 cm. Shelf ; pine wood, white paint

Installation views with Black Mirrror. Oil on board, black Plexiglas. Frames,; pine wood and black paint. 2 x 175,5 cm x 54 x 50 cm

The exhibition Som en tunn linje mellan dig och mig/ As a thin line between you and me builds on themes; man and nature, the controllable and the unpredictable, where the artist examines and problematizes definite, cultural notions and scientific truths about what we call nature.

Ett samarbete mellan Magali Cunico och Erik Hagman

For english, please scroll down

Verket är en skulptur bestående av en ljudinspelning och ett svart tält som fungerar som en camera obscura. Tanken bakom verket är att skapa en rumslig upplevelse av ett landskap som interagerar med vår närmiljö för att väcka minnen och erbjuda en mångtydig bild av vad vi anser att naturen står för.
Tältet är en tillfällig konstruktion som går att flytta till nya platser.
Verket En viskning och tre darrande skuggor anknyter till hur människan medvetet och omedvetet konstruerar en bild av sin egen omvärld som representerar våra föreställningar och önskningar. Denna inre bild är precis som i camera obscura, en projektion i ständig förändring.

Verket visades först den 28 och den 29 augusti i anslutning til Paviljong C, Hökarången, i Stockholm, den 20 augusti 2022 utanför Sjöbo konsthall, i samband med min finissage . Den 10 maj 2023, visades verket åter i ett nytt sammanhang,, under Open Studios, på La Cité Internationale des Arts i Paris

La Cité Internationale des Arts, Paris, 2023

The image produced in the camera obscura, 2023

A whisper and three trembling shadows is an ongoing collaboration between Magali Cunico and Erik Hagman.

The piece consists of a tent that acts like a camera obscura together with a sound piece recorded at a meadow.

The intention behind the piece called En viskning och tre darrande skuggor is to create a spatial experience of a landscape that interacts with our immediate environment to evoke memories and offer an ambiguous picture of what we believe nature stands for.

A tent is a temporary construction that one can easily move to new places. It relates to how we, as human beings, consciously and unconsciously construct an image of our own world that reflects our ideas and desires. This inner image is just like in the camera obscura, a projection in constant change.

Is a painting an imitation of true reality or a mirror of it?

Installation view at Vargåkra Gård konsthall

Hela texten på svenska finns här: https://magalicunico.com/news/mimicry-vargakra-gard-konsthall-2021/

The title of the show Mimicry is taken from the Greek adjective mimētikos which means imitating. In the shadow of the ongoing environmental crisis, there seems to be two opposite approaches in science. There are those who are searching for answers in the yet undiscovered living organisms before they will go extinct. Other scientists are developing methods to create artificial life by modifying the cells of living organisms.

Apart. Diptic. Paper, salt, grass, glue, tempera and oil on linen. 107 x 125 cm and 90 x 125 cm

Installation view with Apart and Mimikry

Som en tunn linje mellan dig och mig; Triptic. Paper, salt, Barley flour, tempera and oil on linen. 110 x 50 cm , 110 x 63 cm and 110 x 63 cm.

Installation views

Installation views

Yn = An; oil on acrylic glas, chalk and blackboard paint on plywood. The frame is made in pinewood and painted with a black varnish color. 60 x 40 x 5 cm

Algoritm; oil on acrylic glass, chalk and blackboard paint. Painted handmade wooden frame. 35 x 36,5 x 5 cm

Laboratory; sand, salt, glue, tempera and oil on linen, 90 x 86 cm

Laboratory II; paper, glue, salt, tempera and oil on linen, 120 x 59 cm

Altered Phoenix; sand,  glue, paper, tempera, oil and sour milk on linen, 130 x 92 cm

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

Texten finns på svenska här: The Visitors 2020

The piece I showed at Centrifug, Konsthall C, was an installation featuring fifty sculptures inspired by the Monarch butterfly, an endangered species, shown 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 views; 50 sculptures made of paper, watercolor, wax, pigment, and a lite panel lamp. The sculptures are in scale 1:1

Lab tubes filled with water color and water hang on the opposite wall.

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.

Several works in the exhibition are connected to the site’s history and the former garden that disappeared due to the city’s major renovations. Some of the works include fragments of texts as a reflection of the complexity of our time, taken from the stories of the people whose existence has been overturned as a result of ecological and political crises.

No Victory, mixed media on linen and oil on acrylic glass, painted wooden frame, 75 x 49 x 9,5 cm

Fragment of Grey, installation view, Krognoshuset. Photo; Erik Hagman

Ekon, mixed media and oil on linen, 140 x 96 cm Fragment of Grey, Fragment of Grey, detail.

Skuggornas 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 oil 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

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

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 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.Installation view with A Wall and Longing to a Slightly Unreal Mood IIIInstallation 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