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Mary’s Morning Routine By Cherry Cobra

Editions : 10 Size:   50×70 cm Technique: Print About the piece The piece is part of a series that consist of stills from the music video that Cherry Cobra made for the electro-pop duo Superwalkers and their single ”Lost as I am”. The story of the video is about Hotel Pandora, a hotel set in Miami during the 1980’s, famed for accomodating avant-garde artists, celebrities, yuppies, bohemians and every eccentric in between. Unfortunately, Hotel Pandora was abandoned in the early 90’s during mysterious circumstances, and the building was barred for the public. Much has been said about what really went on behind the walls of Hotel Pandora, but few know the actual truth. Pandora is simply an urban legend – or is it…? Mary’s Morning Routine  The piece is part of a series that consist of stills from the music video that Cherry Cobra made for the electro-pop duo Superwalkers and their single ”Lost as I am”. The story of the video is about Hotel Pandora, a hotel set in Miami during the 1980’s, famed for accomodating avant-garde artists, celebrities, yuppies, bohemians and every eccentric in between. Unfortunately, Hotel Pandora was abandoned in the early 90’s during mysterious circumstances, and the building was barred for the public. Much has been said about what really went on behind the walls of Hotel Pandora, but few know the actual truth. Pandora is simply an urban legend – or is it…? About the artist Cherry Cobra Films is a director duo consisting of directors Johanna Nyberg and Nathalie Hallman working with commercial film, music videos and art film. Cherry Cobra is represented by production company Camp David. Cherry Cobra creates stories based on their love for cinema, wacky characters, retro- nostalgia and bad-ass women. As a female duo with new and fresh perspectives, they strive to make a 180° in Swedish film making.En savoir plus

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240 EUR

Saturn By Michelle Claesson Eismann

Editions: 50 Size: 70×50 cm Technique: Print Editions: 50 Size: 70×50 cm Technique: Print Editions: 50 Size: 70×50 cm Technique: Print About the piece We are these humans living on this place called earth which is part of a solar system where the planets follows the orbit around this thing we decided to call the sun. The sun is just one star among billions in this other thing we named the galaxy which is just one galaxy among the billions of galaxies in something we call the universe. Brain freeze. We are these humans living on this place called earth which is part of a solar system where the planets follows the orbit around this thing we decided to call the sun. The sun is just one star among billions in this other thing we named the galaxy which is just one galaxy among the billions of galaxies in something we call the universe. Brain freeze. We are these humans living on this place called earth which is part of a solar system where the planets follows the orbit around this thing we decided to call the sun. The sun is just one star among billions in this other thing we named the galaxy which is just one galaxy among the billions of galaxies in something we call the universe. Brain freeze. About the artist Michelle Claesson Eismann (b. 1988) is an illustrator born and raised in Stockholm. She graduated from Beckmans College of Design with a BFA (Bachelor of Fine Arts) in visual communication 2011. With previous work for among others Farfetch, Acne and Indie magazine, she masters different techniques in both illustration as well as visuals.En savoir plus

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80 EUR

Cuxhaven By Amit Naamani, Print

Editions : 529×21 cmPrint Size:  : 529×21 cmPrint Technique:  : 529×21 cmPrint About the piece Cuxhaven is a part of Naamani’s glitchwars series. It’s a series of 16 glitches that Naamani made during his time in Hamburg, it’s scans of a collaged magazine that created beautiful and surreal landscapes. About the artist Amit Naamani (b. 1986) is an artist based in Tel-Aviv. Naamani has been keeping a sketchbook and a diary for over five years now, working in and out of it and documenting almost everyday. He finds that documenting a moment is fascinating, and when he draw something, paste something or color it onto paper, it describes that moment in time, and when he goes back and look at it, it has meaning. Naamani’s work has a strong base around collage, asking the question, “What is collage?”. The essence of his work is layers, whether it is a piece of paper, a piece of text, a letter, an old photo of a building or a huge acrylic splatter in the middle of all of that. Naamani finds the layers both metaphorical and as physical ideas of our everyday lives. A word, over or under a photo, over another word and above it all, a torn up photo,  a mix of his everyday, his culture and his mind. After years of studying figure drawing, Naamani went to apprentice in a tattoo studio and got into drawing in the style of tattoos. When he left that world and started to look deeper, he discovered collage and writing. Now he works constantly, both digital and analog, exploring the beauty of today’s world where layers of collage and text exist on both levels. Naamani believes that by having sketchbooks, diaries and journals around, he is in a constant spirit of creativity. Sometimes it looks good, sometimes bad, but for him what is important is to stay active and work. Naamani says he knows how important it is to create “bad” work and just keep the creative juices flowing, while moving, always to stay in motion. Now, he says he understand the beauty of simple abstract marks, color stains or just huge fields of color, and those are slowly growing in his work, while working digital or in his journals. Naamani views the pieces at Arrivals as a unity, working together; creating an abstract landscape of thoughts and emotions from Naamani’s everyday life.En savoir plus

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100 EUR

Masken spricker By Johanna Arvidsson

Editions: 10 Size: 70×50 cm Technique: Print About the piece Masken spricker  is part of an ongoing project where Arvidsson works with zoomed details from antique oil paintings. The common denominator in the paintings she selected is that with time they have cracked due to different aging processes. It is exclusively paintings depicting women that Arvidsson has decided to work with, either portraits or nude paintings where she zooms in on parts of the face or body. During the period of which these original paintings were created, the artist was a man and the woman only an object for the male gaze. The paintings still look intact from distance and testify about a young velvet skin. But looking closer, the cracks becomes visible and reminiscent of aged skin and scars. In Arvidsson’s process where she zooms in on parts of the painting, every stain, crack and structure matters and becomes a part of the skin and the body’s impermanence is a fact. Parallel to the study of old oil paintings Arvidsson has also studied melancholia as the oldest form of mental illness, mostly from a female perspective. In this project she wants to weave together these two elements with the cracked paintings depicting women with the presentation of the female body in medical history, and mainly from the perspective of mental illness. The original drawings by Arvidsson are 140×100 cm. has a thin white margin around the motif. Masken spricker  Parallel to the study of old oil paintings Arvidsson has also studied melancholia as the oldest form of mental illness, mostly from a female perspective. In this project she wants to weave together these two elements with the cracked paintings depicting women with the presentation of the female body in medical history, and mainly from the perspective of mental illness. The original drawings by Arvidsson are 140×100 cm. has a thin white margin around the motif. About the artist Johanna Arvidsson (b. 1983) is educated at the MFA (Master of Fine Arts) program of Valand Academy, and is based in Gothenburg. Arvidsson tries to approach experiences that is not always presented in the world around us, such as depression and mental illness, but also the body’s aging and thoughts about death are part of the themes that interest her. For her, the truth has nothing to do with words, but our society is structured so that we have to use words to communicate and point to “the truth”. A starting point for Arvidsson’s work is to find other means of expression to handle these subjects, she does this mostly with drawing as a medium. She is interested in historical approaches to life and death, including how this is presented in culture. She also studies melancholy as the oldest form of mental illness. At the moment she looks at melancholy of all time – mainly from a female perspective, this study she works with parallel to studying the historical presentation of the female body in areas such as the history of painting and medicine.  En savoir plus

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150 EUR

Nolli Map #2 By Rebecka Bebben Andersson

Editions: 20 Size: 50 x 70 cm Technique: Print Editions: 20 Size: 50 x 70 cm Technique: Print Editions: 20 Size: 50 x 70 cm Technique: Print About the piece For her project NOLLI STHLM Rebecka Bebben Andersson has outlined her own ideas about the flexibility of moving around in her local environment. NOLLI MAP I-III are stills from the movie NOLLI STHLM where the artists depicts Stockholm, its open spaces and flexibility over different times of the day. About the artist Rebecka Bebben Andersson (b. 1984) graduated with an MFA (Master of Fine Arts) from the Royal Institute of Art in Stockholm in 2014. During some of that time she also studied for three years at The Royal Institute of Technology. When doing her MFA at the Royal Institute of Art, she did an exchange term at VŠUP in Prague, in the studio for textile art. In addition to this, Andersson has studied opera scenography at Operahögskolan/STDH. “— But now I have finished school” During the last couple of years Andersson has worked a lot with issues such as power structures in the public sphere, unsafety and violence against women. But of course she also works with other themes as well in order not to be completely depressed. Rebecka Bebben Andersson (b. 1984) graduated with an MFA (Master of Fine Arts) from the Royal Institute of Art in Stockholm in 2014. During some of that time she also studied for three years at The Royal Institute of Technology. When doing her MFA at the Royal Institute of Art, she did an exchange term at VŠUP in Prague, in the studio for textile art. In addition to this, Andersson has studied opera scenography at Operahögskolan/STDH. “— But now I have finished school” During the last couple of years Andersson has worked a lot with issues such as power structures in the public sphere, unsafety and violence against women. But of course she also works with other themes as well in order not to be completely depressed. Rebecka Bebben Andersson (b. 1984) graduated with an MFA (Master of Fine Arts) from the Royal Institute of Art in Stockholm in 2014. During some of that time she also studied for three years at The Royal Institute of Technology. When doing her MFA at the Royal Institute of Art, she did an exchange term at VŠUP in Prague, in the studio for textile art. In addition to this, Andersson has studied opera scenography at Operahögskolan/STDH. “— But now I have finished school” During the last couple of years Andersson has worked a lot with issues such as power structures in the public sphere, unsafety and violence against women. But of course she also works with other themes as well in order not to be completely depressed.En savoir plus

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150 EUR

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