Stephen Friedman at the London House of Modernity

Stephen Friedman at the London House of Modernity

Stephen Friedman Gallery presents: Marina Adams Mamma Andersson Juan Araujo Tonico Lemos Auad Jonathan Baldock Claire Barclay Andreas Eriksson Manuel Espinosa Kendell Geers Wayne Gonzales Jim Hodges Ilona KeserĂź Rivane Neuenschwander Ged Quinn Yinka Shonibare CBE RA Luiz Zerbini

This unique project brings together a diverse curated selection of international contemporary art from Stephen Friedman Gallery in dialogue with a range of classic pieces from Modernity’s Nordic mid-century designers. Set in an original Grade II listed Georgian mansion of Palladian design, visitors are invited to explore eight atmospheric rooms in which beautiful domestic environments are created to showcase art and design.

Modernity presents: Josef Frank Paavo Tynell Finn Juhl Kaare Klint Hans J. Wegner Arne Jacobsen Alvar Aalto Poul Kjaerholm Poul Henningsen Barbro Nilsson Bruno Mathsson Axel Einar Hjorth Axel Salto Hans-Agne Jakobsson Arne Vodder MärtaMåås-Fjetterström Frits Henningsen Sandra Davolio Berndt Friberg Ole Wanscher Ilmari Tapiovaara Stig Lindberg Börge Mogensen

Rune Hagberg Eva Bengtsson Liisa Hallamaa Wu Shaoxiang Steffen Lüttge Eliel Saarinen Richard Long RA Per Brandstedt Magnus L. Stephensen Hans Olsen Ole Christensen Uno Åhrén Bent Helweg-Möller Hans C. Andersen Björn Trägårdh Severin Hansen Eva and Nils Koppel Janina Wesnæs Jørgensen Lisa Johansson-Pape Vicke Lindstrand Helge Sibast Viljo Hirvonen Kurt Östervig Marianne Westman

Helge Vestergaard Jensen Nils Landberg Mats Theselius Johannes Bjerg Barbro Bäckström Algot Eriksson Ejner Larsen Aksel Bender Madsen Sven Kai-Larsen Olof Hult Maija Kansanen Johannes Andersen Kennet Williamsson Tom Hedqvist Enzo Mari Lauri Järveläinen Mauri Almari Ingegerd Råman Axel Enoch Boman Bodil Kjaer Arne Norell Brita Grahn Eleonore Peduzzi-Riva Lennart Rodhe

Born in Canada, Stephen Friedman moved to London aged 22 to study at Sotheby’s and fell in love with the city: “I love the humour, I love the people. It captivated me.”

In 1995, he opened a gallery in Old Burlington Street, Mayfair. In the following twenty-five years, the gallery has acquired two additional spaces in which it hosts solo and group exhibitions throughout the year.

Stephen Friedman Gallery is distinguished by the calibre of its programme and strong relationships in the art world. The gallery represents thirty living artists and Estates with areas of interest that include conceptual and South American art, and abstraction, minimalism and figuration in painting, sculpture, video and installation.

“I’m pleased to collaborate with Modernity on a project in a spectacular historical building that explores two of my passions: art and design.

During this time as we work mostly from home, we notice the dynamics between objects in our living space. This project continues the symbiotic conversation between artists and designers and examines how their work complements our everyday lives. And the extraordinary Palladian architecture of 14 Cavendish Square provides the perfect setting.”

Modernity specialises in the collection and sale of rare and high-grade furniture, ceramics, glass, lighting and jewellery by the most renowned Scandinavian designers of the 20th Century.

With a strong emphasis on postwar design, Modernity has throughout the years established itself as one of the leading galleries in northern Europe, most recently expanding to London which is managed and overseen by Sebastien Holt, director of UK operations.

“We find it interesting to collaborate with other galleries that complement our collection of furniture, textile and lighting. Art is a natural part of everyone’s home, and our pieces from the Nordic countries work very well with the art that Stephen Friedman Gallery presents�, says Andrew Duncanson, director and owner of Modernity.

Ground floor

Pictured, from left: M: Sideboard “Credenza� model 29A designed by Arne Vodder for Sibast, Denmark. 1958-1959

M: Vase, Tulip. Designed by Nils Landberg for Orrefors, Sweden. 1957.

M: Table lamp designed by Per B. Sundberg for Orrefors, Sweden. 2004.

9.

SFG: Manuel Espinosa, Untitled, 1972 - 1975.

SFG: Jim Hodges, Untitled (Landscape V), 2000-2001.

M: Floor lamp model H801 designed by Viljo Hirvonen for Valaistustyö, Finland, 1970’s.

M: Armchair “Egg chair” designed

by Arne Jacobsen for Fritz Hansen, Denmark. 1958.

M: Set of six dining chairs designed by Helge Sibast, Denmark. 1961.

M: Ceiling lamp “Snowflake” model 9041 designed by Paavo Tynell for Taito OY, Finland. Early 1950’s.

Celebrating themes of nature and the seasons, Paavo Tynell’s lighting reveals a poetic sensitivity that remains distinctly personal, yet assuredly Finnish. Shown here is the quintessential mid-century modern Snowflake chandelier he designed for Taito Oy in the 1950’s. This particular Model 9041 is a breathtaking brass structure that casts a warm glow from it’s perforated bowl and illuminates the incredibly intricate, handcut snowflakes from which this example takes it’s name. It is a stunning example of Nordic modernist lighting design, creating a uniquely soothing and dramatic ambient landscape on the ceiling of any room thanks to the long shadows it casts, which gently move with the flow of the natural circulation of air. The movement can be read as a eulogy to winter, as gently cascading snowfall envelopes the inertia of the winter branches.

Several rooms focus on specific themes: works by Jim Hodges, Ged Quinn and Yinka Shonibare CBE RA explore transformation and historical narratives within the context of the surrounding architectural splendour; the hand-made textiles and ceramics of Jonathan Baldock and Andreas Eriksson examine materiality and craft.

Other spaces highlight the gallery’s engagement with Latin America, as well as its commitment to representing overlooked artists and Estates. At the heart of the exhibition, works by Swedish artists Mamma Andersson and Andreas Eriksson are placed in context with Scandinavian designers in a ‘grand salon’ space on the first floor.

SFG: Manuel Espinosa, Los ciclopes, la taberna de Barney Kiernan, 1977.

Line, colour and the optical sensations of movement and light are the primary characteristics of Manuel Espinosa’s work. A leading figure in the history of Argentine Modernism, Espinosa’s paintings and drawings from the 1960s and 1970s feature circles and squares rendered in precise, serial configurations that seem to reverberate across the surface.

Pictured, right corner: M: Rosewood desk, anonymous, Denmark. 1950’s

M: Armchair “China” designed by Hans J. Wegner for Johannes Hansen, Denmark. 1944.

M: Cabinet on stand “Flora� model 852 designed by Josef Frank for Svenskt Tenn, Sweden. 1937.

SFG: Manuel Espinosa, Untitled, c. 1978.

M: Table lamp PH 4/3 designed by Poul Henningsen for Louis Poulsen, Denmark. 1929. Stamped PH-4 patented.

Pictured, far left corner: Cabinet on stand “Flora”tomodel 852 designed by Åby JosefFurniture, Frank for Svenskt M: Armchair attributed Axel-Einar Hjorth for Tenn, Sweden.

Sweden.

1950’s. 1937.

Pictured, right: M: Sofa and armchair FJ 53 designed by Finn Juhl for Niels Vodder, Denmark. 1953.

“Meaning and intellect in abstract art can be difficult to locate, as there is no narrative to lead us into it. It is like the voice itself. I use pattern and colour to create the voice. And I use structure and form to channel it.” – Marina Adams

SFG: Marina Adams, 12x9_238, 2019.

M: Unique bench ‘Arc’ designed by Per Brandstedt, Sweden, 2014. Designed for the exhibition ‘Light, Darkness and Memories’

M: Armchairs “Koppel” designed by Eva and Nils Koppel for Slagelse Møbelværk, Denmark. 1950’s.

SFG: Yinka Shonibare CBE RA, 18th Century Man, 2019.

M: Three seater sofa designed by Kaare Klint, manufactured by cabinetmaker N.M. Rasmussen. Holbæk. H. Denmark, 1916.

Kaare Klint was the father of Scandinavian modernism and is responsible for bringing Danish design to the centre stage. History has rarely seen such an impact left on the world of design by just one person, as Kaare Klint created a design language that would be spoken by designers for decades to come. The Danish golden age and Scandinavian modernism are periods that made his name synonymous with icon.

Kaare Klint’s appreciation for clean lines, simple ornamentation and an understanding of the human body translated into a design philosophy that has truly influenced the designs of today. Klint crafted pieces that embodied a perfect balance of form and function, this balance achieved from his education as an apprentice in his father’s architectural practice. This is where he was educated in classic realism and ergonomics, thus allowing him to understand the proportions and requirements of furniture.

His training focused a great deal on classical design on a global scale. Egyptian neoclassical design elements run through the veins of pieces such as this threeseater sofa, commissioned by Chamberlain Valdemar Krieger for the Estruplund Estate in Djursland, Denmark, which never left Krieger’s family until now. It is an early and unique freestanding sofa with a box shaped body of oak burl mounted on profiled legs, the loose cushions upholstered with original, patinated niger leather, and made by special order in 1916–17 by cabinetmaker N.M. Rasmussen.

SFG: Luiz Zerbini, Psicótico, 2018.

‘Psicótico‘ is a dynamic and richly coloured painting

by Luiz Zerbini that draws on visual references from the artist’s surroundings in Rio de Janeiro, as well as art history and pop culture. Recent works by Zerbini take inspiration from the iconic mosaic pavements and façades of modernist tower blocks in Brazilian cities, using the structure of the grid to investigate the relationship between colour, light and movement.

Zerbini’s application of colour in the painting is intricate and considered. The canvas, enriched by crimson overtones, is composed of a gridded structure and an abundance of overlaid patterning. The emphasis on primary and secondary colours beneath the red hues, combined with the tactility of the textured patterns, allow Zerbini to explore the interplay between colour and form.

M: Sleigh chair designed by Bรถrge Mogensen for Tage M Christensen & Co, Denmark. 1953.

Pictured, from right: M: Pair of hexagonal sidetables designed by Hans C. Andersen, Denmark.

1960’s.

M: Floor lamp “Bridge” designed by Severin Hansen for Haslev, Denmark.

1950’s. Beech and pleated Le Klint shade.

M: Vase designed by Axel Salto for Royal Copenhagen, Denmark, 1950’s. Signed and numbered SALTO 20811 with Royal Copenhagen marks.

SFG: Yinka Shonibare CBE, Wounded Amazon (after Sosikles), 2019.

Describing himself as a ‘post-colonial hybrid’, Yinka Shonibare CBE RA creates work that explores issues of race and class through the media of sculpture, painting, photography, film, tapestries and public works.

‘Wounded Amazon (after Sosikles)’ is transformed with the artist’s signature Dutch wax batik patterns which are painted directly onto the surface. This work has a hand-painted watercolour globe that depicts a contemporary map and alludes to a universal identity. Shonibare’s inspiration for this sculpture is a marble statue signed by Sosikles, copying a 5th century BC original by Polykleitos housed in The Capitoline Museum in Rome.

Two life-size mannequins by Shonibare stand side-by-side in another room, dressed head to toe in Victorian costume made from the artist’s trademark Dutch wax batik fabric. Other works on view include two panels from Shonibare’s new textile series, ‘Creatures of the Mappa Mundi’, the first time these tapestries are being shown in London.

Pictured, from left: M: Dog sculpture designed by Wu Shaoxiang, China. 1980’s.

M: Library ladder, anonymous, for Nordiska Kompaniet, Sweden. 1950’s.

M: Bench designed by Hans Wegner for Johannes Hansen, Denmark. 1950’s.

SFG: L to R: Rivane Neuenschwander, O nome do medo (recorte): Diabo / The Name of F out): Devil, 2017. O nome do medo (recorte): Fantasmas / The Name of Fear (cut-out): Gh nome do medo (recorte): Morar na rua / The Name of Fear (cut-out): Live on the Street, 2 do medo (recorte): Janela aberta / The Name of Fear (cut-out): Open Window, 2017.

Rivane Neuenschwander’s ephemeral practice draws on the history of Latin American con do medo (Cutout)’ is series of playful collages by Neuenschwander derived from children’s recent solo presentation at the museum. The artist often works collaboratively, and in this i These were then translated into monsters that characterised the fear.

Fear (cuthosts, 2017. O 2017. O nome

nceptualism to explore the interplay between chance and order in everyday life. ‘O Nome s cut-outs made during a workshop at the Museu de Arte do Rio as part of the artist’s instance with a group of children who created images of what they considered ‘scary’.

M: Sculpture “Tennisspelare” (tennis player) by Vicke Lindstrand, Sweden. 1950’s.

M: Lidded bottle designed by Stig Lindberg for Gustavsberg, Sweden. 1950’s.

Pictured, from middle: M: Easy chair model 151 designed by Björn Trägårdh for Svenskt Tenn, Sweden.1930’s.

Pictured, on shelf: M: Bowls designed by Stig Lindberg, Sweden. 1950’s.

M: Floor lamp model A809 designed by Alvar Aalto for Valaistustyรถ, Finland.

1959.

Pictured, left: M: Table designed by Helge Vestergaard Jensen for Peder Pedersen, Denmark. 1957.

M: Ceiling “City Hall Lamp� designed By Arne Jacobsen for Louis Poulsen, Denmark. 1941.

M: Faaborg chair designed by Kaare Klint for Rud. Rasmussen, Denmark. 1914.

Ilona KeserĂź, Saturated Accord, 1976. Silkscreen print on paper 86 x 61cm (33 7/8 x 24 1/8in). Framed: 96 x 71cm (37 7/8 x 28in). Unique in a series of 30.

Pictured, from left to right: SFG: Ilona KeserĂź, Accord A, 1976. Accord F, 1976. Accord C, 1976. Accord B, 1976.

M: Rosewood sideboard, anonymous, Finland. 1960’s.

M: Pair of table lamps designed by Lisa Johansson-Pape for Orno, Finland. 1940’s.

Pictured, from left to right: M: Rug “Salerno Gray” designed by Barbro Nilsson for MMF, Sweden. 1948.

M: Table lamp model 2434 designed by Josef Frank for Svenskt Tenn, Sweden. 1939.

M: Floor lamp designed by Poul Dinesen, Denmark. 1960´s.

M: Armchair “Chieftain” designed by Finn Juhl for Niels Vodder, Denmark. 1949.

M: Set of six dining chairs, “Egyptian chairs” designed by Finn Juhl for Niels Vodder. Denmark. 1949.

Danish architect Finn Juhl (1912–1989) is regarded as one of the greatest furniture designers of the 20th century. He was a pioneer figure within Danish furniture design and the Danish Modern movement. The iconic Chieftain Chair (see previous) is one of his absolute masterpieces, representing the peak of his career as a furniture designer. At its introduction in 1949, the chair marked a renewal of the Danish furniture design tradition, and Modernity is proud to present a model from this time, crafted in teak and the original cognac leather. Inspired by modern art, the Chieftain Chair with its organic shapes, liberated itself from traditional Danish furniture design and strict functionalism in both shape, construction and materials.

Design critics have also described Finn Juhl’s Egyptian Chair as a miraculous mix of ancient Egyptian design principles, modern rhythms and aerodynamics. Both this and the Chieftain Chair are excellent examples of Finn Juhl’s genius within his field and his characteristic way of achieving a “room within a room”. The pcitured set of six examples from 1949 are all crafted with teak and niger leather.

Pictured from left to right: SFG: Ilona Keserü, June Variation C, 1976. June Variation E, 1976.

June Variation A, 1976.

Ilona Keserü is one of Hungary’s leading post-war abstract artists.

Works such as ‘June Variation C’ illustrate Keserü’s distinctive style balancing 1970s modernist abstraction with references to Hungarian folk culture and historic central-European imagery.

Keserü believes that by reducing the natural world into a series of signs and forms, one gains a greater understanding of life.

“For [Ilona] Keserü, the sensation of looking is always a haptic, bodily experience. Undulating lines – painted and appliquéd to surfaces or discernible in the shaped canvases themselves – are a reoccurring staple, redolent of the ebb and flow of waves or the wavelengths of light that determine and structure rules of perception. In fact, they’re a readymade form, taken from the idiosyncratic heart-shaped tombstones found in the cemetery of the small village of Balatonudvari which Keserü encountered in 1967; they have taken root in her practice ever since.” – Anya Harrison

M: Vase “Veckla” designed by Stig Lindberg for Gustavsberg, Sweden. 1940’s.

M: Dining set Oxford designed by Arne Jacobsen, Denmark. 1962-1964.

M: Vases designed by Ingeborg Lundin for Orrefors, Sweden. 1955.

M: Dining set Oxford designed by Arne Jacobsen, Denmark. 1962-1964.

One of the most notable custom designs produced by Arne Jacobsen was for St. Catherine’s College, Oxford, in 1962 - the famed high-back “Oxford chairs”. This set of four chairs and matching table is extremely rare, made of rosewood and reserved for the professors’ areas at the university. The same model was seen in the dining hall of St. Catherine’s College; but as this was mainly used by students, they differed slightly in that they were made from oak rather than rosewood. Rosewood is a rarity and a luxury even more so now than ever before, and at the time of this distinguished project, the opulence of rosewood was more than fitting for the exclusivity of the professor’s areas of the college.

The model has always been interesting because of the striking high-back, but its true beauty lies in the combination of its powerful totemic qualities and Jacobsen’s signature organic shape. The fluidity of the all-wood form is something Jacobsen gained world-recognition for, with Modernity’s set being the perfect precedent.

First floor

M: Bench/coffee table “Annika” designed by Bruno Mathsson for Karl Mathsson, Sweden. 1960’ Cabinet on stand “Flora” model 852 designed by Josef Frank for Svenskt Tenn, 1937.

M: Rug Sweden.

Stavenows, designed by Märta Måås-Fjetterström for MMF, Sweden. 1930’s.

’s.

SFG: Mamma Andersson, Cave, 2016.

M: Vessel designed by Barbro Bäckström, Sweden. 1980’s.

M: Folding screen, desinged by Mats Theselius for Källlemo, Sweden. 1989.

M: Stool ‘Museum’ designed by Sven Kai-Larsen for Ströms Möbler, Sweden. 1963.

M: Table lamp model 2467/2 designed by Josef Frank for Svenskt Tenn, Sweden. 1938.

SFG: Mamma Andersson, Gauntlets, 2015.

SFG: Mamma Andersson, Dress, 2015.

M: Sofa designed Finn Juhl for Niels Vodder, Denmark. 1943.

M: Rug “Sun Spots” designed by Barbro Nilsson for MMF, Sweden. 1966.

M: Pair of armchairs, anonymous, Finland. 1940’s. Lacquered wood and wool. upholstery.

SFG: Mamma Andersson, The Weakening Eye of Day, 2017.

Inspired by filmic imagery, theatre sets, and period interiors, Mamma Andersson‘s compositions are dreamlike and expressive. ‘The Weakening Eye of Day’ is a painting of majestic scale rendered in the artist’s loose and expressive style. In certain areas, the canvas is visible through the opaque paint and creates pools of light and texture in a way that relates to Andersson’s recent experiments with woodcuts.

This work was inspired by a photograph taken in the 1920s of a deer in a zoo. Here Andersson re-imagines the composition so that the viewer stands eye to eye with the animal as though within the enclosure too. This work is a stirring reflection on the human relationship with animals and characterises the artist’s unique ability to create wistful scenes that narrate the complexities of culture and human nature.

The presentation also includes a group of unique woodcuts

by Andersson. Each work portrays an animal, person, place or object delicately printed and hand coloured. Andersson embraces the elements of chance involved in printing, using slippage and misalignment of the image as part of the work.

M: Elmwood sideboard/ Nesting tables, anonymous, for Nordiska Kompaniet, Sweden. 1950´s.

M: Vases designed by Sandra Davolio, Denmark. 2020. Signed and unique.

From left to right: SFG: Mamma Andersson, Grandma, 2016. Headless Man in Jacket, 2015. Gauntlets, 2015. Dr Headless Man in Stockings, 2015. Hunting Goddesses, 2016.

ress, 2015.

M: Table clock designed by Sigvard Bernadotte for Yxhults Stenhuggeri AB, Sweden. 1969.

Andreas Eriksson’s work embraces dualities: inside and outside, lightness and heaviness, illusion and reality, and his paintings hover enigmatically between abstraction and figuration. Characterised by gestural overlapping strokes that contrast vertically and horizontally, his paintings create a window onto the outside world.

SFG: Andreas Eriksson, Plog, 2014 - 2019.

M: Sofa and Armchairs PJ 149 “Colonial” designed by Ole Wanscher for P. Jeppesen, Denmark. 1950’s.

M: Floor lamp designed by Paavo Tynell for Taito Oy, Finland, 1950’s.

M: Bench designed by Lauri Järveläinen, Finland, 1930’s.

SFG: Andreas Eriksson, Conent is a Glimpse, #35 / #36, 2014.

M: Ina. Vase, designed by Per B Sundberg for Orrefors, Sweden. 1998.

M: Sofa designed by Frits Henningsen, Denmark. 1936.

M: Games table designed by Ejner Larsen and Aksel Bender Madsen for Cabinetmaker Willy Beck, Denmark, 1966

SFG: Wayne Gonzales, Woman in the Garden, 2016 - 2017.

‘Woman in the Garden’ is based on a photograph that Wayne Gonzales took at the Museum of Modern Art, New York of Pablo Picasso’s homonymous sculpture from 1929/30. As is always the case with Gonzales’ work, the painting has nuanced references to art history, American culture and photography.

In this work Gonzales uses a highly expressive method of crosshatching, continuing his engagement with light, dark and layering. This non-linear narrative and connection between the artist’s references leaves the work open to interpretation while being immediately visually appealing. By making references across time and art history, Gonzales imbues the work with a sense of impermanence, and spectacle.

M: Sculpture “Rain” designed by Ole Christensen, Denmark, 1950s.

SFG: Wayne Gonzales, 17th Street Canal from Bucktown, New Orleans, 2017.

From left to right: SFG: Kendell Geers, Age of Iron CV, 2012. Kendell Geers, Age of Iron CVI, 2012.

The ‘Age of The Iron’ rust drawings are a series of works on paper created through the rusting edges and patterns of razor wire. These works continue to experiment with important themes to Kendell Geers’ practice such as conflict, spirituality and mortality. Through the use of razor wire, a highly symbolic weapon in his native South Africa, the artist undercuts the works’ initial allure with a sense of violence and aggression. By fusing the personal with the political, and the poetic with the abject, Geers’ work causes us to question both our instincts and our ethics.

M: Stool “Tutankhamun” designed by Josef Frank for Svenskt Tenn, Sweden. 1941.

SFG: Yinka Shonibare CBE, Un Ballo in Maschera (Courtiers II), 2004.

SFG: Yinka Shonibare CBE, Culture Flower, 2007.

M: Armchair “Aluminiumfåtölj” No 34-50/200 designed by Mats Theselius for Källemo, Sweden, 1990.

SFG: Ged Quinn, Eleven Breaks of Blind, 2017.

M: Ceiling lamp model K1-40 designed by Mauri Almari for Idman, Finland. 1950’s.

SFG: Ged Quinn, Today Is Our Meatless Day, 2013.

Richly layered with meaning and symbolism, Ged Quinn’s works combine complex histories and mythological references with the traditions of landscape, still-life and genre painting. Drawing on inspiration from art history, Quinn uses paintings by artists such as Claude Lorrain, Caspar David Friedrich and Jacob van Ruisdael as source material to form multi-layered narratives. Themes of religion, politics, literature and film permeate his works. Yet with decidedly Surrealist undertones, Quinn’s dream-like paintings resist interpretation.

SFG: Ged Quinn, Your Most Urgent Prayer, 2012

SFG: Jim Hodges, Untitled (Split), 1997.

Jim Hodges’ work explores themes of fragility, temporality, love and death in a highly original and poetic vocabulary.

Hodges first used mirrors in his work in 1996 when he smashed the back of a supported reflective glass to create a web of lines on the shattered front. The medium has been a recurring presence in the artist’s practice ever since. When presented with one’s own fractured reflection in these tessellated surfaces, the works are completed.

‘Untitled (Split)’ is one of the largest and most significant early examples of Jim Hodges’ use of mirrored glass. Installed as a painting, there is also an architectural dynamic in the refraction of light and in the reflection of the surrounding space.

Here, the thought-provoking process of cracking the mirror echoes Hodges’ consistent preoccupation with transforming the innate qualities of the material into an object of great beauty.

SFG: Yinka Shonibare CBE, Refugee Astronaut in Snow Globe, 2020.

M: Table lamp designed by Axel Enoch Boman for Orrefors, Sweden. 1915.

Second floor

M: Dining set designed by Alvar Aalto for Finmar Ltd., Finland. 1929-1935.

M: Rare shelf designed by Alvar Aalto for Hedemora, Sweden, 1933.

M: Armchair ‘Little Paimio’ model number 42 designed by Alvar Aalto for Artek, Finland. 1930’s.

M: Pair of wall lamps designed by Paavo Tynell, Finland. 1940’s. Very exceptional model designed for Hotel Aulanko Hämeenlinna.

SFG: Yinka Shonibare CBE, Un Ballo in Maschera (Gustav III and Anckarstrom), 2004.

M: Set of three nesting tables designed by Hans J. Wegner for Andreas Tuck, Denmark. 1950’

’s.

SFG: Tonico Lemos Auad, Red Figure / The World is Black as Ink, 2019.

Tonico Lemos Auad’s series of free-standing totemic wooden sculptures takes inspiration from Derek Jarman’s iconic coastal garden at Prospect Cottage in Dungeness. The limitless vistas of the garden are punctuated by the strong vertical forms of sculptures that Jarman constructed from driftwood.

In a similar vein, Auad has reclaimed pieces of wood from historic buildings in London and given them new life by playing with traditional modes of carpentry and joinery. Imbued with a ceremonial undertone, these totemic works embody Auad’s ability to unearth the poeticism that can be found in everyday objects.

M: “The Flag Halyard Chair� designed by Hans Wegner for Getama, Denmark. 1950. Model presented at The Arts & Crafts Spring Exhibition at Designmuseum Danmark in 1950.

SFG: Jonathan Baldock, Musica, 2011.

British artist Jonathan Baldock works across multiple platforms including sculpture, installation and performance. ‘Musica’ is one of the first wall hangings ever created by the artist. Baldock invents new characters and surreal hybrids, part harlequin, part something more austere. The work manifests Baldock’s ongoing exploration of the body’s potential to communicate forms of meaning that evade verbal articulation.

“Jonathan Baldock weaves together themes of mythicism, folklore, spirituality and sensuality to explore the fleshy, malleable quality of the human form and our inner psyche.”

– Chris Bayley, Associate Curator at VITRINE and Curatorial Assistant at Barbican, London on the occasion of ‘Me, Myself and I’, Kunsthall Stavanger, Stavanger (2020)

Pictured from left to right: SFG: Jonathan Baldock, Maske LXV, 2020. Maske LXVI, 2020. Maske LXVIII, 2020. Maske LX

XIX, 2020.

SFG: Juan Araujo, ‘Azul’ series, 2003.

‘Azul’ is a from a series of paintings by Juan Araujo which explore ideas of landscape throu Claude Lorrain’s paintings and imaginary scenes from the Dutch landscape tradition.

Hovering on the brink of abstraction, these dramatic renderings capture the unpredictable va creates a sense of perpetual movement and change in the weather. Executed with photorealis the artist’s imagination and which directly reference the extremes of natural phenomena. Fle alterations that result from mechanical printing and deterioration brought about by the passa interrogates notions of authorship and highlights the role of context in shaping our experien

ugh a palimpsest of references including meteorological illustrations, reproductions of

ariety of the natural world. Through energetic brushstrokes and varied textures, Araujo stic precision, the painting leaves the viewer uncertain as to which visual effects belong to ecks of paint, the golden yellow tinge of aged paper and turquoise sky suggest chromatic age of time. By negotiating the boundary between the original and its reproduction, Araujo nce of art history.

M: Set of five easy chairs designed by Bodil Kjaer for Harbo Sølvsten, Denmark. ca 1955.

SFG: Andreas Eriksson,The Thief, 2018.

M: Desk designed by Hans J. Wegner for Andreas Tuck, Denmark. 1967.

M: Valet chair designed by Hans Wegner for Johannes Hansen, Denmark. 1953.

M: Vases designed by Berndt Friberg for Gustavsberg, Sweden. 1960’s.

SFG: Andreas Eriksson, Fragment, 2015 - 2016.

SFG: Andreas Eriksson, Spegling, 2013.

M: Ceiling light designed by Paavo Tynell, Finland. 1950’s

M: Unique copper ceiling lamp designed by Ilmari Tapiovaara, Finland. 1955.

M: Modular TV bench model 161 designed by Hans Olsen for Bramin, Denmark. 1957.

SFG: Claire Barclay, Untitled (black diptych), 2015.

“[Claire Barclay assembles] objects that evoke their original form and function but take on new meaning in relation to each other and the space in which they are sited.

Her prints relate closely to her sculptural practice through their experimentation of how solid forms relate to one another in space” – Tate, UK

SFG: Andreas Eriksson, Weissensee No. 16, 2019.

Describing his work as “existential landscapes”, Eriksson is known for his subtly textured paintings of the natural world. A new body of hand-woven tapestries such as ‘Weissensee No. 16’ expands the artist’s formal language and demonstrates the connections between these two distinct practices.

Rendered in subtle hues of undyed yarn, the tapestry offers a unique window onto the artist’s rural surroundings in Medelplana, Sweden. Eriksson sources the tapestries’ linen from multiple sites in Sweden, linking each piece to a specific geographical location.

Hovering between abstraction and figuration, these meditative works can be interpreted as a patchwork topography or a detail of an organic form such as a tree, earth or rock formation. “[Andreas Eriksson’s] brushstrokes, those characteristic marks that we have come to look for in his paintings are instead rendered in thread. The fibres of the brush are evoked through the fibres of the linen itself. Sections that might have been the product of a few gestures in a painting can take many days to produce.” – Hettie Judah, 2020

M: Easy chair “The Thumb” designed by Arne Norell for Gösta Westerberg, Sweden. 1952.

Third floor

M: Standing long-case clock, anonymous, Denmark. 1950s.

M: Tapestry “The Adventure” designed by Lennart Rodhe, Sweden. 1972. Woven

by Handarbetets vänner and previously owned by Åke Huldt, former director of Swedish Form.

M: Pair of ceiling lamps model 9060 designed by Paavo Tynell for Taito Oy, Finland. 1950’s. This model was designed for the secretariat’s room at the United Nations, NYC, USA.

M: Occasional table “The Egyptian table�, designed by Mogens Lassen for Rud Rasmussen, Denmark. 1935.

M: Armchair, designed by Uno Åhrén or Björn Trägårdh for Svenskt Tenn, Sweden. 1930’s.

M: Pure linen tapestry, designed by Elisabet Hasselberg Olsson Sweden, 1970’s.

Project direction: Mira Dimitrova Project coordination: Alexandra Bailey, Celia Duque Espiau, Harry Laughland and Holly Lord Press and content coordination: Jonathan Horrocks, Tamsin Huxford and Alana Pryce Imaging and Graphic Design: Rory Black Installation coordination: Andy Lee Installation: Matt Ager, David Cochrane, Tom Cretton, David Ersser, Neil Murray and Sarah Titheridge Logistics: Andrew Basham, Eleanor Dobson and Jessica Little Press: Scott & Co Photography: Mark Blower Videography: Todd-White Art Photography Virtual tour: Tomorrow Contemporary Contact for enquiries: info@stephenfriedman.com

Project direction: Sebastien Holt Brochure Imaging and Graphic Design: Adam Wolstenholme Press and content coordination: Imogen MacColl Logistics: Elric Souze Photography: James Harris, Ă…sa Liffner Virtual tour: Viewscape Contact for enquiries: info@modernity.se