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Simon Anund | Matter and Decay

Past exhibition
22 August - 21 September 2019
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  • Installation Views
  • Works
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Overview
Simon Anund | Matter and Decay

In previous exhibitions, Simon Anund has dealt with issues like excess consumption, jerry-building and the social need to constantly show off a polished, rectified surface. Not only as a physical nature, but also as a facade to hide behind both on social media and in physical relationships. What happens when the facade cracks in a building, in the digital flow or within human beings?

 

Decay is part of all life cycles, both in buildings and in humans. It is said that one should age with dignity, but after all, everything does not age very well. Does decay become more obvious or extensive if everything that has happened before, was all about the facade?

 

Some are provoked by decay. In Stockholm there are no pile-worn industrial areas and no dilapidated houses. Everything is polished, beautiful and clean. But can you hide behind surfaces and if so, for how long? Can the slums, the dirt and the social problems be removed or does the gentrification just push the decay further away, further out?

 

People are also nostalgic. Some decays are considered worth keeping, stopping or rescuing. But is it possible and if so, at what cost?

 

Brutalism in architecture is a raw, transparent aesthetic that should hide nothing. It was ground-breaking but also widely disapproved. When a brutalist building is being demolished, images are quickly spread on social media with the most common comment from faithful defenders and admirers: "How can one not understand the value of this amazing building?"

 

Will decay and the final demolition of an architectural masterpiece be a reason to elevate its greatness? Will what does no longer exist be better than what we have?

 

The new exhibition "Matter and Decay" is a continuation of Simon Anund's previous exhibitions "Fragile", "Post Amorfa" and "Defectus Occultos", which dealt with surfaces, superficiality, facades, protective walls with aesthetically perfect surface layers and filters. A strive for bodily perfection and at the same time an elitist need to show that one is sufficiently cultivated to look past the surface.

 

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Installation Views
  • Img 1134
  • Img 1385
  • Img 1139
Works
  • Simon Anund, Counterweight #2, 2019
    Simon Anund, Counterweight #2, 2019
  • Simon Anund, Counterweight #5, 2019
    Simon Anund, Counterweight #5, 2019
  • Simon Anund, Verticle Elements of Pigmented Concrete #3, 2019
    Simon Anund, Verticle Elements of Pigmented Concrete #3, 2019
  • Simon Anund, Threaded Rods and White Concrete #1, 2019
    Simon Anund, Threaded Rods and White Concrete #1, 2019
  • Simon Anund, Counterweight #3, 2019
    Simon Anund, Counterweight #3, 2019
  • Simon Anund, Threaded Rods and White Concrete #2, 2019
    Simon Anund, Threaded Rods and White Concrete #2, 2019
  • Simon Anund, Threaded Rods and White Concrete #3, 2019
    Simon Anund, Threaded Rods and White Concrete #3, 2019
  • Simon Anund, Verticle Elements of Pigmented Concrete #1, 2019
    Simon Anund, Verticle Elements of Pigmented Concrete #1, 2019
  • Simon Anund, Verticle Elements of Pigmented Concrete #2, 2019
    Simon Anund, Verticle Elements of Pigmented Concrete #2, 2019
  • Simon Anund, Wall Mounted Concrete Slab #2, 2019
    Simon Anund, Wall Mounted Concrete Slab #2, 2019
  • Simon Anund, Wall Mounted Concrete Slab #3, 2019
    Simon Anund, Wall Mounted Concrete Slab #3, 2019
Press
  • Simon Anund | Review in Svenska Dagbladet

    Clemens Poellinger, "Konsthösten 2019 – nya verk från Sveriges främsta konstnärer", August 27, 2019
Related content
  • Press

    Simon Anund | Review in Svenska Dagbladet

    "Konsthösten 2019 – nya verk från Sveriges främsta konstnärer" Aug 27, 2019
    'En nykomling i kvarteret runt Hudiksvallsgatan är Berg Gallery som öppnar med Simon Anund, en konstnär och formgivare med förkärlek för betong som material. Utställningens...
    Read more

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  • Simon Anund

    Simon Anund

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