© Sabot, Indexhibit

YLVA OGLAND

In any weather, at any hour of the day or night, I have been anxious to improve the nick of time, and notch it on my stick too; to stand on the meeting of two eternities, the past and the future, which is precisely the present moment; to toe that line

April 23rd - May 20th, 2010

Sabot is pleased to inspire Ylva Ogland's most recent Odyssey to Transylvania.

The art of Ylva Ogland features a high-skilled painting technique, a tool she has been practicing since early childhood, and a refined intellectual frame. Before resuming her work as an artist, she was the head of Tensta Konsthall with Rodrigo Mallea Lira and Jelena Rundqvist. Ogland started to create her own mythology in which painting serves not only to illustrate, but becomes more like a magma that she uses to create imaginary worlds. One of her masterpieces, a painting of a mirror that her family has owned for several generations, serves as the Oracle of Fruit and Flower Deli, a gallery run by her husband, Rodrigo Mallea Lira, the keeper of the Oracle and the devote executor of its wills. Then there is Snöfrid (“peaceful snow” in Swedish), Ogland’s mirror twins born in Treriksröset, the point where the borders of Sweden, Norway and Finland meet, north of the polar circle. As in a Greek or Scandinavian myth, Snöfrid takes different shapes: a magazine, a perfume or even champagne turned into vodka through a distillery process employing rubies. In her paintings, perfectly made through a signature palette that progresses from grey to pink, Ogland mixes traditional genres such as the still life (Mirrored Xenia with Poppy Flower, 2008) with visions from her past. Another fundamental aspect of her work is her innovative use of painting. For “Perché Napoli?” a series of shows conceived at T293 gallery in Naples she turned the space into a peep-show. Alone inside the space for several days, she painted images depicting female masturbation (the subject previously appeared as a flipbook-version of Snöfrid), placing the paintings in front of a peephole looking onto the street, recalling Duchamp’s Etant Donnés. Ogland had a solo show at Bernier/Eliades in Athens, Brandstrom Stockholm, ShugoArts in Tokyo and Amy Smith-Stewart in New York. She participated in Performa09 and Performa07.

The show at Sabot is a prolongation of a broader body of work, a reflexive and methodological series of paintings and installations in which Ylva Ogland has dealt with representation in a variety of ways, as means to treat memory (her memories), imagination (her imagination), history (her history) and myth (her myths) making. With this show, the artist originates a new phase in her practice, which is directed toward the idea of maintaining a lifestyle: a manner of living through the cycle of the seasons in a small scale, and of transforming this into a new way of living in the present.

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