Exhibition Views

Solo exhibitions

2019

Pintaan Nousseet – Surfacing
Lapua Art Museum
Lapua, Finland
2019.09.23 – 2020.01.25

From the exhibition catalogue:

Perspectives of an artist-in-residence on the history and museum collections of Lapua
Text: Sakari Hanhimäki, Lapua City Museums, Museum Director

Susanne Lund Pangrazio (Sweden, 1983) worked in the artist residency of Cultural Centre Vanha Paukku for a month in 2018. As well as hosting the artist residency, the cultural centre is also home to Lapua City Museums and thus all the pieces required were waiting, ready to be harnessed for a new kind of cooperation.

Lund Pangrazio strongly utilises old photographs in her work as a visual artist. The collections of the culturohistorical Pyhälahti Photographers’ Shop Museum of Lapua City Museums hold over 100 000 negatives, about 30 percent of which have been digitised. The Pyhälahti photos showcase the town’s early 20th Century everyday goings-on as well as special moments in a vivid way. These photographs sparked the artist’s interest.

Lund Pangrazio ended up using the Pyhälahti photos as the source for her inspiration whilst working in Lapua. It was a pleasure to watch the artist who came from outside of Lapua and Finland approach and interpret the images, and we ended up having lenghty conversations about the contents of the works. The magnificent pieces of art created during her stay in Lapua inspired us to further collaboration and so came about the idea of adding a Lund Pangrazio solo exhibition at Lapua Art Museum to the collaboration between the artist residency and the culturohistorical museums of Lapua.

From ideas to action: in this art museum exhibition we wanted to combine both the works of Lund Pangrazio as well as the photographs of Pyhälahti which has initially served as inspiration for the paintings in the exhibition. So came about the Lapua Art Museum exhibition Surfacing, in which the Swedish artist interprets and views the history and cultural heritage of Lapua through her own perspective and method in a fresh and insightful manner. Surfacing is a delightful example of what can be achieved when an artist-in-residence, a culturohistorical museum and an art museum come together in the spirit of cooperation and dialogue.

Artist Statement
Text: Susanne Lund Pangrazio

For years now, I have been working extensively with characters from old family photos as starting points for my paintings. In the beginning these are family and friends, but once they get incorporated into my paintings, they become something else to me. No longer are they the old family friends or relatives of which many I have never even met, but they serve another purpose and another story now; in my paintings the past becomes mixed up with the present and the future as I use these old photographs to somehow also make sense of the current world around me, be it social issues, environmental problems, or the expanse of the universe. Inspired not only by what we call the real world, but also by folk lore, science fiction and maybe to some extent a touch of magic.

So, when the doors opened up into the photographic archive of the Lapua Art Museum I was thrilled; a new treasure revealed itself, people from decades past stared back at me from the photos or were intertwined in lives and rituals of the past. During the past year I have chosen some of the photos from the museum’s vast archive and I have incorporated them into my own painterly world.

The museum photos showed me a snippet of Finland’s history; people toiling, living through the shadows of wars, trying to make ends meet and occasionally I found slivers of celebration and playfulness. In today’s polarised society where a lot of people demand black and white answers to questions that demand the full greyscale to be addressed, I look at these photos from Lapua; the poverty, the conservatism, the strong hold of religion, and the problematic political history of this region. I believe that harsh and polarised societies fuel harsh approaches; it enables short cuts into blaming ‘the other’ – a classic black and white answer to those greyscale issues we confront in our lives on Earth.

I have been very aware of the history of the region and the movement that it forged. But I have not been interested in delving into this movement in my own work. Instead I have tried to focus on those regular people from the archives that simply tried to live their lives even on the days it wasn’t very easy. I am myself a convinced anti-fascist and so, instead of focusing on a movement I have no sympathy for, I wanted to focus my work onto showing glimpses of people who might not have gotten much recognition in their life time but who simply lived, worked and died on the vast expanses of the South Ostrobothnian fields.

As an outsider I have peered in to catch glimpses of a small part of the region’s history and I have let these glimpses surface as re-worked memories. I believe that past experiences let us reimagine the future and allow us to make room for the whole spectrum of colour as we face the hardships and challenges of our present times.

 

2018

Skogen
Part of the exhibition A nowhere girl from a nowhere land
Alma Löv Museum
Östra Ämtervik, Sweden
2018.06.20 – 2018.09.02

Ur utställningskatalogen:

Susanne Lund Pangrazio
Uppdrag skogen
Text: Jessica Kempe

Vad bär vandraren med sig i Susanne Lund Pangrazios målning Kvarleva? Ryggsäcken är packad med ett himmelsblått måleri,hoprullat som en skrynklig regnrock. Locket liknar en abstrakt tavla. I omgivningen syns inget ljus alls. Där syns bara en djup, mörk skog av tjock oljefärg och slingrande penseldrag.I målningen Uppdrag styr den gående rakt in mot träddunklet iförd en kappa blå som havet. Det är svårt att inte tänka på Dick Bengtssons antinazistiska målning Bergsvandrare från 1974 där han sarkastiskt prydde Hitlerjugends ryggsäckar med just det abstrakta måleri som nazismen ansåg rasförstörande och rensade ut.

Visst finns kopplingen till Dick Bengtsson. Men i Susanne Lund Pangrazios sju målningar i Alma Lövs Tiokantpaviljong syns framförallt intrycken från samtida neoexpressionistiskt måleri hos Claire Woods, Mamma Andersson och Peter Doig. Och från det förflutna, den kanadensiska ”The group of seven” 1920-1933.
Det är inte lätt att veta vad som kommer först i Susanne Lund Pangrazios måleri. Färgen, landskapet eller vandraren? Utforskningen av skogen tycks vara själva kärnan. ”Jag ville inte låta bakgrunden vara hela tavlan. Det måste vara någon där”, tydliggör hon för mig och berättar att hon själv alltid har med sig sin hund i skogen.

Efter sex år i Skottland återkom Susanne Lund Pangrazio till den värmländska naturen. Senare till förortsskogen i Stockholm. Sedan dess låter hon måleriet förena de stora skogarna med de skotska bergen och vattnen. Men det är just den djupa skogen hon söker, på dess egna villkor och det liv som är gömt och orört där.

”Vad gör färgen med motivet?” frågar jag. Svaret kommer genast: ”Med den långsamma oljefärgen får skogsmotivet själv möjlighet att påverka processen och vilja något eget. Jag skrapar och gräver i målningen. En utgrävning.”

 

 

2016

Till det som var, det som kan bli och det som aldrig fanns
Makeriet
Malmö, Sweden
2016.10.21 – 2016.11.13

Pressmeddelandetext:

I utställningen ’Till det som var, det som kan bli och det som aldrig fanns’ visas målningar och objekt där minnen har undersökts, återupplevts och omformats. Fantasi och verklighet blandas ihop och skiljelinjen mellan de två har långsamt suddats ut.

Människorna i målningarna är hämtade från gamla personliga familjefoton men har placerats i nya och drömlika miljöer; ofta med inspiration från de värmländska landskap där Susanne växte upp. Naturen är närvarande som en metafor för de mellanmänskliga relationerna men också som viktig medspelare i våra liv. När naturen förgås av miljöförstöring vad händer då med vår relation till varandra och jorden vi lever på?


 

Two and three person exhibitions