Molntäcket 100x80cm (2019)
Fullmåne, 80x100cm, oil on linen canvas (2014)
Side view Porträtt på Falu rödfärg, oil and traditional Swedish house paint on linen canvas , 30x30cm (2018)
Ocean X-ing, 29,7x42cm, oil on cotton canvas (2014)
Green Ombra Jardin, 80x100cm, oil on cotton canvas (2014)
Amuser le tapis, 30x30cm, oil on linen canvas (2020)
Molntäcket 100x80cm (2019)
The Portrait of Dorian Sisyphos Continental, 54x65cm, oil on linen canvas (2014-2020)
Painting Failures, project for Moderna museet Malmö, 44x40cm, oil on masonite board (2016)
Detail Green Ombra Jardin, 80x100cm, oil on cotton canvas (2014)
P’tit portrait, sketch for Imago Mundi, Venice, 9x12cm, oil on linen canvas (2015)
Porträtt på svart slamfärg, 30x30cm, oil and traditional house paint on cotton canvas (2017)
Molntäcket, 100x80cm (2019)
Side view The Portrait of Dorian Sisyphos Continental, 54x65cm, oil on linen canvas (2014-2020)
Orosmoln?, 24x30cm (2015)
Porträtt på Falu rödfärg, oil and traditional Swedish house paint on linen canvas, 30x30cm (2018)
On popular demand; a second chance. Welcome to an art salon in Jenny Bergström’s apartment gallery at Kolbäcksgränd 22 on Sunday February 9, 2020, 13h-16h. You will find a selection of Jan Rydén’s enigmatic and colorful paintings on display. Some of them visible above, even though they are notoriously hard to photograph since the camera registers color in another way than the eye.
At 14 h we will have a talk on Jan’s painting and its central role in an artistic practice that spans from installations, sound pieces and urbanism to essays.
Welcome! Refreshments will be served. Please RSVP
I will be showing a selection of paintings, many not exhibited before, at the lovely Jenny Bergström’s apartment gallery on Kolbäckgränd 22. She will be hosting a salon on January 25, 2020 from noon until 4 PM. At 2 PM we will have a talk about my work. Otherwise viewing only by special appointment.
The title ”sprezzatura” is an Italian term used in men’s clothing, another interest of mine, where it denotes the art of being well dressed with apparent effortlessness, even carelessness. It can also encompass a breaking of the rules, in a way that still looks good. It is the opposite of the type of nervous perfection of perfect symmetry, spotless surfaces and immaculate straight lines. The term sprezzatura first appears in Baldessare Castiglione’s Il Libro del Cortegiano, The Book of the Courtier, (1528). Sprezzatura is defined by Castiglione as ”a certain nonchalance, so as to conceal all art and make whatever one does or says appear to be without effort and almost without any thought about it”.
It all connected when again I came across the concept of ”sprezzatura” in a very in-depth book on Rembrandt (Ernst Wan De Wetering. Rembrandt: The Painter at Work. ). Apparently the first Dutch edition of Baldessare Castiglione’s Il Libro del Cortegiano appeared in 1662 and was dedicated to Jan Six, of whom Rembrandt made a famous portrait. Rembrandt and his contemporary painters were involved in a debate on painting in a smooth or rough manner. In his book Castiglioni draws a parallell between the demeanour of the courtier and the loose, seemingly careless manner with which the artist wields his brush.
In an interesting way this apparent effortlessness of style aligns with the kind of painters I have always enjoyed most. Figurative painters like Velázquez or Rembrandt who’s brushstrokes are loose and free, and whose paintings at close examination can look like blotches of paint or geological samples. Or someone like the contemporary American Mary Heilmann. When we met the painter David Reed for the Thinking Through Painting-project, he told us his friend Mary Heilmann had been called a ”sloppy minimalist”. To me that sounds quite wonderful. Like ”sprezzatura”.
Recently a friend visiting from abroad made me aware of the fact that my artist book ”Allborgarrätten: The Right to the City As a Swedish Tradition” was featured in Monocle’s guide to Stockholm under the subject line ”things we’d buy”! Slowly the concept of allborgarrätten is seeping into Swedish identity, among with Dalahästar, perfumes from Byredo and books on Olle Eksell graphic design. I am really happy with this placement since the whole idea with the cover typo was a discreet hint to Absolut vodka and the rest of the book should be something in between a bible and a manifesto – but pink. The main idea with the art project is to make allborgarrätten as self-evident as allemansrätten when we talk about Swedish identity.
The Stockholm: The Monocle Travel Guide Series was published in 2017. Apparently the editors had picked up Allborgarrätten at Färgfabriken’s shop. It is also available at e.g. Moderna museet/ArkDes shop, or from online booksellers.
Jan Rydén has been invited to give a lecture on his artist book ”Allborgarrätten: The Right to the City as a Swedish Tradition” at the Humboldt University in Berlin. The talk is part of the Dag Hammarskjöld lecture series (Dag-Hammarskjöld-Vorlesungen) organized by urban historian Professor Håkan Forsell. The lecture will take place on Dec 11, 2018 at the Nordeuropa Institut, Dorotheenstrasse 24, Berlin.
Jan Rydén presenterade sin artist book ”Allborgarrätten: The Right to the City as a Swedish Tradition” på Van Alen Institute 27 oktober 2017 i New York som en del av utställningen Aiming for Democratic Architecture anordnad av Sveriges Arkitekter och Svenska institutet. Under en vecka arrangerades seminarier, samtal och workshops inför och under utställningen. Programmet tog sin utgångspunkt i arkitekturens roll i ett demokratiskt samhälle. Detta var Sveriges bidrag till New Yorks designmånad Archtober och programmet inleddes på Sveriges generalkonsulat.
Allborgarrätten will be part of the group exhibition PUCK (Sept 12 – Oct 12) at Dalles Hall/MNAC (The National Museum of Contemporary Art) i Bucharest, Romania. Jan Rydén will do a site-specific installation in the Dalles Hall Annex in central Bucharest. During the opening on September 12 Jan Rydén will also give a presentation of his ideas on the Right to the City as a Swedish Tradition.
”Rather Cross”, oil on canvas, 30x30cm, 2017
By invitation from Konstfrämjandet Jan Rydén on June 21 painted one of the pictograms from his book ”Allborgarrätten The Right to the City as a Swedish Tradition” on Swedenborgsgatan which is pedestrian during the summer. The pictogram chosen was ”Fristaden, Free City, Freistadt” which promotes the liberties associated with urban life as well as the idea of cities as places of refuge from prosecution. Simultaneously Rydén’s sound piece ”Allborgarrätten” can be heard by passers-by until the end of summer. He reads excerpts from the book. The painting was done in ephemeral material and will fade away completely during summer.
Konstfrämjandet has promoted art in Sweden since 1947.
Istället för en p-ruta. Som en performance målades den 21 juni piktogrammet ”Fristaden” från Allborgarrätten på Swedenborgsgatan. Målningen finns kvar under sommarens satsning på gågata men kommer sakta att nötas bort. ”Fristaden” är också titeln på ett kapitel i boken där de idén om fristaden belyses: Stad
en som plats för yttrandefrihet, kultur, annorlunda livsstilar, företagsamhet och förverkligande av annorlunda drömmar. Inbjudan kommer från Konstfrämjandet som har lokaler intill. Samtidigt kan du varje dag höra utsnitt av ”Allborgarrätten” som ljudverk i Konsfrämjandets ”Ljud i porten”. Tack till alla på Konstfrämjandet och särskilt Per Hasselberg som hjälpte till att fotografera. Trevlig sommar i stan!