A Large Object or Cluster of Large Objects or More than One Object or Cluster near the Eye


Jonas Liveröd is showing his photo based works at Breadfield.

When Jonas Liveröd returns to Malmö with a show focusing on his photobased works, he borrows the impossibly long title from a landscape sketch by the 19th century British artist John Constable. Constable observed his surroundings with attention bordering on the manic, his cloud studies alone are enough to fill several books. Constable watched and his gaze changed everything around him.  It was obvious to him that the world composed and recomposed itself constantly in an endless process of dissatisfaction.

Constables perception hovers like a soundtrack to the structure of Liveröds exhibition. It is unpredictable but orchestrated – like the flight of pigeons, upside-down worlds in stereoscopic vision, hurricanes and effect of shock waves, how glass breaks, or a Mercedes crashing into a brick wall in slow motion.

Liveröds images have a hallucinatory liquid coating – equal parts painting and silent movies, and most silent movie shorts didn’t really care about telling a story. They were like poems, like interpretations of dreams – a sort of training camp for the human psyche. In the interaction between the objects and imagery in Liveröds show we find this, the ambivalent core.

Jonas work and methods are defined by a constant and impatient exploring of new materials and possibilities. During the past year he has made large scale textile prints, fragile porcelain images, complex site-specific installations, chainsawed wood sculpture and laser-cut plexi works. Among other things.

Jonas Liveröd has in the past few years had solo-shows at The Swedish Museum of Drawings, Gallery Steinsland-Berliner in Stockholm, Tegnerforbundet in Oslo, Concordia in the Netherlands, The Olle Nyman Foundation and Örebro Konsthall. His book The Violence was published in 2008 and in 2012 the follow-up Permanent Daylight was released, both have won a range of awards and prizes. He has also been Artist in residence at among other places Irish Museum of Modern Art (IMMA) in Dublin and  The Centre for Art & Urbanistics in Berlin,  and has guest lectured at the academies and universities in Münster, Nürnberg, Tromsö and Malmö. He writes essays and articles on subjects ranging from borderline architecture, art critique, human taxidermy and religious syncronicity. He occasionally curates projects such as  Playing with dead things for Gallery Steinsland-Berliner and Rite of Passage for the Danish sculpture park Skovsnogen.

Soon a new book by  Jonas will be published – Grand Assembly  and in 2017 his own collections of the undefinable opens to the public – The Liverödska wunderkammer in Ågårdskvarn,Sweden.