Category: Works

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.
Let 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

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

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

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.

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

Utställningtexten på svenska av konstvetaren Anna Norberg, kan ni läsa om ni klickar på länkan nedan :

https://annaeditnorberg.files.wordpress.com/2011/03/magali-cunico-galleri-lilith-waltenberg.pdf

Lyssna, stå, orörlig som en bakgrundsfigur
acrylic, impasto, tempera and oil on linen, 129 x 85 cm, 2010

Installation view, galleri Lilith Waltenberg, Malmö

Jag vill se ut som en som smälter in i mängden, oil on linen, 88 cm x 90 cm, 2011

Vill man i det innersta, krävs ett lösenord, oil on linen and pencil on the wall, 140 x 128 cm, 2010-2011

Vita ord, tomma ord, ramlar över tystnaden, faller i glömskan, acrylic and oil on linen, 2010

Istället talade vi om sprickor i väggen och vindrörelser
oil on linen, 112 x 88 cm, 2010-2011

Melancholic Resistance, light sculpture;  wood, plywood, fittings, burlap fabric, fan, rotating motor, lamp with a green filter, sewing thread, plastic rings, milled acrylic glass. Mouth; textile and rice paper, plastic-clay, steel wire, 174 x 100 x 120 cm, 2011

Detail

Kom ett ord, kom, genom natten( after a poem by Paul Celan); engraved text on transparent acrylic glass, lamp, 23,5 x 32 cm, 2011

Installation view, galleri Lilith Waltenberg, Malmö, 2011

Installation view with golden wall, Art Center, Silkesborgbad(DK), 2010

The Common Feeling of our Imperfection, oil on linen, 190 x 140 cm. Golden wall; brass glued on MDF board, 430 x 300 cm,  2010

Installation views, at Ystads Konstmuseet(SE) and Art Center Silkesborgbad(DK), 2010-2011

Only the echo of your steps, oil on linen, 31 x 24, 5 cm, 2010