Tag Archives: Karl Holmqvist


The city that never gets any sleep. Turn me on. Ever since Edison invented the lightbulb, big cities everywhere have been associated with lights, with sky-lines glittering far off in the distance, city lights like eyes in the night, wires cables network solutions and all kinds of pollutions to keep the whole thing going. Stank you smelly much. If they can’t make it there, they can’t make it anywhere.

All artists’ works are said to be self-portraits whether figurative or abstract or bearing any kind of likeness whatsoever to their subject and what with Klara Liden performing repetitive, minimal, and what often looks like physically quite exhaustive tasks in her own videos. I mean, it’s her alright but then performing as a kind of extra, body double or stand-in. Social climbing, it’s a lonely thing. From rags to riches and back again. Likewise oftentimes bringing attention to what’s maybe some of society’s less spot-lit sides, its non-sites and service entrances off the beaten track beneath the arches hidden in plain view not necessarily meant to be looked at. Streaming like was I dreaming pinch me punch me bring it on again to where the streets have no names and anyone’s up for anything really. Achtung baby. Human kindness is overflowing. Check the radar change the channel. Life’s a beach and then you get old, do I dare to wear my trousers rolled!!? Come on and on one and many, come true it’s up to you. Rhythm to the rhythm. You know what, just never turn me off. — Karl Holmqvist*

A new show of Liden’s sculpture and video work is on view in London. See link below.


Through October 31.

Sadie Coles HQ

1 Davies Street, Mayfair, London.

Klara Liden, Turn Me On, Sadie Coles HQ, September 3, 2020–October 31, 2020, installation photographs by Robert Glowacki. Images courtesy and © the artists and Sadie Coles HQ.


Wolfgang Tillmans, Between Bridges, and several dozen international artists have joined together to sell posters to benefit art spaces, nightclubs, music venues, and bars at risk of closing for good because of the pandemic and subsequent lockdown.

Participating artists in the 2020 Solidarity project include Nicole Eisenman, Heji Shin, Carrie Mae Weems, Gillian Wearing, Betty Tompkins, Marlene Dumas, Christopher Wool, Jacolby Satterwhite, Isa Genzken, Rachel Harrison, Thomas Ruff, Elizabeth Peyton, Thao Nguyen Phan, Mark Leckey, Ralf Marsault, Heino Muller, Andreas Gursky, Spyros Rennt, Anne Imhof, Ebecho Muslimova, Piotr Nathan, Ming Wong, David Lindert, Heike-Karin Föll, Luc Tuymans, Stefan Fähler, Sabelo Mlangeni, Simon Denny, Melanie Bonajo, Karol Radziszewski, Karl Holmqvist, Özgür Kar, Claire Nicole Egan, Bobby Glew, Stewart Uoo, Felipe Baeza, Jochen Lempert, Seth Price, Tomma Abts, Wade Guyton, Peter Berlin, and David Wojnarowicz with Tom Warren.

See links below for details.


BALLEZ, Brooklyn.

VISUAL AIDS, New York City.

Between Bridges, 2020 Solidarity, from top: Melanie Bonajo, Night Soil—Economy of Love, 2015; Isa Genzken, Untitled, 2015; Nicole Eisenman, Never Forget Kissing in Bars, 2020; Carrie Mae Weems, Great Expectations, 2020; Rachel Harrison, April 2020, 2020; Ming Wong, Delphine, 2020; Seth Price, Postcard Style Place, 2018; Sabelo Mlangeni, “Identity” Bongani Tshabalala, 2011; Thao Nguyen Phan, March on a Honda Dream, 2020; Claire Nicole Egan and Bobby Glew, Hard Fond, 2020; Stefan Fähler, Kiss Me, 2020; Heike-Karin Föll, AbExGruau 7, 2017; Karol Radziszewski, Vasiliy, 2018; Elizabeth Peyton, Not Me. Us. (Young Bernie 2020), 2020; David Wojnarowicz with Tom Warren, Self-Portrait of David Wojnarowicz, 1983–1984; Thomas Ruff, Nudes kn30, 2006. Images courtesy and © the artists and Between Bridges.


Exhibition view of Men Are Women

Exhibition view of Men Are Women




Exhibition view of Men Are Women




Untitled (Wall Drawing), 2015. Graffiti paint. Dimensions variable.




Exhibition view of Men Are Women




Exhibition view of Men Are Women




Exhibition view of Men Are Women




Exhibition view of Men Are Women



Exhibition view of Men Are Women




Untitled (RUNUPANDDOWN), 2015. HP UV print on ultraflex true canvas. 70.75 x 70.75 in.





Untitled (ZIG-ZAG RUN), 2015. HP UV print on ultraflex true canvas. 70.75 x 70.75 in.





Untitled (ZIG-ZAG RUN), 2015. HP UV print on ultraflex true canvas. 70.75 x 70.75 in.





Untitled (RUNNRUNN), 2015. HP UV print on ultraflex true canvas. 70.75 x 70.75 in.





Untitled (RÜN UPSIDE DOWN) , 2015. HP UV print on ultraflex true canvas. 70.75 x 70.75 in.





Untitled (RUNNRUNN), 2015. HP UV print on ultraflex true canvas. 70.75 x 70.75 in.





Untitled (RUNNINGAROUNDRUN-NING), 2015. HP UV print on ultraflex true canvas. 70.75 x 70.75 in.





Untitled (RÜNNRÜNNRÜNN), 2015. HP UV print on ultraflex true canvas. 70.75 x 70.75 in.






Exhibition view of Men Are Women




Who Run This Mother, 2011. Neon. 39 x 51 x 1.75 in. Edition of 3 + 2 AP.


September 20 – November 7, 2015

Freedman Fitzpatrick
6051 Hollywood Blvd, #107, LA, CA 90028
Tues–Sat, 12–6pm

Press release:
The word “run” apparently has 645 meanings, a rapid accumulation over the last 100 years or so. There’s a New York Times article you can read, also an accompanying NPR special dedicated to this simple, small word. With the increase in the number of machines and computers used in daily life, it has quickly become the default word to describe motion, movement, and progress. A train is running through a station, the car runs on gas, my computer runs apps, my phone ran out of battery. It also became a way to attribute strength and action, even power: running a marathon, hitting home runs, running a tight ship, running for office. Perhaps due to its constant usage, it not only just defines an action but the word itself has become personified. R-U-N-N-I-N-G. Reading it, you feel yourself moving along the word, each letter pushes you forward to the next with an air of urgency; it is an action, you are literally running your eyes across it. RUNRUNRUNRUNRUNRUNRUN. Repeating the word feels not unlike reciting a mantra, rendering the words eventually meaningless, then ultimately transcendent.

I googled “Beyoncé”, and came across a promo video for her tour with Jay-Z from 2014. They released a movie trailer on YouTube titled “RU ” short for the title of their show, “On the Run”. The trailer ends with a release date of never and stars Don Cheadle, Jake Gyllenhaal, and Blake Lively, Sean Penn too. Most of the trailer is Bey and Jay running red lights, running from the police, running into trouble, running out of luck. I can’t help thinking not about Bonnie and Clyde (as a nod, Bey even wears a cute little beret while brandishing her gun), but rather about the first great feminist film I can remember from my teen years, Thelma and Louise. Like in the faux movie trailer, Thelma and Louise are also On the Run; friendship is the pivotal axis on which they turn from individually running from their own pasts, to running towards something together. Since everyone these days can’t seem to decide if Beyoncé is actuallya feminist (when we should rather be questioning her capitalist ethics), thinking about her and Jay in the same context as two women coming together to beat the odds feels right, because in the end, isn’t the first step towards feminism female solidarity?

I’m hearing Karl murmur WHO RUN THIS MOTHER?, and I begin to think about mothers, Karl’s mother, my own mother even. I remember a private yacht I once saw that was named “Mother”, WHO RUN THIS MOTHER? and this made me wonder what Beyonce’s private yacht might be named. UPSTAIRS DOWNSTAIRS I think about the captain of the “Mother”; does he ever ask himself under his breath “who run this mother”? A HOUSE IS NOT A HOME I imagine a running motorboat, ILLEGAL ALIEN which only naturally leads me to think about motor-boating, WHO RUN THE WORLD? GIRLS and now that I’m just thinking about sex, SLAVE LABOUR I realize I am in a sort of meditative trance. HOW DO I MAKE MYSELF A NOBODY? By using a medium comprised of fragments from daily reality, ready-made material like song lyrics, news clippings, friends names, celebrities, idioms, truisms, and even rhetorical questions, Karl is first tapping into the general psyche; what can be an easier access point than ALCOHOLICS ANONYMOUS. But once Karl is tapped in he goes further, sculpting a virtual landscape furnished with letters and words, a wide open terrain to wade through a multitude of meaning rather than look for singular truths, where up can mean down and chicks can mean dicks; this is a place free of the authority and boundaries of language.When Karl says WOMENS PLACE IS IN THE HOME, do I believe him? I do when he says VEGETABLES ARE PEOPLE TOO.- Lisa Jo


KARL HOLMQVIST (b. 1964, Västerâs, Sweden; lives and works in Berlin) has been the subject of numerous solo museum and gallery exhibitions including: Gavin Brown‘s enterprise, New York (2015); Moderna Museet, Stockholm (2013); Kunsthal Charlottenborg, Copenhagen (2013); dépendance, Brussels (2013); Galerie Neu, Berlin (2013); Bergen Kunsthall (2012); House of Gaga, Mexico City (2011); Badischer Kunstverein, Karlsruhe (2010); amongst many others. Group shows include institutions such as: Bielefelder Kunstverein (2014); Artists Space, New York (2014); MoMA, New York (2012); Kunst-halle Zürich (2011); 54th Venice Biennial (2011); MASS MOCA (2011); CCA Wattis, San Francisco (2007); Swiss Institute, New York (2006); Haus der Kunst, Munich (2004); 50th Venice Biennale (2003), and many others.



Clockwise from left: Klara Lidén : Log, Chair, Box, Bag of concrete, Diet Coke, Gauloises, Bike, Canvas, all : 2013, Spray paint on paper, various sizes (image from www.betweenbridges.net)


Curated by Karl Holmqvist

Between Bridges, Berlin

Exhibition on view until May 4, 2014



Clockwise from left: Sean Snyder, Arriving and Transferring Passengers, FFM Airport, 1997, Video, 59:35 min, colour, sound Natascha Sadr Haghighian, I Woke Up Like This, 2014, Wallpaper, wallpaint, spray glue, Peggy Perfect bathroom wiper, cloth tape, variable dimensions
(image www.betweenbridges.net)


Clockwise from left: Ariane Müller, Hubert Fichte travelling library, 2010, Handbag, books, plaster Ariane Müller, Zug, 2012, Video, 1:30 min loop, colour, sound Henrik Olesen, pour la forme, (after Guy Debord / Asger Jorn: Memoires, 1959, 1998-2014, Canvas, Inkjet Print on Proof Paper ZP 55 (Newspaper), 55 gouache /m2,
Amsterdam Gel Medium Matt Glue, 204,5 x 276 cm
(image www.betweenbridges.net)


Ariane Müller, Gefälschte Bahnkarten, 1987-93, Mixed media on document, 10 x 18 cm, 22 pieces (detail)
(image www.betweenbridges.net)


Henrik Olesen, pour la forme, (after Guy Debord / Asger Jorn: Memoires, 1959, 1998-2014, Canvas, Inkjet Print on Proof Paper ZP 55 (Newspaper), 55 gouache /m2, Amsterdam Gel Medium Matt Glue, 204,5 x 276 cm Yngve Holen, Hater Head, 2013, 3D printed titanium screw Ei Arakawa & Nora Schultz, Video Documentation of Countdown Performance, Moma, New York, 2011, Video, 11:30 min loop, colour, sound
(image www.betweenbridges.net)


Henrik Olesen, pour la forme, (after Guy Debord / Asger Jorn: Memoires, 1959, 1998-2014, Canvas, Inkjet Print on Proof Paper ZP 55 (Newspaper), 55 gouache /m2, Amsterdam Gel Medium Matt Glue, 204,5 x 276 cm (detail)
(image www.betweenbridges.net)