As I was heading up the escalator at T-Centralen this morning, on the opposite set of moving steps a very large tour group, headed by a woman with a paddle, was heading down. The platform was quite crowded already so goodness knows what it was like afterwards. There was one of those big ugly liners in the harbour so I guess this was some of the passengers. I can only assume that they were being shown the delights of the Stockholm artistic underground stations.
I was in Stockholm for some aboveground art. Having read the catalogue, I was heading for the Moderna Museet to view once more House of Nisaba: New Stories of Painting. A second look was required and, I must report, well rewarded.

It reminded me of when some of the Weasels went to Amsterdam to see the Vermeer exhibition. John had already read the catalogue and said how it made the visit so much more rewarding. As far as my return visit today was concerned, I can only agree with his assertion.
As well as an overall appreciation of what the curator was trying to achieve, there was also the opportunity to spot little, delightful details in some of the works.
The first painting you see as you enter the exhibit is the amazing Progress: Real and Imagined by Nicole Eisenman. While I spent a delightful while examining the various figures and details back on June 18, I missed this pair, playing a game of Sorry.

Now I look back to the original photo I took of this amazing work, I realise I can spot this couple but, at the time, I completely missed it. And, following my art class yesterday, I guess we have Manet and Courbet to thank for the attitude of the nude.
Anyway, the exhibition was, once more, even on the second viewing, superb. I left a review suggesting as much.
As a side note, when I got home and started raving about what I had seen, Mirinda said she was glad I had discovered a new interest. Since the WWI research ended, I have been a bit bereft, apparently. A bit like when I stopped my research at the Science Museum. And the Royal Naval Library.
After she said how glad she was, I said it was better than my last interest because at least it isn’t about the war.
Anyway, the House of Nisaba wasn’t the only exhibit I visited. Given I was there, it seemed a bit of a waste not taking advantage of the fact that there was a new curated exhibition of pieces from the collection. It was called Will You Be Profitable, My Friend? and included works of Swedish Art from 1945 to 1979.
As well as some truly amazing pieces, there was also a new (for me anyway) work by one of my favourite Swedish artists, Marie-Louise Ekman, who I first discovered back when we first came to Sweden in 2020. We attended an exhibition at Artipelag showing works by women artists and Ekman was one of them.

My apologies for the reflections but the lights in the final room were a bit difficult to avoid.
So, all in all, an excellent day at the gallery, absorbing art. I can only hope the tour group got as much out of the works they spotted on the underground as I did above.




























