Bea Bonafini, I Conversed With You in a Dream, 2020 (Gouache on cork, 30 x 25 cm).
Installation view.
Installation view.
Installation view.
Installation view.
Installation view.
Installation detail.
Emma Kohlmann, Candy Roll, 2019 (Watercolour and Sumi—ink on 250 gsm cotton paper, 35,5 x 28 cm).
Emma Kohlmann, Untitled, 2019 (Watercolour and Sumi—ink on 250 gsm cotton paper, 35,5 x 28 cm).
Emma Kohlmann, Untitled, 2019 (Watercolour and Sumi—ink on 250 gsm cotton paper, 35,5 x 28 cm).
Emma Kohlmann, Untitled (detail), 2019 (Watercolour and Sumi—ink on 250 gsm cotton paper, 35,5 x 28 cm).
Installation view.
Installation view.
Installation view.
Installation view.
Hanna Antonsson, Pegasus Wing Display, 2020 (Diptych, glossy inkjet print, edition of 3/3, 21 x 30 cm).
Hanna Antonsson, Pegasus Wing Display, 2020 (Diptych, glossy inkjet print, edition of 3/3, 21 x 30 cm).
Hanna Antonsson, Pegasus Wing Display (detail), 2020 (Diptych, glossy inkjet print, edition of 3/3, 21 x 30 cm).
Installation view.
Jack Almgren, Landscape, 2020 (Asphalt, concrete, paraffin, glue, plastic and acrylic, dimensions variable).
Jack Almgren, Landscape (detail), 2020 (Asphalt, concrete, paraffin, glue, plastic and acrylic, dimensions variable).
Installation view.
Jack Almgren, Landscape (detail), 2020 (Asphalt, concrete, paraffin, glue, plastic and acrylic, dimensions variable).
Installation view.
Jack Almgren, Landscape (detail), 2020 (Asphalt, concrete, paraffin, glue, plastic and acrylic, dimensions variable).
Jack Almgren, Landscape (detail), 2020 (Asphalt, concrete, paraffin, glue, plastic and acrylic, dimensions variable).
Installation view.
Installation view.
Bea Bonafini, I Conversed With You in a Dream, 2020 (Gouache on cork, 30 x 25 cm).
Bea Bonafini, I Conversed With You in a Dream, 2020 (Gouache on cork, 30 x 25 cm).
Bea Bonafini, I Conversed With You in a Dream (detail), 2020 (Gouache on cork, 30 x 25 cm).
Alina Vergnano, Two, a Double, a Mirrored—Half, 2020 (Acrylic and oil—stick on linen, glazed stoneware, 42 x 38 cm)
Alina Vergnano, Two, a Double, a Mirrored—Half, 2020 (Acrylic and oil—stick on linen, glazed stoneware, 42 x 38 cm)
Alina Vergnano, Two, a Double, a Mirrored—Half (detail), 2020 (Acrylic and oil—stick on linen, glazed stoneware, 42 x 38 cm)
Installation view.
Installation view.
Installation detail.
Peter Andreas Sandberg, I’m Gonna Live Like a Freelance Fiend, 2020 (Wood and steel, 86 x 65 x 117 cm).
Peter Andreas Sandberg, I’m Gonna Live Like a Freelance Fiend (detail), 2020 (Wood and steel, 86 x 65 x 117 cm).
Peter Andreas Sandberg, I’m Gonna Live Like a Freelance Fiend (detail), 2020 (Wood and steel, 86 x 65 x 117 cm).
Installation view.
Jeff Olsson, Let the Good Times Unfold, 2017 (Charcoal and dry pastel on paper, framed, 35 x 28 cm).
Jeff Olsson, Let the Good Times Unfold, 2017 (Charcoal and dry pastel on paper, framed, 35 x 28 cm).
Jeff Olsson, Let the Good Times Unfold (detail), 2017 (Charcoal and dry pastel on paper, framed, 35 x 28 cm).
Installation view.
Installation view.
Alice Visentin,T-E-N-D-A Caritààà, 2020 (Oil on canvas, 40 x 30 cm).
Alice Visentin, T-E-N-D-A Caritààà (detail), 2020 (Oil on canvas, 40 x 30 cm).
Alice Visentin,T-E-N-D-A Caritààà, 2020 (Oil on canvas, 40 x 30 cm).
Installation view.
Installation view.
Installation view.
Claire Milbrath, Untitled, 2020 (Oil—pastel on 80 gsm paper, 28 x 21,6 cm).
Claire Milbrath, Untitled (detail), 2020 (Oil—pastel on 80 gsm paper, 28 x 21,6 cm).
Claire Milbrath, Untitled, 2020 (Oil—pastel on 80 gsm paper, 28 x 21,6 cm).
Bea Bonafini, I Conversed With You in a Dream, 2020 (Gouache on cork, 30 x 25 cm).
Installation view.
Installation view.
Installation view.
Installation view.
Installation view.
Installation detail.
Emma Kohlmann, Candy Roll, 2019 (Watercolour and Sumi—ink on 250 gsm cotton paper, 35,5 x 28 cm).
Emma Kohlmann, Untitled, 2019 (Watercolour and Sumi—ink on 250 gsm cotton paper, 35,5 x 28 cm).
Emma Kohlmann, Untitled, 2019 (Watercolour and Sumi—ink on 250 gsm cotton paper, 35,5 x 28 cm).
Emma Kohlmann, Untitled (detail), 2019 (Watercolour and Sumi—ink on 250 gsm cotton paper, 35,5 x 28 cm).
Installation view.
Installation view.
Installation view.
Installation view.
Hanna Antonsson, Pegasus Wing Display, 2020 (Diptych, glossy inkjet print, edition of 3/3, 21 x 30 cm).
Hanna Antonsson, Pegasus Wing Display, 2020 (Diptych, glossy inkjet print, edition of 3/3, 21 x 30 cm).
Hanna Antonsson, Pegasus Wing Display (detail), 2020 (Diptych, glossy inkjet print, edition of 3/3, 21 x 30 cm).
Installation view.
Jack Almgren, Landscape, 2020 (Asphalt, concrete, paraffin, glue, plastic and acrylic, dimensions variable).
Jack Almgren, Landscape (detail), 2020 (Asphalt, concrete, paraffin, glue, plastic and acrylic, dimensions variable).
Installation view.
Jack Almgren, Landscape (detail), 2020 (Asphalt, concrete, paraffin, glue, plastic and acrylic, dimensions variable).
Installation view.
Jack Almgren, Landscape (detail), 2020 (Asphalt, concrete, paraffin, glue, plastic and acrylic, dimensions variable).
Jack Almgren, Landscape (detail), 2020 (Asphalt, concrete, paraffin, glue, plastic and acrylic, dimensions variable).
Installation view.
Installation view.
Bea Bonafini, I Conversed With You in a Dream, 2020 (Gouache on cork, 30 x 25 cm).
Bea Bonafini, I Conversed With You in a Dream, 2020 (Gouache on cork, 30 x 25 cm).
Bea Bonafini, I Conversed With You in a Dream (detail), 2020 (Gouache on cork, 30 x 25 cm).
Alina Vergnano, Two, a Double, a Mirrored—Half, 2020 (Acrylic and oil—stick on linen, glazed stoneware, 42 x 38 cm)
Alina Vergnano, Two, a Double, a Mirrored—Half, 2020 (Acrylic and oil—stick on linen, glazed stoneware, 42 x 38 cm)
Alina Vergnano, Two, a Double, a Mirrored—Half (detail), 2020 (Acrylic and oil—stick on linen, glazed stoneware, 42 x 38 cm)
Installation view.
Installation view.
Installation detail.
Peter Andreas Sandberg, I’m Gonna Live Like a Freelance Fiend, 2020 (Wood and steel, 86 x 65 x 117 cm).
Peter Andreas Sandberg, I’m Gonna Live Like a Freelance Fiend (detail), 2020 (Wood and steel, 86 x 65 x 117 cm).
Peter Andreas Sandberg, I’m Gonna Live Like a Freelance Fiend (detail), 2020 (Wood and steel, 86 x 65 x 117 cm).
Installation view.
Jeff Olsson, Let the Good Times Unfold, 2017 (Charcoal and dry pastel on paper, framed, 35 x 28 cm).
Jeff Olsson, Let the Good Times Unfold, 2017 (Charcoal and dry pastel on paper, framed, 35 x 28 cm).
Jeff Olsson, Let the Good Times Unfold (detail), 2017 (Charcoal and dry pastel on paper, framed, 35 x 28 cm).
Installation view.
Installation view.
Alice Visentin,T-E-N-D-A Caritààà, 2020 (Oil on canvas, 40 x 30 cm).
Alice Visentin, T-E-N-D-A Caritààà (detail), 2020 (Oil on canvas, 40 x 30 cm).
Alice Visentin,T-E-N-D-A Caritààà, 2020 (Oil on canvas, 40 x 30 cm).
Installation view.
Installation view.
Installation view.
Claire Milbrath, Untitled, 2020 (Oil—pastel on 80 gsm paper, 28 x 21,6 cm).
Claire Milbrath, Untitled (detail), 2020 (Oil—pastel on 80 gsm paper, 28 x 21,6 cm).
Claire Milbrath, Untitled, 2020 (Oil—pastel on 80 gsm paper, 28 x 21,6 cm).

Jack Almgren
Hanna Antonsson
Bea Bonafini
Emma Kohlmann
Claire Milbrath
Jeff Olsson
Peter Andreas Sandberg
Alina Vergnano
Alice Visentin
The Thicker the Woods, the Vaster the Vista
Apr 23 — May 24, 2020

  • NEVVEN is proud to present The Thicker the Woods, the Vaster the Vista a group exhibition featuring a selection of new or previously unseen works by an international and intergenerational group of artists close to the gallery. The first extraordinary event hosted by NEVVEN during the ongoing health crisis.

    The show wants to take the chance given by this special moment in history and the forced hiatus imposed to the gallery’s program to juxtapose a new generation of uprising Swedish artists with some of NEVVEN’s favourite established practices worldwide. To use this unexpected time and space to create connections between practices that never crossed before, while allowing a reflection upon the questions brought to all of us by the Covid-19 pandemic.

     

    Utopia

    Island where all becomes clear.
    Solid ground beneath your feet.
    The only roads are those that offer access.
    Bushes bend beneath the weight of proofs.

    The Tree of Valid Supposition grows here
    with branches disentangled since time immemorial.

    The Tree of Understanding, dazzlingly straight and simple,
    sprouts by the spring called Now I Get It.

    The thicker the woods, the vaster the vista:
    the Valley of Obviously.

    If any doubts arise, the wind dispels them instantly.

    Echoes stir unsummoned
    and eagerly explain all the secrets of the worlds.

    On the right a cave where Meaning lies.

    On the left the Lake of Deep Conviction.
    Truth breaks from the bottom and bobs to the surface.

    Unshakable Confidence towers over the valley.
    Its peak offers an excellent view of the Essence of Things.

    For all its charms, the island is uninhabited,
    and the faint footprints scattered on its beaches
    turn without exception to the sea.
    As if all you can do here is leave
    and plunge, never to return, into the depths.

    Into unfathomable life.

    (Wislava Szymborska, 1976. Trad. by Claire Cavanagh)

  • NEVVEN is proud to present The Thicker the Woods, the Vaster the Vista a group exhibition featuring a selection of new or previously unseen works by an international and intergenerational group of artists close to the gallery. The first extraordinary event hosted by NEVVEN during the ongoing health crisis.

    The show wants to take the chance given by this special moment in history and the forced hiatus imposed to the gallery’s program to juxtapose a new generation of uprising Swedish artists with some of NEVVEN’s favourite established practices worldwide. To use this unexpected time and space to create connections between practices that never crossed before, while allowing a reflection upon the questions brought to all of us by the Covid-19 pandemic.

     

    Utopia

    Island where all becomes clear.
    Solid ground beneath your feet.
    The only roads are those that offer access.
    Bushes bend beneath the weight of proofs.

    The Tree of Valid Supposition grows here
    with branches disentangled since time immemorial.

    The Tree of Understanding, dazzlingly straight and simple,
    sprouts by the spring called Now I Get It.

    The thicker the woods, the vaster the vista:
    the Valley of Obviously.

    If any doubts arise, the wind dispels them instantly.

    Echoes stir unsummoned
    and eagerly explain all the secrets of the worlds.

    On the right a cave where Meaning lies.

    On the left the Lake of Deep Conviction.
    Truth breaks from the bottom and bobs to the surface.

    Unshakable Confidence towers over the valley.
    Its peak offers an excellent view of the Essence of Things.

    For all its charms, the island is uninhabited,
    and the faint footprints scattered on its beaches
    turn without exception to the sea.
    As if all you can do here is leave
    and plunge, never to return, into the depths.

    Into unfathomable life.

    (Wislava Szymborska, 1976. Trad. by Claire Cavanagh)

  • Download Full Press Release

  • Reviews

    "The Thicker the Woods, the Vaster the Vista" at NEVVEN
    KubaParis — Apr 30, 2020

    The Thicker the Woods, the Vaster the Vista
    Art Mirror — May 1, 2020

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