This content is protected against AI scraping.
Ages ago, I bought tickets to see a show called Absolute Shakespeare. It was being performed at a small theatre in Stockholm. Due to various factors, Mirinda was unable to go, so I bravely set off today through the snow and below freezing temperatures. Actually, that sounds like it was actually snowing. It wasn’t, but there was still plenty of it around.
Luckily, the snow that lay all about, was still supportive in Trosa, so the walk to the bus was not as harrowing as I expected. Of course, I packed my spikes just in case, though there was some speculation whether they would work on the modified Sneaky Steve. I never got to try as there was no slippage, anywhere.
It was also the first journey for my new bag, which performed very well. Hopefully, soon, the new lustre will fade.
It also marked the first time I’ve seen ticket inspectors on the tunnelbana. By the exits at T-centralen, sure, but not on the actual train. They were unexpectedly jolly.
Anyway, there were no mishaps, and I was soon out on the street and headed up Drottningatan for the usual bit of essential shopping. It was then onto a tram to Liljevalchs.
There are currently two exhibitions on at Liljevalchs. Both of them, quite intriguing and both very different. As Mirinda said later, I was in heaven.
Stockholm Cosmologies follows on from Stockholm Cosmology, held last year, also at Liljevalchs. This year, the showcase of 15 new and emerging artists, focusses on Swedish artists who have some sort of connection with Africa as well as Sweden and the larger, African diaspora.
All I can say, is that the entire exhibition was extraordinary. Each artist was very different from each other. Moving from one space into another was like travelling through multiple disciplines featuring video, painting, sculpture, performance art; it seemed to be every type of genre in art. Plus a few more.
There was even one massive work that had been charcoaled on a wall. At the end of the exhibition, I guess the staff will just whitewash over it.
My favourite piece, however, was a small painting, one of 24 hung on a spiral structure, which depicted the artist’s journey up mountains, painting while deprived of oxygen at great heights. She painted them while under the influence of oxygen deprived hallucinations. The one I particularly liked (though I think they should really all be seen in sequence to paint an overall picture, so to speak) was number 19.
It’s as if the last of the oxygen is leaving the woman’s body through her nose and mouth. But she looks accepting of it, as if the hallucinations are enough to keep her alive. And satisfied. She is peering into an abyss of discovery from the darkness of the mountains. I find the painting haunting.
You can read about Ylva, and see more of her work, on her website, here.
Then, in the new wing, I walked into a world of African art, the likes of which I’d never seen before.
When we see us is a massive exploration of art in Africa. It is subtitled ‘A century of Black Figuration in Painting‘ which says it all, really. Starting in 1800, a massive timeline charts the course of art in Africa all the way up to 2020. This was on the wall in the final room, which had been turned into a sort of study space with books and articles and somewhere to sit and peruse. It was fascinating.
There were some extraordinary pieces, showing the different aspects of life on the continent. It was very difficult picking a single favourite but, after a long think, I’m going to go with an untitled painting by the wonderfully named Marvelous Mangena from Zimbabwe.
He was known for capturing the joy in everyday life – talking, playing, cooking, etc. I found the painting above, calm and assuring. I also really like the decorated frame.
Eventually, though, it was time for me to leave. I caught the 67 bus up to Odenplan and went in search of a restaurant for dinner.
Mirinda had recommended one which was packed solid with people waiting. I went by, determined to find one with empty tables. I wound up in an Italian place near the church, Villa Romano by name.
Restaurant observations
The chef went a bit mad with the pepper in the Carbonara otherwise the food was excellent. In particular the carpaccio and, finally, the tiramisu. I wondered if I should start rating tiramisu instead of Crème Brulé. The staff were delightful and thought I was Swedish. At least they kept speaking to me in Swedish.
There was an older couple sitting at the next table to me who used spoons to twirl their tagliatelle. What’s wrong with the dish, I wanted to ask them. She looked a bit like Mrs Richards, so I demurred.
Later, in the small bar at the theatre, she and her husband turned up, and she gave me a lovely smile of recognition. Then I realised she was nothing like Mrs Richards. They sat in my row and then, later, we had a short chat together while standing in the toilet queue. Again, in Swedish. I have no idea what we talked about.
But then, of course, there was the whole reason why I’d ventured into Stockholm in the first place: Absolute Shakespeare at the Alias Teatern.
And, what a funny little underground theatre it is. It seats around 60 people and felt like it was in a cellar. At least it had the bar where I could sit and wait. Mind you, I was never sure there was actually a performance on. There was no indication anything was on. When people started turning up, I was very relieved.
Eventually, the theatre was full. I think there were a lot of friends and relatives in. At any rate, they were very encouraging and also helped with the singing.
But, my impressions of the show.
I loved the concept of the piece, it was just sad that, apart from Hamlet’s soliloquy, I didn’t recognise any of the Shakespeare as it was all in Swedish. It felt odd given the songs were all in English. All the songs, I knew, as did most of the rest of the audience. As I said above, there was a fair bit of singing along.
Malin Sternbrink was excellent all round. Her puppetry skills were terrific and very funny even for a non-Swedish speaker. (Or should that be listener?) Her singing and movement were both excellent, her smiles infectious. I particularly loved her pitch perfect, unaccompanied start to I Will Always Love You, not to mention the equally perfect key change.
On the other hand, I didn’t think Niklas Atterhall was strong enough. In a bigger space, he wouldn’t be heard. Though, he definitely looked the part of a 16th century troubadour, and his 12 string lute playing was superb. Reading his biography, it seems he is an actor as well as musician. I find it hard to imagine him performing in a big auditorium without amplification of some sort.
Above all, however, I did enjoy the show very much. It was clever, imaginative, musical, funny, everything really. Both of them had the necessary energy to keep entertaining us for the whole hour. Though I would have loved to have understood the Shakespeare. Though, of course, that’s my problem and no-one elses.
And so, finally, at just gone 8pm, I headed out for Odenplan and hopped on a convenient train to Centralen and the train home. I was rather excited that I’d make the 20:43 train home until I realised there was no 20:43 train home. I had an hour to kill in a main station, on a Friday night, where everything is more or less closed.
I sat outside for a bit getting some fresh air before the cold and time chased me back inside.
Eventually, I reached home. My wife insisted she pick me up at the station, I then regaled her with my day of exciting art and music of the 1980’s.
PS: I need to add two more things to this. Firstly, Jason arrived today for his birthday weekend in Stockholm and Trosa and, secondly, I saw two papakorvarna today. They looked sillier than the mammakorvarna I have seen before. That is my opinion and it will not change.
