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Back in February, when we went to the circus performance on Soder, Lena was telling us how much she enjoyed this year’s Vårsalongen (Spring Salon) at Liljevalchs. She excitedly told us that she had even bought a painting. And I agree. It’s the best I’ve been to. There were lots of pieces I’d have gladly bought except they were already bought by other people.
I try and go every year. I love the opportunity to see the work of new and up-and-coming artists. I also like recognising the works of artists I’ve seen previously. This year, for instance, almost as soon as I walked into the gallery, I came face to face with a painting by Falah Alani. I may not have remembered the name but I certainly knew the style.
I decided, earlier in the week, that I had to get myself into Stockholm and down to the gallery or be in danger of missing out this year. Not because it’s about to close (it has until May 3) but because things are getting a bit socially hectic.
So, as usual, I hopped aboard the bus to Liljeholmen and the tunnelbanna to Centralen where a latte may have been taken before catching the tram to the gallery where, of course, there was already a crowd waiting for the doors to open.
Speaking of the tram, as I sat, enjoying the ride, the conductor came down the carriage, asking for people’s fares. He was a very dapper and chatty chap. I heard him behind me, chatting to people both in Swedish and English.
When he reached me, he scanned my SL card then said something humorous about my walking stick. I think it was something like “Make sure you hang on tight to your stick! It could be a bumpy trip!” I laughed in turn after he chuckled and the couple sitting across the aisle joined in with his amusement.
After this brief initial contact, whenever he returned to check the fares of new passengers, he would catch my eye and say something that he considered friendly and funny and I concurred, laughing with him.
It was a jolly trip, having conversations I didn’t understand. When my stop arrived, he spotted me getting up and told me (I think) to be careful getting off the tram and (I know) to have a good day. I can’t speak for anyone else on the tram but he certainly made my journey fun.
Not so much fun was the fact that as the doors of the gallery opened and the hordes of old folk surged up the stairs, among them was a group of teenagers, excitedly getting in everyone’s way. Of course, the teachers tried to keep them under control but were not exactly successful.
Having achieved the downstairs area, there was the usual scramble for lockers but, eventually, I was inside and strolling among the works.
There was great disappointment when I spotted an embroidery that had already been sold because, I seriously would have bought it for Mirinda. She does love a bit of embroidery. I really liked the image, although it was somewhat apocalyptic. I also loved the title.
In her own words, Carina said she takes old embroidery and reworks the message and image to be more ‘up to date’. About this work she says that “The tapestry that I started from in this case is more modern and a little different in its message. The text is taken from Lasse Stefanz’s dansband classic The Last Sweet Years. I have removed the pastel sunset that the couple was looking at at the beginning and replaced it with a mushroom cloud. The text has also been reworked. Now it is no longer about years – now there are only minutes left before it all ends.“
The entries this year, 348 from 255 artists, were so good that I found it extremely difficult to pick a favourite. But, in the end, I chose one that embodies the way I feel about Sweden: how I see it and why I love it.
It is a simple and small landscape painting by Ingela Alvmyren, an artist who seems to, usually specialise in paintings of small birds. Oddly enough, she spent time, studying in Melbourne where the birds are a lot bigger.
Anyway, here is her painting which, again, I would have bought if someone hadn’t already laid their money down.
And, wouldn’t it be funny if this was the one that Lena bought?
