Atelier Mateas Pares, Katarina Bangata 66, Stockholm (2026)

02/05/2026

”Gränser”

16 maj – 14 juni 2026
Kummelholmen

Alina Chaiderov
Cecilia Germain
Christian Andersson
David Altmejd
Elinor Silow
Johan Thurfjell
Karon Nilzén
Mateas Pares
Olof Inger
Peter Johansson
Tobias Bradford
Torbjörn Johansson

Curerad av StudyForArtPlatform

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Med stöd av Region Stockholm. ()
Tack till Bitburger. ()

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Gränser

Enligt institutioner och forskningsrapporter som Pew Research Center, World Values Survey, European Social Survey, Harvard University, och Bertelsmann Stiftung, är politisk, social och kulturell polarisering på uppgång i en växande andel länder. Samtidigt visar studier inom kognitiv psykologi, statsvetenskap och mediestudier på att ökad polarisering associeras med en ökad tendens till svartvitt tänkande, präglat av ett behov av säkerhet och snabba svar, där utrymmet för nyanser och komplexa, problematiserade synsätt minskar. När övertygelser försvaras har forskning visat att skälen oftare bottnar i ett undermedvetet upprätthållande av identitet, moraliska värderingar eller känslomässiga bindningar, snarare än i en konsekvent prövning av kunskap — något som bekräftas i studier där vi blir ombedda att presentera epistemologiskt sammanhängande resonemang för de gränsdragningar som formar våra övertygelser, och där vi ofta har väldigt svårt att göra just det.

Grupputställningen ”Gränser” syftar till att belysa hur våra övertygelser formas, rättfärdigas och upprätthålls, och vad detta innebär i förlängningen. I utställningen presenteras ett antal konstnärskap och verk som aktualiserar olika frågor under begreppet gränser. Här berörs estetiska, begreppsliga, moraliska och kunskapsteoretiska gränsdragningar, men utan att någon av dem kan ges företräde utan förlust eller uteslutas utan våld. Utställningen kan på så vis ses som en analogi för den gråa sörja som är livet.

02/05/2026

TB

Hour 425 624; 2024; head size x ≈60 cm; pigment and wax on commissioner’s fabrics.

Part of the installation ”Heads”, shown 19 September . Together with .

•

”Heads” is the result of Mateas Pares’s ongoing relationship with the canvas as a sculptor, in which he uses sculptural materials as tools to instill various meanings into the canvas. In the installation ”Heads”, the canvas has been replaced by fabrics associated with the commissioner Brixtol Textiles.

”The 18 heads that make up the installation all point in the same direction, as if looking at something, walking towards something, or standing in formation. I wanted to capture the feeling I have had throughout this project and create a sense of something shared, something common. I believe everyone deals with the emotional complexity of certain situations where one finds oneself oscillating between feelings of affirmation and pride, and the existential feelings that arise when trying to maintain one’s integrity while at the same time needing to make compromises for financial survival. The installation can, therefore, be seen as a reflection of the installation itself.” — Mateas Pares

02/05/2026

TB

Hour 155 829; head size x ≈60 cm; pigment and wax on commissioner’s fabrics.

Part of the installation ”Heads”, shown 19 September . Together with .

•

”Heads” is the result of Mateas Pares’s ongoing relationship with the canvas as a sculptor, in which he uses sculptural materials as tools to instill various meanings into the canvas. In the installation ”Heads”, the canvas has been replaced by fabrics associated with the commissioner Brixtol Textiles.

”The 18 heads that make up the installation all point in the same direction, as if looking at something, walking towards something, or standing in formation. I wanted to capture the feeling I have had throughout this project and create a sense of something shared, something common. I believe everyone deals with the emotional complexity of certain situations where one finds oneself oscillating between feelings of affirmation and pride, and the existential feelings that arise when trying to maintain one’s integrity while at the same time needing to make compromises for financial survival. The installation can, therefore, be seen as a reflection of the installation itself.” — Mateas Pares

02/05/2026

TB

Hour 425 624; 2024; head size x ≈60 cm; pigment and wax on commissioner’s fabrics.

Part of the installation ”Heads”, shown 19 September . Together with .

•

”Heads” is the result of Mateas Pares’s ongoing relationship with the canvas as a sculptor, in which he uses sculptural materials as tools to instill various meanings into the canvas. In the installation ”Heads”, the canvas has been replaced by fabrics associated with the commissioner Brixtol Textiles.

”The 18 heads that make up the installation all point in the same direction, as if looking at something, walking towards something, or standing in formation. I wanted to capture the feeling I have had throughout this project and create a sense of something shared, something common. I believe everyone deals with the emotional complexity of certain situations where one finds oneself oscillating between feelings of affirmation and pride, and the existential feelings that arise when trying to maintain one’s integrity while at the same time needing to make compromises for financial survival. The installation can, therefore, be seen as a reflection of the installation itself.” — Mateas Pares

02/05/2026

TB

”Heads”
19 September

Part of Textile Art Scolarship

•

”Heads” is the result of Mateas Pares’s ongoing relationship with the canvas as a sculptor, in which he uses sculptural materials as tools to instill various meanings into the canvas. In the installation ”Heads”, the canvas has been replaced by fabrics associated with the commissioner Brixtol Textiles.

”The 18 heads that make up the installation all point in the same direction, as if looking at something, walking towards something, or standing in formation. I wanted to capture the feeling I have had throughout this project and create a sense of something shared, something common. I believe everyone deals with the emotional complexity of certain situations where one finds oneself oscillating between feelings of affirmation and pride, and the existential feelings that arise when trying to maintain one’s integrity while at the same time needing to make compromises for financial survival. The installation can, therefore, be seen as a reflection of the installation itself.” — Mateas Pares

27/04/2026

TB

Hour 525 072; 2024; head size x ≈60 cm; pigment and wax on commissioner’s fabrics.

Part of the installation ”Heads”, shown 19 September . Together with .

•

”Heads” is the result of Mateas Pares’s ongoing relationship with the canvas as a sculptor, in which he uses sculptural materials as tools to instill various meanings into the canvas. In the installation ”Heads”, the canvas has been replaced by fabrics associated with the commissioner Brixtol Textiles.

”The 18 heads that make up the installation all point in the same direction, as if looking at something, walking towards something, or standing in formation. I wanted to capture the feeling I have had throughout this project and create a sense of something shared, something common. I believe everyone deals with the emotional complexity of certain situations where one finds oneself oscillating between feelings of affirmation and pride, and the existential feelings that arise when trying to maintain one’s integrity while at the same time needing to make compromises for financial survival. The installation can, therefore, be seen as a reflection of the installation itself.” — Mateas Pares

27/04/2026

TB

Hour 488 773; 2024; head size x ≈60 cm; pigment and wax on commissioner’s fabrics.

Part of the installation ”Heads”, shown 19 September . Together with .

•

”Heads” is the result of Mateas Pares’s ongoing relationship with the canvas as a sculptor, in which he uses sculptural materials as tools to instill various meanings into the canvas. In the installation ”Heads”, the canvas has been replaced by fabrics associated with the commissioner Brixtol Textiles.

”The 18 heads that make up the installation all point in the same direction, as if looking at something, walking towards something, or standing in formation. I wanted to capture the feeling I have had throughout this project and create a sense of something shared, something common. I believe everyone deals with the emotional complexity of certain situations where one finds oneself oscillating between feelings of affirmation and pride, and the existential feelings that arise when trying to maintain one’s integrity while at the same time needing to make compromises for financial survival. The installation can, therefore, be seen as a reflection of the installation itself.” — Mateas Pares

27/04/2026

TB

Hour 450 563; 2024; head size x ≈60 cm; pigment and wax on commissioner’s fabrics.

Part of the installation ”Heads”, shown 19 September . Together with .

•

”Heads” is the result of Mateas Pares’s ongoing relationship with the canvas as a sculptor, in which he uses sculptural materials as tools to instill various meanings into the canvas. In the installation ”Heads”, the canvas has been replaced by fabrics associated with the commissioner Brixtol Textiles.

”The 18 heads that make up the installation all point in the same direction, as if looking at something, walking towards something, or standing in formation. I wanted to capture the feeling I have had throughout this project and create a sense of something shared, something common. I believe everyone deals with the emotional complexity of certain situations where one finds oneself oscillating between feelings of affirmation and pride, and the existential feelings that arise when trying to maintain one’s integrity while at the same time needing to make compromises for financial survival. The installation can, therefore, be seen as a reflection of the installation itself.” — Mateas Pares

27/04/2026

TB

Hour 443 156; 2024; head size x ≈60 cm; pigment and wax on commissioner’s fabrics.

Part of the installation ”Heads”, shown 19 September . Together with .

•

”Heads” is the result of Mateas Pares’s ongoing relationship with the canvas as a sculptor, in which he uses sculptural materials as tools to instill various meanings into the canvas. In the installation ”Heads”, the canvas has been replaced by fabrics associated with the commissioner Brixtol Textiles.

”The 18 heads that make up the installation all point in the same direction, as if looking at something, walking towards something, or standing in formation. I wanted to capture the feeling I have had throughout this project and create a sense of something shared, something common. I believe everyone deals with the emotional complexity of certain situations where one finds oneself oscillating between feelings of affirmation and pride, and the existential feelings that arise when trying to maintain one’s integrity while at the same time needing to make compromises for financial survival. The installation can, therefore, be seen as a reflection of the installation itself.” — Mateas Pares

27/04/2026

TB

Hour 433 250; 2024; head size x ≈60 cm; pigment and wax on commissioner’s fabrics.

Part of the installation ”Heads”, shown 19 September . Together with .

•

”Heads” is the result of Mateas Pares’s ongoing relationship with the canvas as a sculptor, in which he uses sculptural materials as tools to instill various meanings into the canvas. In the installation ”Heads”, the canvas has been replaced by fabrics associated with the commissioner Brixtol Textiles.

”The 18 heads that make up the installation all point in the same direction, as if looking at something, walking towards something, or standing in formation. I wanted to capture the feeling I have had throughout this project and create a sense of something shared, something common. I believe everyone deals with the emotional complexity of certain situations where one finds oneself oscillating between feelings of affirmation and pride, and the existential feelings that arise when trying to maintain one’s integrity while at the same time needing to make compromises for financial survival. The installation can, therefore, be seen as a reflection of the installation itself.” — Mateas Pares

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