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CECILIA
E D E F A L K
DOUBLE
CECILIA
EDEFALK
is a Swedish
painter or deeply concentrated, expres
WHITE
VENUS
varied scale, one or more of which are
distinctively presented with a projected
sively oblique images. The artist exhibits
image of a painting trom the same series.
comparatively tew paintings; her studio-
The combination of actual painting and
based process demands periods of intense
projection, while both innovative in the
absorption and, at times, isolation. Her
field at large and new within the context
work, almost always a serial exploration
ot the artist's oeuvre, is squarely consis
of a single motif, is distinguished by
tent with her investigations to date.
experiments with duplication, scale, and
installation. Edefalk can be a brilliant
In one way or another, all of Edefalk's
colorist, but she generally restricts her
paintings emerge from a dialogue with
palette. The mode is essentially figurative,
other modes of representation, most
although some or the latest exercises verge
notably photography. Importantly, her
on total abstraction. This focus exhibition
relationship to photography does not center
at the Art Institute of Chicago, Edefalk's
on its ubiquity; rather, she is selectively
first solo museum show in the United
invested in quirky, esoteric finds. Past
States, premieres a series of new paintings
subjects, forming a seemingly incongruous
executed in spectral grays, blues, and
and idiosyncratic list, include the comedy
whites. In process since 1999, the works
duo Laurel and Hardy, self-portraits, a
are based on a black-and-white snapshot
couple having sex, and a Roman marble
the artist made of a fragmented, classical
mask ot a voung Marcus Aurelius. Her
sculpture of Venus in a garden. The
topics, however, are never chosen tor their
finished paintings rely in equal parts upon
most obvious attributes. Laurel and Hardy
this image, the artist's memory, painterly
serve as a way to explore spatial dynamics,
incident, and a touch of mysticism. The
not slapstick humor. The hardcore sex pic
exhibition includes 12 canvases of widely
tures are a vehicle to reflect on Buddhism,
not pornography. A carving of Marcus
the actual m o t i f . . . . I n o t i c e d that I was able to
Aurelius provides a formal trope to investigate
t r a n s m i t a certain intensity l y i n g s o m e h o w
the phases of the moon, not Roman history.
beside, n o t b e h i n d what the d r a w i n g represented,
like overtones i n m u s i c . W i t h i n a given g r o u p
Repetition is central to the artist's
methodology; her painting practice inten
o f w o r k s , each w o r k is repeated i n a n i n d i v i d u a l
way. R e p e t i t i o n is a t o o l to express different
ideas."
tionally confuses original, replica, and
copy. In 1990, facing a creative impasse
just two years after her first solo exhibition,
Edefalk made a painting, Another Movement,
of a photograph taken from a magazine:
a shirtless man rubbing, perhaps applying
lotion to, a woman's exposed back. She
then exactingly repeated the image—first
in a small format and then in a larger
size—six more times. Aside from the scale
of the works, the differences between
canvases in the series involve only subtle
tonal and tactile shifts. When she returned
to live in Stockholm in 1999, after nine
years based in Germany, the artist reprised
the exhibition of the complete series,
installing it in the very same space in
which it was first presented.' For Edefalk,
repetition can summon the comfort of
the familiar; in this sense, the exhibition
strategy was meaningful in the context
Edefalk's project is peculiarly conceptual.
She is a profound and sensitive thinker
who also happens to be a painter, and her
concerns as an artist extend beyond the
specific limits of the medium. Sol Le Witt
famously wrote: "Conceptual artists are
mystics rather than rationalists. They leap
to conclusions that logic cannot reach." '
Edefalk's choices are guided by just such
an uncanny, rigorous intuition. Mystery
and magic inspire her imagination.
Ultimately, the Venus reference, like all of
the artist's chosen themes, reveals itself
as a cipher. The series explores her belief
in the power of chance, accident, and
circumstance and in the hidden purposes
and attendant obligations of uncovering
coincidence. Her work remains open,
or is an opening, to the possibilities of
the unseen and the unexpected.
of a homecoming. The tactic, however,
evidences a more ambitious intellectual
conceit. The artist explains:
R e p e t i t i o n is a w a y to u n d e r l i n e the uniqueness
o f p a i n t i n g . . . . I realized that i f I w o r k e d l o n g
For Edefalk, sculpture, notably historic
statuary, has been a creative catalyst.
She has consistently used the medium
of painting to reflect on experiences—
e n o u g h o n a d r a w i n g , the graphite o n the paper
epiphanies, even—that bind her ro particular
w o u l d start to live a life o f its o w n [aside from]
works of art. During a 1998 visit to Italy,
THE
END OF T H E C I R C L E CECILIA
EDEFALK
In the autumn of 1999 I was visiting London. At the Tate, I was intrigued by J . M . W. Turner's paintings.
I went to the cafeteria in the basement, which comprised many rooms, including a circular one. Working
there was a man with one white eye and one normal, very dark eye—he fascinated and scared me at the
same time. He looked perhaps North African and I thought it could be interesting to paint his portrait.
I chose a bottle of lemongrass-and-ginger pressé and sat down in the circular room to the right of the
door. I couldn't open the bottle and I asked the w o m a n at the register for help; she pointed to the man with
the special eye. He helped me open it and smiled. As I drank slowly—the taste was very intense—I studied
the label. It had an expiration date of May 6, 2000, 15:33. The preciseness of the "15:33"—3:33 in the after
noon—surprised me. I drank half the contents and put the bottle in my handbag. On my way out I bought
another bottle with the same date and asked for the man who had helped me, but he had left for the day.
I wrote a note for him—his name was A m o r e — " L o v e " in a different language. I wondered what I
for example, the artist became fascinated
H e r itinerary, c h a r a c t e r i z e d b y delays, d e t o u r s ,
by a quattrocento statue, a polychrome,
a n d t e m p o r a l loops, is far r e m o v e d f r o m the
wooden angel of the Annunciation, in the
expectations o f the m e d i a o r the art m a r k e t .
Museo d'Arte Sacra in San Gimignano.
She w o r k s i n s l o w m o t i o n , a n d it seems to m e
This led to a series of paintings of the
that her p a i n t i n g s rely u p o n the c o n s i d e r a b l e
figure—again starting small and then
t i m e s p a n that separates t h e m . A p a i n t i n g b y
gaining in scale—called Elevator (1998).
E d e f a l k is a rare t h i n g , a n d the scarcity o f the
She became similarly transfixed by a
o u t p u t seems i n t r i n s i c t o her w a y o f w o r k i n g . '
Roman marble mask of Marcus Aurelius
while preparing an exhibition at the
In 2000 Edefalk made two small, nearly
Malmo Konstmuseum in 1999. The result
identical grisaille oil paintings based on
was a cycle of paintings titled To View the
the Venus photograph. A third, similar
Painting from Within (2000-02). In M a y
painting of the same size was completed
2000, Edefalk experienced a revelatory
in 2003. Subsequently, Edefalk recognized
moment—the culmination of a series of
the base of the statue as an ideal surface—
seemingly unconnected coincidences—
a white cube, literally—on which to
in the garden of the Chelsea Arts C l u b
"hang" an image of another version of
in London. In the darkness of night, she
the same painting. W i t h this revelation,
glimpsed a flash of unexplained light
the idea for the series began to crystallize.
emanating from a grove of fig trees (see
She created a larger composition with a
"The End of the Circle" below). In this
small facsimile of the painting rendered
case, unlike in other instances, Edefalk
on the sculpture's base as if it had been
did not knowingly have a direct experience
projected there. Edefalk was intrigued by
of sculpture; she only discovered the
the complexities of thinking about "a
Venus amid the greenery the next morning
painting inside a painting." (The title of
when she returned to the scene. A t that
the sex paintings, executed ten years
4
time, she took one black-and-white
earlier, is In the Painting the Painting)
photograph—with a flash—of the statue.
As new works emerged, they became
This image became the basis for a series of
progressively lighter, larger, and more
new paintings, the artist's most ambitious
abstract. She began experimenting with
and strikingly original to date.
tempera on an unprimed, raw linen
support. In the sixth version, Edefalk
This body of work took shape slowly.
rotated the canvas in process, allowing the
As critic Daniel Birnbaum has written:
paint to flow in different directions.
would be doing on May 6, 2000. I prepared myself for everything, but I believed that whatever was going
to happen to me would not occur in Stockholm.
The following spring, I was asked to teach in Malmó a week before the special date. Six days in advance,
I decided to join friends going to London for the opening of Tate Modern on May 9. I went to London via
a ferry to Copenhagen. There was only one man in the booking office. I saw him from far away and thought
there was something strange about him. On my way out I looked him in the eyes—they were Mercury.
I arrived at Tate Britain from the airport shortly after 3:00 and entered the cafeteria at 3:20. There were
only a few people there, but the man with the black'white eyes was one of them. He was talking with a
female colleague in the passage outside the circular room. I sat down at the same place as the year before
and put the bottle I had bought in the fall on the table. Looking at it, I was struck by a yellow light that
seemed to emanate from inside, and on the glass I could see the reflection of a white shape changing
These drips, articulated in the artist's
has a n i n t e r e s t i n g m o v e m e n t — r e a c h i n g o u t
notes in advance, allow the "paint to do
a n d o p e n i n g u p . I n a w a y it is a "teversed" g r a n d
the work." Nearing the end of the series,
finale to the series that p o i n t s to s o m e t h i n g
the statue dematerializes, appearing only as
n e w i n m y p a i n t i n g . I never d a r e d to be elegant
a silhouette, but always in precisely the
i n this w a y before."
same location. The image of the painting
on the base becomes a vestigial shadow.
The complexly repetitive, serial nature of
The drips themselves now form the central
her endeavor has led Edefalk to think in
element of the composition. By the
unconventional terms about installation,
seventh canvas, the work is increasingly
which she regards as an integral part of
improvisational and schematic. In the ninth,
her pracrice. In order to maximize the
Edefalk introduced black marker lines and
possibility for differentiation, she makes
added a layer of clear plastic collage to the
use of mirror effects and displays paintings
surface. She gave the originally limbless
petpendicular to one another or upside
Venus arms and removed the image of
down. All of this establishes a carefully
the painting from the base of the statue.
choreographed system of viewing. Such
The arrist's next rwo works—a small,
animated configurations lend a performative
single canvas and a large, faint, horizontal
quality to her exhibitions. The effect is
diptych—use a mirroring strategy, depicting
also distancing: the repetition breeds
a double of the sculpture as i f reflected
estrangement. Despite the presence of
in water. Here, in a fitting return to a
discrete, beautifully made paintings, no
photographic effect, the painted Venus
single work asks to be regarded as auto
dissolves, replaced by her own negative
nomous or even precious. Interactions
image. Intriguingly, the series ends with
among images and objects, places and
an emphatically painterly work. While it
people—in the studio, in the museum, in
harks back to the earliest paintings in
private or otherwise personal moments—
terms of scale and medium, it also, Edefalk
tecali and generate associative chains of
believes, reveals a new sensibility:
memories and meanings. This energy is,
for the artist, m o t e important than any
T h e l i g h t o f t w o heavenly w i n t e r days m a d e it
individual painting. Edefalk's conception
possible for m e to m a k e this last s m a l l p a i n t i n g .
of the display of these paintings has, for
It was d o n e i n o n e g o , very q u i c k l y , a n d is
some years, involved the use of slide
ethereal, almost invisible. T h e p o d i u m is a datket
projection. (In fact, the idea preceded the
tone o f b l u e , n o t a w h i t e c u b e , a n d the figure
subject of the series. Because she is not
from an eight into a zero into two circles. The man and the w o m a n entered the room and sat down on the
other side of the door. They talked about work and at 3:30 Amore said, "It is a very special day today." The
w o m a n left and I decided to talk to him. I walked over to his side, telling him why I was there and invited
him to look at the bottle. Examining it carefully, he said, "It is a very strange light. I don't believe in magic,
but it is a very special light." He fetched a newspaper, the Guardian, and pointed at a small article. I could
read "Peace talks collapse" in Algiers between Somalia and Eritrea. The man himself was Eritrean. To the
right of the article was a big advertisement for Ridley Scott's film Gladiator. I took photographs of the bottle
and the newspaper and I asked if I could photograph him. We planned on meeting again the next day.
I forgot the bottle in the taxi to the hotel. The following day we took pictures of each other.
After the opening of Tate Modern some days later, an old friend asked me to join him at his private
club. It was late on a starry night when we arrived at the white two-story house in Chelsea. He led me out
particularly prolific, Edefalk had long
For Edefalk, slide projection becomes a
considered projecting a slide of one of her
self-consuming form of repetition that
paintings on the wall as an efficient
re-creates and erases, empowers and
method of making more work. She has
diminishes painting. As installed, the small
also recently begun re-presenting her own
originals are virtually lost in the shadow
paintings as exquisite photographic and
of the larger, ersarz painting. The overlay
filmic details.) W i t h i n the space of this
of images collapses the spatial and temporal
exhibition, Edefalk matches the painted
distances—and elides the material differ-
doubling that occurs within a number of
ences—between the rwo forms of visual
the works—the image repeated on the
information. Edefalk understands memory
statue base—with an actual, ten-by-seven
and picture as equally impoverished
foot projection of a slide of the second of
records of the real. In this way, the projection
the three small paintings. This projection
is the truest corollary to the artists own
is superimposed over an original work
experience in the garden. Light, like
hung on the wall in such a way that the
remembrance, is intangible, fugitive.
small painting appears on the base of the
Edefalk imagines painting as a facsimile
magnified image. W i t h i n the space of the
of a fragment. In turn, she transforms her
projected painting, the role of the tiny
painted world into a phantom version
replica is assumed by a real object. Among
of itself, and, in the process, returns the
other things, this dramatic exchange
original image, and its inspired source
allows the artist a different access to scale.
experience, back to what it was: light
In actuality, a painting the size of the
and shadow in the dark.
large projection would be difficult for her
to realize with the same intensity and
focused, dense brushwork. The projected
surrogate possesses greater drama and
clarity than the small original source,
and, curiously, it can reveal more about
the nature of the object itself—the tooth
and weave of the canvas, the texture of
the brushstrokes. A counterintuitive
truth emerges: the duplicate commands
more authority, more authenticity than
the original.
J A M E S
R O N D E A U
F R A N C E S
A N D T H O M A S
C O N T E M P O R A R Y
DITTMER
C U R A T O R
OF
A R T
N O T E S
I. A different gallery (hen o c c u p i e d [he l o c a t i o n .
I. C e c i l i a Edefalk. q u o t e d i n Ctclw Edrfalk. exh. cat. ( K u n s t h a l l c
B e r n / S t o c k h o l m : M o d e r n a M u s e c t . 1999). p. S\.
\. S o l L e W i n , "Sentences o n C o n c e p t u a l A r t . " repr. i n . W Z r U ' V n . cd. A l i c i a
Legg. exh. cat. ( N e w Y o r k : M u s e u m o f M o d e r n A r t . 1978). p . 168.
4. T h e Chelsea A m C l u b , located at 141 O l d C h u r c h Street. L o n d o n , was established o n M a r c h II. 1891. Its m e m b e r s h i p has histoncallv i n c l u d e d artists,
writers, photographers, a n d
filmmakers.
5. D a n i e l R i r n b a u m . i n Painiingai rJ't EJgl of iht U'ór¿¿ ed. D o u g l a s Fogle.
exh. cat. ( M i n n e a p o l i s : W a l k e r A r t C e n t e r . l o o t ) , p . 80.
6. F.defalk. e-mail to James R o n d e a u . 9 Ian. 1006.
into a very beautiful old-fashioned garden with lilies and roses and other flowers, surrounded by a white
plastered wall. A s we stood on the lawn admiring the garden, I heard a sharp sound and a saw a silhouette
illuminated by a flash of bluish white light in a corner close to us. The silhouette seemed familiar—like
something I had seen before, perhaps in a drawing or a painting. Turning to my friend in surprise, I asked,
"What was that?" He looked at me, bewildered, and said, "I didn't see anything. Whatever it was, it was
meant only for you." I was surprised but felt strangely content, fulfilled.
In the morning, I went out into the garden, to the spot where I had experienced the light. There was
a sculpture of Venus in a grotto of figs; a small cymbal hung from a branch over her left shoulder. At first,
I was disappointed—the silhouette I had seen the night before did not resemble the statue. I took a blackand-white photograph. That picture is the basis for the paintings in this exhibition.
1
CECILIA
1988
2000
EDEFALK
Galleri Wallner, M a l m o
Elevator, M a l m o K o n s t m u s e u m ,
Sweden
B o r n Norrkσping, Sweden, 1954
Studied at Konstfack University
1999
SELECTED
M o d e r n a Museet, Stockholm;
College o f A r t s , Crafts and Design,
Kunsthalle Bern (cat. w i t h essays
S t o c k h o l m , 1973-77; R o y a l A c a d e m y
by Jean-Christophe A m m a n n ,
o f A r t , S t o c k h o l m , 1981-86
Lives and works i n S t o c k h o l m
2005
Daniel B i r n b a u m , Bernhard
New Swedish Photography,
Fibicher, and Cecilia W i d e n h e i m )
Hasselblad Center, Gτteborg,
Sweden
The Be Girl 1ASPIS, Stockholm
SELECTED
ONE-PERSON
2004
1998
Art Camp, M o u n t a i n s Eye,
At the Moment Untitled, Galerie
EXHIBITIONS
Unduur Ulaan U u l , Mongolia
Johnen and Schτttle, Cologne
2005
Joint Exhibition,
1997
Budbarare,
Lunds D o m k y r k a ,
L u n d , Sweden
Nya verk, Norrkσpings
Stene, S t o c k h o l m
2004
Sketch for a Painting,
and Stene
Brβndstrom
Zanabazar
Perspektive, Kabinett f٧r Aktuelle
M u s e u m o f Fine Arts, Ulaanbaatar,
Kunst, Bremerhaven, G e r m a n y
Mongolia
1996
Falskt och akta, N a t i o n a l m u s e u m ,
In the Painting the
Konstmuseum, Norrkoping
Ich bin tot, Brβndstrom and
GROUP
EXHIBITIONS
Painting,
S t o c k h o l m (cat.)
Galerie Johnen and Schottle
2002
Echo, Kiinsderhaus Bethanien, Berlin
2001
1994
Documenta II, Kassel (cat.)
1990
Mirror's Edge, Tramway, Glasgow;
En annan rσrelse/Another Movement,
Galleri Sten Eriksson, Stockholm
Castello d i R i v o l i , T u r i n ;
Vancouver A r t Gallery; Bildmuseet,
4
5
Pittura, Castello di Rivara, Turin (cat.)
Umeβ, Sweden (cat. w i t h essay by
O k w u i Enwezor)
SzenenwechselXVIII,
Views from Abroad:
M u s e u m Kir
1993
Inspect 93, Frankfurter Kunstverein;
European
Schirn Kunsthalle Frankfurt (cat.)
Perspectives on American Art 2,
Moderne Kunst, Frankfurt am M a i n
W h i t n e v M u s e u m of American A r t ,
2000
1992
Expo Ç2, Swedish Pavilion,
N e w York (cat.)
Szenenwechsel XVII, M u s e u m Kir
1996
M o d e r n e Kunst
1998
Se hur det kannsllSee What It Feels
Cecilia Edefalk/Jan
Like!, Rooseum, M a l m τ {cat. w i t h
Irish M u s e u m oν M o d e r n A r t ,
Les annιes ηo, Musιe d'Art Moderne
Szenenwechsel VIII, M u s e u m fur
de la V i l l e de Paris (cat.)
1991
Like med. M o d e r n a Museet (cat.)
M o d e r n e Kunst
M u s e u m f٧r
1995
Stillstand switches, Shedhalle,
Z u r i c h (cat.)
Das Ahenteuer der Malerei,
M o d e r n e Kunst
1997
Hβfstrom,
D u b l i n (cat.)
essay by Jean-Christophe A m m a n n )
Nuit blanche: Scenes nordiques;
SzenenwechselXII,
Seville (cat.)
Wiirttembergischer Kunstverein,
1989
Display, Charlottenborg
Stuttgart; Kunstverein f٧r die
Aurora $, A t e n e u m i n Taidemuseo,
Udstillingsbygning, Copenhagen
Rheinlande u n d Westfalen,
Helsinki
(cat.)
Dusseldorf (cat.)
Deposition: Contemporary
Revir/Territory,
Swedish
Venice (cat.)
Szenenwechsel XI, M u s e u m f٧r
M o d e r n e Kunst
Kulturhuset,
S t o c k h o l m (cat.)
Art in Venice, C i n e m a Arsenalc,
1994
XXII Bienal de Sβo Paulo (cat.)
6
SELECTED BIBLIOGRAPHY
WORKS
IN
THE
EXHIBITION
Bader, Joerg. Artpress, no. 242 (Jan.
A l l works courtesy the artist and
9 Double White Venus, 2004
240 x 175 c m ; tempera, acrylic,
Birnbaum, Daniel. "Late Arrivals," in
Painting at the Edge of the World,
I 0 Double White Venus, 2005
22 x 16 c m ; o i l o n canvas
ed. Douglas Fogle. Minneapolis:
Walker A n Center, 2001, pp. 78-92.
. "Slow M o t i o n : Daniel B i r n b a u m
on Cecilia Edefalk." Frieze, no. 29
(July/Aug. 1996), pp. 50-51.
G o h l k e , Gerrit. " T h e M a i n Character
Behind the M i r r o r s . " Paletten, no.
228 (Jan. 1997), pp. 43-48.
135 x 95 c m ; tempera o n linen
Lofdahl, Eva, and Cecilia Edefalk.
" A M i r r o r e d Interview between
E Double White Venus, 2004
Eva Lofdahl and Cecilia Edefalk."
Siksi, no. 3 (1990), pp. 16-19.
Sandqvist. G e r t r u d . "Das Abenteuer der
Malerei."
Siksi,
plastic, and marker o n linen
Brandstrom and Stene, S t o c k h o l m
1999). PP- 78-79-
240 x 175 c m ; tempera on linen
no. 2 (1995), pp.
44-45Van der Heeg. Eric. "Feel the Difference."
Nu, no. 2 (1999). pp. 74"79-
7
Double White Venus, 2004
T w o canvases, each 175 x 240 c m ;
tempera o n linen
I I Double White Venus, 2005
22 x 16 c m ; o i l and tempera o n
linen
1 2 Double White Venus, 2006
22 x 16 c m ; o i l and tempera on
linen
7
11
T H A N K S
OPENING EVENTS AND
Nick. Barron, Andreas Brandstrom, Mickey
ARTIST TALK
Dawn Koster, [canne Ladd. Kerstin Lane,
Chai Lee. Maria Lind, Kristin Lister, Alfred L.
McDougal and Nancy Lauter McDougal,
THURSDAY 2 FEBRUARY
Dorothv Schroeder, Jan Stene, Elizabeth
Stepina, Jim Szvskowski, Peter Wahlqvist,
and Jeft Wonderland.
JER
12:00 p.m.
Exhibition curator James Rondeau
EXHIBITION
PREVIEW
Gallery 100
5:30-8:00 p.m.
FRIDAY 3 M A R C H
Gallery 139
Whitney Mueller, Barbro Osher, Iherese
Peskowits, Elise Peters, Katie Reilly, Rae Rirrel,
TALKS
FRIDAY 17 F E B R U A R Y
Cartin, James Cuno, Lisa Dorin, Edward
Gallagher, Sarah Guernsey, Maria Hákanson,
GALLERY
12:00 p.m.
OPENING
RECEPTION
Exhibition coordinator Whitney Moeller
5:30-8:00 p.m.
Gallery 100
Mary L . and Leigh B. Block
Photography Study Room,
TUESDAY
Department of Photography
12:00 p.m.
11 A P R I L
Assistant curator Lisa Dorin
ARTIST
The artist wishes to thank her friends for
their support, particularly Dennis Nvman and
Carl-Henrik Tillberg.
Front and back covers: Cecilia Edefalk's studio,
Stockholm.
All photographs courtesv Carl-Henrik Tillberg.
TALK
Gallery 100
6:00 p.m.
Morton Auditorium
This exhibition is organized by The Art Institute of Chicago with major support from Mickey Cartin.
Additional funding is provided by IASPIS International Artists' Studio Program in S w e d e n ;
The Barbro Osher Pro Suecia Foundation; Swedish Council of America; The American-Scandinavian
Foundation; Embassy of S w e d e n , Washington, D.C.; Consulate General of S w e d e n in Chicago;
and The S w e d i s h American M u s e u m Center, Chicago.
¡T) A
S
P
I
S
O n g o i n g support for focus exhibitions is provided by The Alfred L. McDougal and Nancy Lauter
M c D o u g a l Fund for Contemporary Art.

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CAROLINE VON GRONE Bilder