u don´t have to go to great and extensive art exhibitions to get a feeling of great satisfaction. Sometimes encounters with just a few works of art can awaken your interest immediately. This was what happened to me the first time I saw Inger Weichselbaumer´s sculptures. She took me by surprise, offering riddles in sculpture form, presenting studies of the human body which aroused an enticing feeling of both timelessness and anonymity.
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You don´t have to go to great and extensive art exhibitions to get a feeling of great satisfaction. Sometimes encounters with just a few works of art can awaken your interest immediately. This was what happened to me the first time I saw Inger Weichselbaumer´s sculptures. She took me by surprise, offering riddles in sculpture form, presenting studies of the human body which aroused an enticing feeling of both timelessness and anonymity.
A timelessness pervades her sculptures of women. The frozen movements, the muteness and anonymity remind the beholder of an artistic game, transmuting living beings into captive objects, forever frozen, just as Pompeji´s unmerciful lava once solidified its final moment. But a moment later, the sculptures come o life and I sense the movements before and after the moment of creation, I feel the life force behind it, a shameless irresistably seductive joy, when their arms are stretched above their heads, when their legs separate and their bodies open to vulnerability.
The uneven surfaces of the bronze sculptures seem almost alive, the slightly pudgy bodies attain individuality, muteness disappears, but mystique and anonymity linger on. These are the encounters I enjoy; art that appears closed and static but metamorphoses before your eyes, art where silence is something other than silence, where a frozen moment can always be extrapolated both forward and backward in time. Inger Weichselbaumer shows the same ability when she works with other materials.
She makes use of the ancient techniques of ceramics to meld the past to the present. Her skill is impressive. And she has gone on to work with new materials. Pure wave-like forms characterize the giant sheet metal trees she created to adorn the Town Hall Square in Helsingborg.
Inger Weichselbaumer is an artist with the ability to breathe life and individuality into her art. Whether she works in bronze, ceramics or metal, her intent is to create art that lives and that we can feel a connection with. Text: art critic Lars Olof Carlsson
Så er der endelig kommet nye rakuheste 11.12.10 i forskellige størrelser.
Rød hest solgt
Liggende hest solgt
Nr. 1, 3 og 4 solgt
Grøn hest solgt
Inger Weichselbaumer, født 1938
Vigtigste gruppeudstillinger:
Galleri Scanart, Berlin 1990, 1991
Lilla
Galleriet i Eslöv, 1990, 1993, 1994
Galleri Konstnärcentrum, Malmö 1991
Krapperups Konsthall, Krapperup 1991, 1995
Kalmar Konstmuseum, 1991
Galerie i Eppendorf, Hamburg 1993, 1996
Galleri Meyer, Lüneburg 1995
Kunstmässan, Sollentuna 1995, 2000, Galleri Bacchus
Chateau Argenteuil, Waterloo 1995
Galleri Abakus, Wroclav, Polen 1996
Karlskrona Konsthall 1997
Skulptur Biennale, Kongens Have, København 98, 2000
Indvielse af Svenska Huset, Bruxelles 1998
Skulpturbiennale, Malmö / Sophienholm Slot, Lyngby 00
Art Copenhagen 2000, 2001, 2002, Galleri Bacchus
Art Copenhagen 2007, 2008, Galerie Gerly
Kunstmessen i Herning 2001, Galerie Gerly
Galleri
Epoke, Vejle, danmark 2002
Galleri Rosenberg, Höganäs 2002
Galleri Palm, Falsterbo 2002
Galleri Sjöhästen, Nyköping 2003
Separatudstillinger efter 1990:
Galleri Holm, Malmö 1993, 1997
Axel Ebbes Konsthall, Trelleborg 1993
Galleri Bacchus, Borås 1994, 1998
Pharmacia, Lund 1995
Galleri Cupido, Stockholm 1997
Lilla Galleriet, Umeå 1997
Galleri Moment, Ängelholm 1998
Galerie Gerly, København 2000
Astra Zeneca, Mölndal 2002
Udsmykninger:
Betonrelief, Nevishög, Staffanstorp
Entréudsmykning, Gasverksgatan, Malmö
Passageudsmykning, Malmö Stadion
"Blå Träd", Rådhustorget, Helsingborg
Japanska Konsulatet, Helsingborg
Skulptur "Ida", Brons, HSB i Malmö
Opdateret 12. april 2011
