Exhibition folder: “Moderna Museet c/o Magasin 3”


Moderna Museet c/o Magasin 3 by David Neuman, director, and Richard Julin, curator Magasin 3 Stockholm Konsthall.
About the works, quotations by the artists and excerpts of texts about the artworks.

Folder no 3. 15 pages, black and white, not illustrated. Texts in Swedish/English.
Published 2002 by Magasin 3 Stockholm Konsthall.

Moderna Museet c/o Magasin 3 Stockholm Konsthall by David Neuman and Richard Julin

It is a challenge and a privilege to choose work from the comprehensive and immensely rich collection of Moderna Museet. Going through the collection while organizing this exhibit brought back many emotions and memories, not to mention how incredibly fun the preparatory work was. It was like seeing old friends and acquaintances. Memories of exhibitions and of moments that have left significant traces all came rushing back.

When we analyzed the collection a little more carefully, we of course found many artworks with which we were not familiar, and others we had forgotten. There are many surprises in Moderna Museet’s permanent collection. Faced with the task of putting together an exhibit from these vast holdings, we realized that we, of course, needed to choose a few of the many enticing strands within the selection.

We chose two basic points of departure, as well as an associative attitude toward the art that we think was crucial to the formation of the exhibit. What we are presenting is a sculpture show with an emphasis on abstract work.

If you look at the exhibit chronologically, the earliest works are Francis Picabia’s Prenez garde à la peinture (1916), Nell Walden’s Komposition (1917) and Passion (1918), Man Ray’s Lamp shade (1920), and Viking Eggeling’s drawing Diagonalsymfonien (1920), which is a sketch for his later film of the same name. The works point toward an abstract language that we then follow through various epochs in the collection. Nell Walden’s abstract nature pieces and Francis Picabia’s machine abstractions touch on two themes that run parallel throughout the exhibit.

The exhibit has a tendency to show works that are perhaps not the best-known in Moderna Museet’s collection. Much of it has either never been exhibited in Sweden or has not been on display for quite a few years. The artists’ nationalities were not a factor in our decision, although the final selection has a balanced number of Swedes and foreigners.

The installation is not chronological. Rather, the works have been placed as a result of associations that can be made between them. Our hope is that viewers will be able to take in the show as a whole, and that what’s on display in these halls can create new experiences for them.

David Neuman and Richard Julin Stockholm, February 2002