Wadström Tönnheim Gallery kicks of the new year with Swedish artist Martin Ålund

Martin Ålund (SE)

“The Bipolar Suite”

Wadström Tönnheim Gallery, Marbella

30 January – 27  March, 2021



Martin Ålund, Swedish artist based in Stockholm, is topical with a new exhibition at Wadström Tönnheim Gallery and his fresh series of paintings “The Bipolar Suite” that arises from the Otherworld theme. This theme has to do with juxtaposing extremes through the use of diptychs and creating a charge and establishing a contact. It is like creating energy, an interaction where one touches upon both origin and downfall at the same time. The theme Otherworld deals with the interface between different realities. Where does the insanity, the imagination, and the irrational begin and end? How can one move between the different realities and find experiences, as well as messages, that one alternates between?

– I think of Alice in Wonderland, shamanism, alchemy, Orpheus and Eurydiceas well as romantic myths of the artist as magician, madman and messenger. I also often think of how the magic and the irrational can both be a means to escape, and a way to grasp the unfathomable, says Martin Ålund.

The exhibition opens online Saturday 30th of January at 12.00 pm, and will proceed online until further notice when the restrictions are getting less complicated and our opening hours are going back to norm

Address and opening hours: Poligono Nueva Campana, Local 37B, Nueva Andalucia (Marbella). Normal opening hours Monday to Friday 11.00-18.00 or any day and time by appointment. The exhibition will go on until the 27 of March 2021. Because of the Covid19 situation and the surrounding circumstances and restrictions there can be a change in opening hours or visiting capacity due to new regulations.


Wadström Tönnheim Gallery’s mission is to examine the idea of the painterly, be it also through related media such as photography, sculpture, installations, video and drawing, in order to understand and to promote the direction of painting and its relevance to contemporary visual culture. The Gallery is owned and operated by Mattias Tönnheim. www.wadstromtonnheim.se


PS. We are open by appointment only during the holidays and until the opening of our upcoming exhibition with Martin Ålund on the 15th of January. Welcome to book a private viewing for you and your friends.

Maiju Tirri – Chasing the Ice

Maiju Tirri (FI)

Chasing the Ice

Wadström Tönnheim Gallery, Marbella

11 September, 2020 – 9 January, 2021 (dates extended due to the Covid19 pandemic)

The former Spanish based artist Maiju Tirri makes her first collaboration with Wadström Tönnheim Gallery when she exhibits her new series of sculptures made out of recycled glass, resin and paint. Vernissage for Maiju Tirris new exhibition “Chasing the Ice” is Friday 11 of September 19.30-22.00h.

– The globe is getting warmer. And fast. Glaciers are melting. New forms of devastating natural disasters and climate change are occurring. Everything is happening rapidly. The melting of glaciers due to global warming is expected to have devastating consequences. We have to wake up to the fierce urgency and act to prevent further damages to our earth and save ourselves from ourselves. Because I think and believe that we do care. And that we can do our part. These art pieces with a resemblance of ice are just a reminder for us all, that even small actions matter, says the Finish artist Maiju Tirri.

Finnish artist Maiju Tirri has lived by the frozen sea and been surrounded by ice and snow most of her childhood winters. She has always been overwhelmed by the beauty of the winters, which no longer are as cold and white as the used to be. Maiju has therefor created art around this theme to do her part and awaken us. Something fascinating and beautiful is made out of the ugly truth to touch the soul of the viewer. Maiju Tirri uses recycled glass, resin and paint to create the illusion of ice.

Maiju Tirri, based in Helsinki (Finland), has had various solo and group exhibitions around Europe. Her large abstract works are has in various public and private collections in Europe, Middle East and US. And she has a degree in Arts and Design from Finland’s South west Institute of Arts and Crafts.

Address and opening hours: Poligono Nueva Campana, Local 37B, Nueva Andalucia (Marbella). Open by appointment Monday to Saturday at any time. The exhibition will go on until the 31 of October 2020. Because of the Covid19 situation and the surrounding circumstances and restrictions there can be a change in opening hours or visiting capacity due to new regulations.


For more information contact:

Mattias Tönnheim at +46 704-41 19 14 alt. mattias@wadstromtonnheim.se




Wadström Tönnheim Gallery starts out the season with solo shows by two, and in their own unique way, minimalistic Spanish artists. The established (Andalusian based) conceptual painter José Medina Galeote shows his exhibition ”Feel the need”, and the Madrid based Sculptor Odnoder (represented by gallery Espacio Primavera 9) who creates most of his art work in wood. In the new show room in the front space it will be a design exhibition by the brand Ferromagno who will display its latest collection created by their designer Andrea Di Carlo. Andrea presents “Verses of Texture”, a clearly defined series of artistic objects which find in craftsmanship their milestone to reach excellence.


José Medina Galeote makes use of painting and its conceptual derivations to reflect on the pictorial act itself. The reproduction of objects and drawings in different media and on different material allows him to present the spectator with a type of game that can be challenging, violent or disturbing. In it, the roles of artist and viewer seem to become confused or to change places, but this game inevitably leads to a profound reflection on artistic practices in general and on painting in particular. Galeote has been able to combine the age-old questioning of the nature of painting (almost as old as the art form itself) with a language or device such as camouflage, which was fully developed from the early 20th century and onwards. It is here that we encounter one of the numerous transferences between art and war. This is because artistic formulas frequently originating in Cubism and Surrealism were applied to the art of war in order to obtain protective camouflage. One such example is “dazzle” painting, which was indebted to Cubism and which basically consisted in making an object unrecognizable through the application of stripes or other geometrical lines or colors.

Galeote has succeeded in construction a particular aesthetic that makes him stand out in a radical manner, both stylistically and in the ideas that underlie his artistic strategy, which has acquired coherence over the course of time. This has come about through the judicious encounter that he has established between camouflage and a meta-pictorial investigation that has led him to constantly question the specific characteristics of painting and drawing from the standpoint of those disciplines themselves. In contrast to other artists who devote themselves to the aesthetic of camouflage, Galeote stands out for not using it in a particularly critical or political way, not as an exercise of militant resistance but as a way of investigating painting. Also on an aesthetic level, his work has clear references to the minimal and conceptual art of the 1960: artists like Bruce Nauman, Trisha Brown or Ivonne Rayner became their work a source of research and experimentation artistic. They questioned the very concept of representation and led to the art to a basic exploration of reality. Galeote has exhibited in several important solo and group exhibitions such as Contemporary Art Center Málaga. BIENNAL ART CONTEMPORARY Pamplona, BIENNAL DE Valencia and Centre Pompidou.


Odnoder (full name Pablo Redondo Díez) creative process follows a subtle dialogue between inspiration and the nature of the work material. Each wood has a different cellular structure, and each piece has a unique arrangement of knots and veins. Some woods give great freedom to be carved. Others require not just departing from the mode of growth of the tree they come from. Some slender forms need an oily wood, such as Burmese teak. Others ask for the expressiveness of the veins of the olive tree, the diamond-shaped texture of an oak, or the color of the lemongrass.

Many moments of inspiration comes to Odnoder in the middle of nature, walking alone in the mountains. Some logs that he find along the way suggest a certain way. On other occasions he has the form imagined, waiting for a piece of wood capable of housing it. In both cases, when he start carving a piece of wood, the shape he has in his head is altered by the interior structure of the piece, invisible from the outside. The wood speaks to Odnoder and he is modifying any previous idea to adapt to it. While creating he like to think that something similar happens when a person attracts you and you begin to feel before you know. Its exterior appearance is the first thing that inspires you, but its presence is modified by discovering the mysteries of its interior. Odnoder has been exhibited at galleries and art fairs in the south of Europe.


Andrea Di Carlo presents Verses of Texture, a clearly defined series of artistic objects which find in craftsmanship their milestone to reach excellence. This carefully arranged collection of craft works not only revisits and refreshes traditional and popular craftsmanship, thanks to a meditated recovery of techniques, noble materials and classic construction processes, but it also succeeds in integrating in a natural way in the areas of conceptual research and development of the most contemporary creations. Her pieces have been designed and created with a site specific character, carrying a calling to fill defined spaces with a soul and energy of their own.

For this new show the designer has nurtured – as has become a tradition in her methodology – of her own experience, experimentation and the possibilities inherent to each material, and in this way delving into new ways of making: using technological abilities at the service of her imagination in order to question us with unique objects awaiting to be lived. Andrea Di Carlo is an Argentinian designer based in southern Spain, and her creations come to life under the brand Ferromagno.


Address: Poligono Nueva Campana, Local 37B, Nueva Andalucia (Marbella).


Wadström Tönnheim Gallery exhibits at Drawing Room art fair in Madrid

Wadström Tönnheim Gallery, based in Marbella Spain, participates at Drawing Room art fair in Madrid, which is open from Wednesday the 26th of February until Sunday the 1 of March. Wadström Tönnheim Gallery exhibits the following artists Maria José Gallardo (from Spain, based in Sevilla), Ana Velez (from Portugal, based in Lisbon and Madrid) and Daniel Fleur (from Sweden, based in Malmö), whom also is represented by the gallery.

– It is a new take for us participating at this small emerging, but yet promising and influential, contemporary art fair. Considering Drawing Room is a niched art fair specialized in works on paper and drawings, says Mattias Tönnheim director for Wadström Tönnheim Gallery and continues:

– We are bringing works in different sizes and price ranges for all type of collectors and clients. MariaJosé Gallardo detail oriented and figurative works together with Ana Velez exploratory and abstract but yet sensitive paper ink transfers presented together with Daniel Fleurs elaborating drawings that examines the substance of the digital image and its relation to painting creates a dynamic visual context.


DANIEL FLEUR, (born 1992). Lives and works in Malmö, Sweden. Daniel has a Masters of Fine Arts from Malmö Art Academy. What is painting in a world saturated with digital images that constantly surround us? Color and light turn into images. What is the substance of the digital image and what is its relation to painting? A specific light, a few seconds shutter speed, has been frozen and digitized. The photograph of the painting has then served as the starting point for a new painting. Translation of information and compression creates deviations.  A small change in color temperature can cause major changes. But also, the impact of technology on the alteration of a picture. The images oscillate between dematerialization and materialization. There is a confrontation or a meeting between coded information and the haptic qualities of painting that in itself influences the image. The paintings carry their past in their present state. But the paintings are never static. It’s not simply about a then and a now, it’s also about a future, in which the image continues to undergo changes. Daniel has already been exhibited at numerous established galleries and art fairs around Europe.


MARIAJOSÉ GALLARDO, (born 1978). Lives and work in Sevilla Spain. MariaJosé has a Bachelor of Fine Arts with the specialty of Design and Engraving from Sta. Isabel de Hungría in Sevilla. She is represented at several prestigious collections and has been exhibited in several museums/institutions and galleries in Spain and south America. MariaJosé Gallardo has always found stimuli in emblems and the narrowing baroque shutter, the ornamental, the psychoanalysis of the torture – when a sycophant has been placed in manifest abstracted from other analytical context-, the ridicule of imagery, the frivolous popular culture and holistic, broth unknown everyday qualities, to some extent, of perversion. Placing around the board game a madman’s family circle, can be descriptive, narrative and dismal. To make a collection of the extract so that the wicked may have another condition, can also be wrapped in certain provocation.


ANA VELEZ, (born 1982). Lives and works in Lisbon, Portugal. Ana has a Masters in Fine Arts from Faculdade de Belas-Artes da Universidade de Lisboa, Lisbon, Portugal. Her work has been marked by solo and group exhibitions at the institutional level, but also by collective projects of urban art. She is co-founder and active member of Vazarte, a multidisciplinary collective dedicated to create reflective art projects, art spaces and urban art creations. In her work she has established drawing as a directional tool, inquiring about its multiple material possibilities, which led her to develop her work also in the public space. There she made a series of pictorial interventions on damaged or already disappeared buildings. She addresses themes that go around the concept of identity, based on three ideas: place, memory and body, highlighting place as the container of memory and identity. Her work is part of several institutional and private collections, both national and international.