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Posted on september 29, 2022
Wadström Tönnheim Gallery, Marbella
1th of October – 6th of November, 2022
Wadström Tönnheim Gallery Marbella presents the exhibition “SUM(M)IT” with the acclaimed and acknowledged Spanish and Granada based artist Irene Sánchez Moreno. It’s her first exhibition with the gallery and it is curated by Elena Caranca. Vernissage is open for all and everyone on Saturday the 1th of October between 19.00-21.30h.
John Berger, acclaimed art critic and writer, affirms that the human being is aware of the social environment before being aware of the natural environment, however we know that the latter develops at an early age and, as in the case of Sanchez Moreno, can prevail over time. The Sierra of Granada, the land, is the most recurrent motif in the work of this artist, its representation is so powerful that it becomes an icon, the totem of her painting.
The sublime character of the landscape has been, in the History of Art, the object of study and analysis for many decades, and the revision in terms of content and form is precisely what the exhibition is about.
The four larger paintings respond to previous works, created between 2015 and 2019, and on which Irene has reexamined the key elements from the smaller format pieces. We have to immerse ourselves in the observation of all the works as an experimental and global set, where the timeline has been opened in favor of the details, emphasizing even more, if possible, the relationship between human and nature. This connection is detailed under the gaze of the artist, intending that the vestiges question the viewer, ratifying the deterioration caused by the passage of time and the color palette confers a strong uniformity with the aim of sensitizing us to loneliness, cold and silence.
Berger’s texts also praise the forest paths and the cabin retreat as a way of thinking resulting, in my opinion, a fundamental link in these canvases. Let us pay attention to his words because as he accurately expresses it, looking is a conscious act, a political act, which requires a slow pace and that that gaze is altered by the direct experience of the public and, without a doubt, by the social context in which image is being perceived.
Elena Caranca, Curator
For more information contact:
Mattias Tönnheim +46 704-411914 or email@example.com
Address and opening hours: Poligono Nueva Campana, Local 37B, Nueva Andalucia (Marbella). The exhibitions opens 1th of October between 19.00-21.30h and goes on until the 6 of November 2022. The gallery is open Monday – Friday at 14.00-18.00. And we are open any day by appointment.
Irene Sánchez Moreno based in Granada, born 1983.
Licenciada en Bellas Artes por la Universidad de Granada en 2005.
Sum(m)It. Wadström Tönnheim Gallery. Marbella (Málaga). Comisariada por Elena Caranca.
Arte Santander. Proyecto Por sendas de montaña. Galería Eldevenir.
Refugio para la umbría. Galería Cámara Oscura. Madrid.
La atracción del silencio. Galería Espacio Olvera. Sevilla.
Breviario de la montaña. Casa Pinillos, Museo de Cádiz. Ayudas Iniciarte.
Nudo y corteza. Centro Damián Bayón. Diputación de Granada. Santa Fe, Granada.
Como si nada hubiera sido antes. Casa Sostoa. Málaga.
La savia seca. Galería Cámara Oscura. Madrid.
Inclemencias. Palacio de los Condes de Gabia. Diputación de Granada.
De rerum natura. Espacio Olvera. Sevilla.
Líneas onduladas para el agua y festones para las nubes. CUC, Antequera, Málaga. (Producido por las Ayudas INJUVE para la Creación Joven).
Exposición Premios a la Creación Artística de la Diputación de Granada. Palacio de los Condes de Gabia.
Sombras, Virus y Diversidad. Centro José Guerrero. Granada.
Afterwork. Eldevenir Art Gallery. Málaga. Ramírez-Pedrosa y Herrero Abogados.
Feria Estampa. Galería Espacio Olvera.
Paisaje. Entorno y contexto. MAC Genalguacil, Málaga. Comisariada por Juan Francisco Rueda.
Just Madrid. Galería Cámara Oscura. Madrid.
JustLX Lisboa. Galería El Devenir. Lisboa.
El mapa y el territorio. Galería Cámara Oscura. Madrid.
Frontera sensible. MAD Antequera, Málaga. Comisariada por Fernando Francés.
Prenda/Propia. Art&Breakfast. Málaga. Comisarias María Terrón y Luisa Redondo.
Out of place. Selección de la colección Tomás en el MACVAC. Castellón.
Feria Marte. Galería Espacio Olvera. Castellón.
Art Lima. Galería Cámara Oscura. Lima, Perú.
Donde ocurren cosas. Galería La Gran. Valladolid.
Animalista. Representación, violencias y respuestas. Casa Encendida. Madrid. Comisario Rafael Doctor.
Made in Spain. Periplo por el arte español de hoy. MAD Antequera, Málaga.
Tiempo de luz. MUPAM, Málaga. Comisaria Concha Hermano.
Libro de Bolsillo. Art Marbella, Cortijo Miraflores. Marbella (Málaga). Comisaria Elena Caranca.
Destino Puente de Génave. Sala de exposiciones Santiago Ydáñez, La Vicaría. Puente de Génave (Jaén). Comisario Antonio Mesones.
Acordes III. Sala Puerta Real, Granada. Comisario José Vallejo.
Al pie de la letra. Palacio de los Condes de Gabia. Diputación de Granada.
El proceso. FACBA. Facultad Bellas Artes de Granada.
Dame un punto de apoyo. Colección Unicaja. Casa de la Provincia- Sala Triunfo. Sevilla.
Made in Spain. Periplo por el arte español de hoy. CAC Málaga.
OBRA ABIERTA. Premio Internacional de Artes Plásticas Caja de Extremadura, Centro Cultural Las Claras, Plasencia.
Imago Mundi: Map of the New Art. Fundación Giorgio Cini, Venecia.
Acordes II. Biblioteca de Andalucía, Granada.
Exposición internacional Artes plásticas. Valdepeñas, Ciudad Real.
RESET V1. Ayudas INJUVE. Sala Amadís, Madrid.
Paráfrasis: La recepción de El Greco en el Neobarroco actual. Museo Provincial de Albacete.
Consonantes. Serigrafías del Taller Christian M. Walter. Fundación Antonio Gala, Córdoba.
Premio de pintura 2013 Focus-Abengoa. Hospital de los Venerables, Sevilla.
La vida: el momento es ahora y será después. CUC, Antequera, Málaga.
Tinta Plana. Taller de Serigrafía de Christian M. Walter. Casa Molino Ángel Ganivet, Diputación de Granada, Granada.
Piedra Angular, Galería Art Nueve, Murcia.
Sin Fin. Espacio TRN, Granada.
ARCO 2010. Stand Unicaja.
Premio de pintura 2009. Focus-Abengoa. Hospital de los Venerables, Sevilla.
XI Certamen Bienal Unicaja de Artes Plásticas. Sala de Exposiciones del Palacio Episcopal, Málaga.
Certamen Andaluz de Artes Plásticas. Edificio Rectorado, Málaga.
VIII Bienal de Pintura Ciudad de Estella-Lizarra. Museo Gustavo de Maeztu.
XV Premio Ciudad de Tudela de Pintura. Centro Cultural Castel Ruiz. Tudela, Navarra.
VII Bienal Internacional de Lalín. Museo Ramón Aller. Pontevedra.
I Premio de Artes Plásticas Fundación Esprohident. Jerez, Cádiz.
I Certamen ”Mujeres y Arte”. Torrearte, S.L., Madrid.
XXL arte. Tendencias actuales de la figuración artística. Centro Damián Bayón. Diputación de Granada. Santa Fe, Granada.
De cómo acotar un cruasán. Palacio de los Condes de Gabia, Sala Alta. Diputación de Granada. Granada.
VIII Certámen Joven de Artes Plásticas de Granada. Sala de exposiciones ”Gran Capitán”. Granada.
Pintores pensionados del Palacio de Quintanar. Segovia.
Premios de la Universidad de Granada a la Creación Artística y Científica. Crucero del Hospital Real. Granada.
Paisajes de Granada. Fundación Rodríguez-Acosta. Granada.
VII Certámen Joven de Artes Plásticas de Granada. Sala de exposiciones ”Gran Capitán”. Granada.
III Certamen de pintura ”Pintura para el fondo”. Universidad Politécnica de Valencia.
ANÓNIMOS Y ANTÓNIMOS. Sala Joseph Renau de la Facultad de Bellas Artes de San Carlos de Valencia.
Premios de la Universidad de Granada a la Creación Artística y Científica. Crucero del Hospital Real. Granada.
Becas y premios
Premio a la Creación Artística. Diputación de Granada, 2020.
Selección de proyecto en la convocatoria INICIARTE, 2018.
Ayuda INJUVE para la Creación Joven, 2013.
Mención de Honor en el Premio Focus-Abengoa, 2009.
Premio/adquisición XI Certamen Bienal Unicaja de Artes Plásticas, 2008.
Beca de Paisaje del Palacio de Quintanar. Segovia, 2006.
Mención de Honor en el Premio Alonso Cano, Modalidad de Pintura. Premios a la creación artística y científica de la Universidad de Granada. 2006.
Beca de Paisaje de la Fundación Rodríguez-Acosta, 2005.
Mención de Honor en el Premio Alonso Cano, Modalidad de Pintura. Premios a la creación artística y científica de la Universidad de Granada. 2004.
Obra en colecciones
Fundación Rodríguez-Acosta. Granada.
Real Academia de Historia y Arte de San Quirce. Segovia.
Departamento de pintura de la Facultad de Bellas Artes de la Universidad de Granada.
Departamento de pintura de la Facultad de Bellas Artes de la Universidad Politécnica de Valencia.
Posted on september 9, 2022
Wadström Tönnheim Gallery, Marbella
9th of September – 30th of October, 2022
Wadström Tönnheim Gallery kicks of the autumn program with a most fascinating and joyful exhibition by the young emerging artist Fausto Amundarain. This is the artist first exhibition in Marbella and with the gallery. Fausto Amundarain is from Venezuela but based in Madrid since 2019 and represented by the Caracas and Madrid located gallery Cerquone. Vernissage is open for all and everyone on Friday the 9th of September between 19.00-21.30h.
“I use segments of comics and caricatures (among other stuff) as a visual language, elements that are already nostalgic by nature and present in the collective memory, almost rethinking their past and the moment in which these images were developed. The work becomes the passage from one point to another, the study and conversion of the original image into another. Dissecting the basic composition, adding and removing elements, re-developing the lines that make up its totality and taking it to a scale where the original meaning changes completely, taking it out of context and turning it into something seemingly unattainable”. Fausto Amundarain
THE CONQUEST OFF SPACE
Born in July, Fausto Amundarain (Caracas, 1992) knows that every experience lived in person involves marking territory at a hectic pace that requires depth and needs pauses. In that sense, creative processes lead to places that, in some way, one has foreseen. Round trip paths in which you have to be attentive and know how to accompany each other so that many of the things that one is aligned. Build scenarios for things to happen, strengthening the language itself and without stopping exploring the possibilities that the tools themselves allow.
Undoubtedly, Roaring Days comes at an ideal time for all of this. Days in which Fausto Amundarain allows himself to put together a concise and resounding exhibition of what he has been accumulating in recent years in cities like Caracas, Madrid, Palma and Miami. It is no longer just a work that expands and flirts with other mediums, but devices that are likely to generate conflicts wherever they are located, housing personal experiences and referential information that is more refined than ever. Why do we take the conquered common territory for granted? These and other issues run parallel to a necessary conciliation of the artist with himself regarding certain internal and external demands. Cuts and scrapes. Living processes that are translated behind windows in which miniatures that pointed out ways have grown and liberated, co-starring in the space alongside newly discovered backgrounds. Fragments that are emancipated, redrawing themselves under other aspects. Silhouettes and spots that play to be recognized. Vectoral organization.
All this from these four walls. Then there is the floor, that other place on which an uncertain and mobile wooden structure rests, and where other remnants are rearranged around it. An artefact designed and built by the artist himself in which container and content interpellate harmoniously. A device to discover other ways of exhibiting and approaching. A surface that entails a double movement: its own when touched and/or pushed, and that of the spectator when moving around it. And that double action turns Wadström Tönnheim’s space into a surrounding setting and into a space that also deserves to be imagined from above. A lively and disconcerting exhibitor that wants to be activated. Probably, the territory that most represents Fausto Amundarain.
So, the lion keeps on roaring tonight (Wimoweh)!
Jordi Pallarès (Curator) 2022
For more information contact: Mattias Tönnheim +46 704-411914 or firstname.lastname@example.org
Address and opening hours: Poligono Nueva Campana, Local 37B, Nueva Andalucia (Marbella). The exhibition opens Friday the 9h of September between 19.00-21.30h and goes on until the 30 of October 2022. The gallery is open Monday – Friday at 14.00-18.00 pm. And we are open any day by appointment.
Fausto Amundarain, born in Caracas/Venezuela 1992. Lives and works in Madrid/Spain.
Fausto Amundarain (Caracas, 1992) artist whose research is based on different references. Initially an identity reflected in children’s icons, such as comics, press photographs and other images of the collective imagination and its use of interpretation as a kind of reflective process where an obsession is noticed that translates into the meticulous care of each record, image, item or finding. His artistic production has focused on generating strong performance stimuli with high technical elaboration, giving great importance to the meticulous construction of his projects. He studied Art and Design in the city of Caracas in 2010 and later studied screen printing, drawing
and painting in the city of New York in 2014. Among his most recent projects are a solo exhibition at the Cerquone gallery in Madrid in 2020 and later an installation project at TACA in Palma de Mallorca in Oct 2021.
Roaring days, Wadström Tönnheim Gallery, Marbella, September 2022
Morfología de una narración. TACA, Palma de Mallorca, October 2021
Algo nuevo, algo prestado y algo azul. Cerquone Projects, Madrid, February 2020
Sistemas, IDBS Art Gallery, Washington DC, May 2018
Dibujo Libre, Cerquone Projects, Madrid, February 2018
Desgaste Sobreestimulado, Museo de Arte Contemporáneo del Zulia, Maracaibo, July 2017
Fragmento Masivo, Cerquone Projects, Caracas, November 2016
Anonymity, Sala MACZUL/Kristoff, Maracaibo, July 2015
(upcoming) untitled group show, Galerie Heike Strelow, November 2022
Ne Parliamo, La Bibi Gallery, June, 2022
Walk the line, Galerie Heike Strelow, Frankfurt, December 2021
Hi, How Are You? Cerquone Gallery, Madrid, November 2021
Fresco 2, Cerquone Gallery, Caracas, February 2021
Pretenso, Cerquone Projects, Madrid, November 2019
Chapa y pintura, Cerquone Projects, Madrid, February 2019
Omisión Ligera, Cerquone Projects, Madrid, September 2018
4 Cuartos, Cerquone Projects, Caracas, September 2018
Urbes, CAI Sala William Werner, Caracas, 2017
Fresco, Cerquone Projects, Caracas, 2017
Caos Sustentable, Galería de arte de la UCV, Caracas, 2016
(upcoming) LUXEMBOURG ART WEEK, Luxembourg, 2022
UVNT, Madrid 2022
Volta, Basel 2021
Estampa, Madrid, 2021
Urvanity, Madrid, 2020
Pinta, Miami, 2019
Volta, Basel, 2019
Urvanity, Madrid, 2019
Pinta, Miami, 2018
Hybrid, Madrid, 2018
La bibi recidency, May 2022
Selección Salon de jóvenes con FIA 2020
Museo de arte contemporáneo del Zulia MACZU
Posted on juni 30, 2022
CHARITY EXHIBITION OF CONTEMPORARY UKRANIAN ART
An exhibition of contemporary Ukrainian art and sale of works will take place from July 8 to 10 at Wadström Tönnheim Gallery in Marbella, Spain. The exhibition aims to support Ukrainian artists during the war, present contemporary Ukrainian culture abroad and to make cultural and professional connections between Spanish collectors and contemporary Ukrainian art. The project will present 26 works by 15 Ukrainian artists. We invite you to join us on the 9th of July 18.30-21.30 for mingle and tapas in order to raise money for the victims of the war. Please see more information on our Instagram @wadstromtonnheimgallery.
The most prominent Ukrainian artists and sculptors will take part in the exhibitions: Daria Alyoshkina, Nazar Bilyk, Artem Volokitin, Petro Gronsky, Vasiliy Grublyak, Oleksii Zolotariov, Daryna Mykytyuk, Nina Murashkina, Yuriy Koval, Tetyana Malynovska, Vitaliy Kravets, Liliya Studnytska, Valeria Troubina, Ivan Tsyupka, INS (Eugene Gladenko). The exhibition includes painting, graphic, photography and sculpture.
Curator Svitlana Starostenko talks about the importance of the exhibition.
”There are many talented artists in Ukraine – promising and already well-known. In recent years many galleries have opened in our country, it’s been large exhibition projects, and new patrons of modern art have appeared on the art market. But due to the war, the possibility of developing this area was postponed indefinitely. Now it is important to look for new ways and opportunities so that the artists can continue to work.
It is quite natural that today’s works of our authors are a reflection of horrible, tragic events that should not have happened in the civilized world. But during the presentation of our art abroad, entering a new professional territory, it’s important for us first of all to show the usual artistic practice in which Ukrainian artists work. Then, the impression of the art of our country will be objective.
Our cooperation with the Spanish Swedish gallery – Wadström Tönnheim Gallery – is based on the support and promotion of Ukrainian art in Europe. We have the opportunity to find a new audience. Such an opportunity would be considered valuable in the past, pre-war times, but today it is a real necessity. We are glad to have the opportunity to cooperate with Spain, the homeland of incredible artists. ”
Today, the artists participating in the exhibition are scattered all over Ukraine and the world: Valeria Troubina, although living in the United States, is now in the temporarily occupied territory of Luhansk, where she arrived last year due to personal circumstances; Lviv artist Daria Alyoshkina is temporarily in Krakow, and artist Lilia Studnytska is in her native Lviv. But wherever Ukrainian artists are, none of them stop creating. The Art for Freedom exhibition will present recent works by artists over the past few years, some of which – such as Vitaliy Kravets’ graphic series made over the past three months – will be shown to the public for the first time.
The funds raised will go to the authors of the exhibited works and Future for Ukraine international charitable foundation.
One of the missions of our project is charity. The war has forced millions of Ukrainians to suffer. Many Ukrainian people – among them civilians and children – are wounded en masse. They have suffered from artillery shelling, or were trapped under the rubble of shelled buildings and need the help. Such patients are admitted to hospitals with multiple bone fractures and require immediate surgery.
An effective treatment method for them is metal osteosynthesis — the connection of bone fragments with titanium plates. Here are a lot of Ukrainians who need osteofixation systems. Each victim has its own unique story and its own struggle for life. That is why the part of funds raised will go on osteofixation systems for victims with bone fractures. We cannot heal broken destinies. But we can help doctors who save people every day and give them a chance to live to the fullest.
The exhibition and sale will take place from 8 to 10 July at the Wadström Tönnheim Gallery, Marbella, Spain
The initiator of the project is Oleksandra Markova, a philanthropist and collector.
Exhibition curator – Svetlana Starostenko, independent curator, art dealer, art critic.
The project is supported by Mattias Tönnheim – founder and director of Wadström Tönnheim Gallery, located in Marbella (Spain) and Malmo (Sweden)
About Future for Ukraine
Future for Ukraine is an international charitable foundation created by ten Ukrainian women from various professional fields who cannot stand aside from the war in Ukraine. The foundation brings together volunteers, NGOs and businesses worldwide to support war victims. FFU provides humanitarian aid and medical care to those who need it most — children, medical institutions and Ukrainians in need of treatment in Ukraine and abroad. ffu.foundation
Posted on maj 27, 2022
Wadström Tönnheim Gallery proudly presents its second solo exhibition with the established and prominent Swedish artist Anders Kappel. This is Mr. Kappels first exhibition in Spain since he was exhibited at ARCO in the late eighties, and Anders long and impressive CV speaks for itself. Vernissage is open for all and everyone on Saturday the 28th of May between 18.30-21.30h.
The mission Anders Kappel assigned himself was to paint 100 signs in 100 days. In most cases, the motif consists of a name or a word with a light background. Others include abstract forms, color fields, or lines. When we meet at the old farmhouse in Skräddaröd, an isolated corner of Österlen among horse paddocks, apple groves and rolling fields, signs fill the studio. All of them are painted on two-centimeter-thick, birch or pine plywood, cut into rectangles slightly smaller than an A4 sheet of paper — a practical and reader-friendly format. But the project is not as easy to grasp as one might at first think. At close range, the paintings appear worn and tattered, as though having been used over a longer period of time. The surface, that appears white from a distance, is streaked with the grain of the wood underneath, yellowed or marked in places with darker or more brightly colored pigments. Traces and shadows of underlying layers of paint, places or experiences penetrate forth. Fragments of that which has been forgotten, hidden or suppressed over the years. Piled on top of each other, the signs are reminiscent of books, as though the painting itself was just the outer skin of that which lies within. Seen as a whole, they coalesce into a White Book of sorts over the past and present.
”It’s all about wrapping things up and looking back. Of including both the good and bad experiences”, says Anders Kappel. It is tempting to read these paintings as a map, a journal or autobiography. Despite their down-to-earth appearance, these are possibly among Kappel’s most personal works. With his brush, he draws the contours of trademarks, administrative authorities and public transport companies, the logos of which are rendered in minute detail. They indicate locations, occasions, encounters and needs. Moments of failure and success, bureaucracy and travel, happiness and pain. Here we have Aspirin, public employment services, the bailiff, etc. But also German airports and beer brands, Russian airlines and American art magazines. Boulevard Raspail is painted with the characteristic font of the Parisian street network, and bears hints of visits to the museums of the metropolis back in his school years. At the same time, he inserts traces of artists that have been important to him, among others, the Russian constructivist El Lissitzky. Rectangles and diagonals, silhouettes of masts and lookout towers — everything becomes a part of Kappel’s own pictorial idiom. It is clear, however, that these signs are not only connected to the artist’s personal life. Do not be fooled by their seemingly neutral appearance. Despite, or perhaps thanks to, the fact that they make use of the established symbols and imagery of the public space and financial markets, they strike different chords and give rise to different associations in every individual viewer. The fact that the logos are hand painted might perhaps dampen their official appearance, but in no way lessens the effect. There is, on the contrary, something disarming to the uneven edges and traces of brushstrokes that causes one to lower one’s guard.
One can easily view these signs in relation to an art historical tradition. During the 1960s, American pop artists such as Andy Warhol, Robert Rauschenberg, Roy Lichtenstein and James Rosenquist incorporated advertising and popular culture into their paintings, silk-screens, collages and assemblages when commenting on the growing consumer society of the post-war era. Several of them had a background in fields of graphic design and marketing, the ideology and aesthetics of which they related to with a combination of admiration and critique. Even a Swedish pop artist such as Öyvind Fahlström experimented with well-known brand names, logotypes, and both current and historical courses of events in his works. With his signs, board games, and paintings, he playfully and subversively suggests various strategies to destabilize the established order of things.
Anders Kappel meticulously examines ideas and words, even when he speaks. Here, the idea of the artist as an analyst of the demands that life places upon us comes into play. It is all about formulating the essence, of boiling it down to one word, one surface, that, in itself, accommodates all other words and surfaces. Hanging on a wall in his studio is a row of rulers, tools and one final sign. A familiar vignette, known from countless cinema salons emerges against its matt, shimmering copper surface.
But once again, our expectations are upended. The surface upon which the vignette is painted bears the shape of a torn off film strip that continues even after the final word marks its end. Kappel’s urge to create signs will surely not end here. To be continued…
This is an extract from the essay “Anders Kappel and the Art of Creating Meaning From Ambiguity” about Kappels work written by the Swedish critic and art historian Caroline Söderholm.
Anders Kappel, born 1956 in Hasslö/Karlskrona (south of Sweden). He now lives and work in the village Skräddaröd outside of Simrishamn in Österlen Sweden. Educated at Royal Academy of Fine Arts, Stockholm 1982-87 and at Künstlerhaus Bethanien, Berlin 1988-89. See full CV below.
For more information and press photos contact: Mattias Tönnheim +46 704-411914 or email@example.com
Address and opening hours: Poligono Nueva Campana, Local 37B, Nueva Andalucia (Marbella). The exhibitions opens Saturday the 28th of May between 18.30-21.30h and goes on until the 25 of September 2022. The gallery is open Monday – Friday at 14.00-18.00. And we are open any day by appointment.
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. WTG is owned and operated by Mattias Tönnheim & Andreas Åkesson. www.wadstromtonheim.se
Moderna Museet, Stockholm
The National Public Art Council, Stockholm
Malmö Art Museum
Gothenburg Museum of Art
Norrköping Art Museum
Linköping Art Museum
Kalmar Art Museum
Blekinge Museum, Karlskrona
Skissernas Muséum, Lund
Sammlung Grünke, Germany
NUNSKU Artist Studio Program, Berlin
Edstrandska Stiftelsen Art Prize
Lengertz Art Prize
Bror Ljunggrens Memorial Fund
Malmö Municipality Culture Grant
Ellen Trotzig Scolarship
Richard Björklund Scolarship
Karlkrona Kommun Culture Grant
Selected Solo Exhibitions
2022 Wadström Tönnheim Gallery, Marbella Spain
2021 Galleri Bergdala, Växjö
2019 Galleri 21, Malmö
2018 ”Gaskets” Konsthallen Hishult
2017, Galleri Bergdala, Växjö
2015 “Surveillance”, Wadström Tönnheim Gallery, Skanör
2014 “Cross Sectional Images”, Galerie Leger, Malmö
2013 APA Gallery, Stockholm
2012 Showroom, Simrishamn
2011 Karlskrona Konsthall
2010 Konsthallen Hishult
2010 Björkholmen Gallery, Stockholm
2007 Björkholmen Gallery, Stockholm
2007 Konsthallen Kristianstad
2004 Björkholmen Gallery, Stockholm
2004 Galerie Hartwich, Germany
2004 Konsthallen Hishult
2001 Galleri Andersson Sandström, Umeå
2000 Galleri Hartwich, Germany
1996 Malmö Konsthall, Mellanrummet
1995 Ronneby Kulturcentrum
1995 Konsthallen Hishult
1993 Olle Olsson-huset, Hagalund
1993 Galleri Fahl, Stockholm
1990 Periscope Stockholm
1989 Galleri Sten Eriksson, Stockholm
1989 Künstlerhaus Bethanien, Berlin
1988 Galleri Bengt Adlers, Malmö
1987 Galleri Bernhardsson, Malmö
1986 Galleri Gunnar Olsson, Stockholm
1984 Galleri Erichs, Malmö
Selected Group Exhibitions
2020 Marbella Art Fair, Wadström Tönnheim Gallery, Marbella/Spain
2020, 2021 “Septemberutställningen” Galleri Wallner, Simris
2020 “Art Walk” Tjörnedala Konsthall
2018 ”From Sweden With Love”, Wadström Tönnheim Gallery, Marbella/Spain
2017 “Crossing Borders” Tjörnedala Konsthall, Baskemölla
2017 “Secondhand Daylight”, Skjul Fyra Sex, Gothenburg
2017 “Grafikbiennal” Brösarps Konsthall
2017 “Secondhand Daylight” Kummelholmen Konsthall, Stockholm
2017 ”SURF”, Garlerie Hartwich, Germany
2017 “Polyfoni 4″ Galleri Wallner, Simris
2016 “The Gallery Collection”, Gallery Wadström Tönnheim, Skanör
2015 Brösarps Konsthall
2015 APA Gallery, Stockholm
2014 “Restaurering av inre rum”, Charlottenburgs gård, Solna
2014 Tjörnedala Konsthall, Baskemölla Sweden
2013 ”Ostrale”, Dresden, Germany
2013 “Black Box” Konsthallen Hishult, Sweden
2013 ”Polyfoni 1” Galleri Wallner, Sweden
2012 ”Power” Västerås Konstmuseum, Sweden
2009 ”Touristen” Galerie Hartwich, Germany
2007 “AlteFreunde-Neue Freunde” Galerie Hartwich, Germany
2008 “By Light” Malmö
2006 “Klimat” Passagen Linköping
2005 “Zum Wasser-Ins Licht”, Wismar, German
2005 Art CPH Copenhagen (Björkholmen Gallery)
2004 “Seeblicke 2″ Sellin, Germany
2001 “Shifte” Malmö Konstmuseum
2000-01 “Oskuldens Århundrade” Rooseum och Liljevalchs Konsthall, Sweden
1999 “Contemporary Art of Southern Sweden” Pusan Metropolitan Art Museum, South Korea
1999 “Edstrandska stiftelsens stipendiater” Rooseum
1992 “The Contemporary Art” in Sweden, Fukui; Iwaki; Gunma; Kumamoto; Tokushima Kamakura Museum, Japan1991
1992 ”36 Contemporary Swedish Artists”, Royal College of Art, London
1991 “80 Zwischen 90″, Kampnagelfabrik, Hamburg
1990 ”Sommeratelier” Deutsche Messe, Hannover
1990 “Samtiden i en spegel”, Moderna Museet, Stockholm
1990 “Nordic Art Exhibition”, Charlottenborg Copenhagen
1988 ARCO Madrid, Wetterling Gallery
1988 Frankfurt Art Fair, Galleri Bengt Adlers
1987 “Sydnytt” Malmö Konsthall
1987 Galleri Wetterling, Stockholm
1982 “Ungt måleri i Skåne”, Galleri Nordqvist Malmö
1981 “Unga tecknare” Nationalmuseum Stockholm
Danderyds Sjukhus, Stockholm
Stadt Wismar, Germany.
Stockholm Konst, Beckomberga skola.
Solna stad, Charlottenburgs gård.
Stockholm University, Geo-huset Frescati.
Medicon Village Lund.
Södersjukhusets entré Stockholm.
University of Gothenburg, Journalistik och Media.
Lyckeby Kunskapscentrum, Karlskrona.
Jonebergs Torg, Simrishamn.
Posted on maj 17, 2022
Wadström Tönnheim Gallery proudly participates at Volta Art Fair in New York. We are exhibiting amazing works by the following artists; Matias Di Carlo (sculptures) from Argentina, Daniel Fleur (paintings) from Sweden, Torbjörn Johansson (paintings) from Sweden and Henry Swanson (paintings) from US. We hope to see you at Volta art fair in the Chelsea district on Manhattan at 548 West 22nd Street, between 18-22 of May. Welcome!