WORKS
24_liten
11_liten
13_liten
6_liten
17_liten
18_liten

For your eyes only, 2021

archival inkjet print, artist made frame, anti-reflective glass, each image 155x105cm

3 klockor at Galleri Format, Malmö

(exhibition text by Kah Bee Chow)


In the series, For your eyes only we see cropped sections of mark-making, flow, viscosities
rendered by daylight and paint:

wisp    streak    splatter    flake    residue run on     sky through    a clear transparent surface. These sections are framed with varying expanses of white, composing a view and specific
spacing for each print. Encased in white ash wooden frames made by the artist, they share the same dimensions (1060 x 1560mm) as the windows of our old studios where the photographs were taken.


In our last months in Flöjen, our former studio collective (1), we had arrived one Monday morning to find all the windows entirely covered in graffiti over the weekend. Housed in a four-storey building emptying out and slated for demolition, the exterior wall on its southern side offered up taggers a large opportune surface area to be broadcast to an audience of daily Nobelvägen
traffic and pedestrians. Some of the studios within consequently appeared cloaked in jewel-like tones as the day filtered in through spray-painted glass, others seemingly enclosed by night with layers of pigment obscuring the light. Olof began documenting the windows in each artist’s
studio, studying their painterly traces through the lens.

The task of observation, of paying attention to the resolutely ordinary, feels like a key form of orientation in this exhibition. Dagar, the still lifes of tomatoes belong to a series Olof began
painting everyday in the kitchen while on residency in a studio apartment abroad. The live/work space, in this case, set a loose frame for the making: a scale, a duration, materials at hand. Light and fluid, the watercolour sketches are direct in approach, yet deliberate in sensibility and treatment. A friend remarked that over the course of the pandemic, the domestic space had
become a compression of all the different spheres usually delineated by distance, their
respective place and situated-ness(2). Olof’s way of working resonates with this quotidian rhythm, in that a certain confinement can also draw out an alignment, set a movement, locate a focus – ever so slightly shifting the prism through which we see and engage with the things and beings in our daily lives.

The sound is three clocks ticking mildly out of sync.


Kah Bee Chow



1 Flöjen was an artist studio collective located on the second floor of Nobelvägen 125, consisting of 25 individual studios. Flöjen was among a number of artist collectives in the building (2004-2020) in Kvarteret Brännaren, Malmö, now  a construction site for future residential housing, schools and a sports centre.

2 Artist Ruth Buchanan quoted in Gilkindon, Emma Jean  “A Covid Winter, holed up in Berlin” https://thespinoff.co.nz/books/01-02-2021/a-covid-winter-holed-up-in-berlin/

21_liten
20_liten
19_liten
22_liten

Dagar, 2021

watercolors on paper, artist made frame, anti-reflective glass, each image 25x33cm


16_liten
27_liten
28_liten

For your eyes only, 2021

archival inkjet print, artist made frame, anti-reflective glass, each image 155x105cm

(extract from exhibtion text by Jenny Kalliokulju)


För utställningen och verket Mellan tre fingrar har Olof Nimar fotograferat frukter. Lime, mispel och plommon, i kompositioner som för tankarna till klassiska stilleben-målerier. Men frukterna har fotograferats i rörelse, vilket motarbetar såväl det ”stilla livet” som kamerans förmåga till precision. Frukterna glider undan kamerans fokus och tänjer ögonblicket i tid och rum. Utställningen kan läsas som ett enda stort verk i den betydelsen att samtliga bilder hör ihop, och gemensamt bildar en ”värld”. Rörelserna blandas med milda färger och ljus som förför, men skapar också obehag och tvetydighet. Nimars bilder befinner sig på gränsen mellan verklighet och fiktion. En värld som besökaren känner igen, men som sakta blir allt mer främmande.


På frågan om vad ett fotografi av en lime föreställer svarar de flesta av oss – ”det är en lime”. Nimars bilder skapar en paradox mellan den/det porträtterade och porträttet, något som ifrågasätter ens egen blick och kunskap. Bilderna insisterar på att vara konst och inte dokumentation, och för exempelvis tankarna till Marcel Prousts jag-blick som obehindrat virvlar genom ting, tid och rum i romanserien På spaning efter den tid som flytt (1913).

ås_3s
ås_4s
ås_5s
ås_6s
ås_7s
ås_8s
ås_9s
ås_10s

Between three fingers, 2020

archival inkjet print, artist made frame, anti-reflective glass. each image 42x32cm.

Shown at Åstorps Konsthall, Åstorp.

onimar4-s
onimar2-s
onimar3-s
onimar1-s
onimar5-s

The wind makes curves of the lines, 2020

Vinyl prints installed at Galleri Format, Malmö.

5_l
4_l
8_l

Scenes, 2019

Diasec, melamine covered fiberboard

each 170 x 40 x 40 cm

shown at Galleri Ping-Pong, Malmö

6_l
7_l
9_l
13_l
14_l

Wet Hair

Text by Nils Svensk

 

In the image Landscape at Soumaya Olof Nimar has photographed a museum interior from the Soumaya Museum in Mexico City. In the center of the image there is a small painting by Claude Monet, Landscape at Giverny. It is shown hanging by wires from a remarkable construction. Through the exhibition in Gislaveds Konsthall the series Givernys Generosity has been placed at intervals, images of tulips from the painter

Monet´s garden in Giverny. A garden that is a meticulous staging of motives for the artists paintings, like all gardens a kind of artificial nature.

 

In the exhibition , the staging is also of central importance. A photograph can be window, a means of transporting the viewer to another place. Olof Nimars images close that peephole and flatten the images illusory depth. For a moment the photographs appear as surfaces of lines and fields of color, something like a painting. In the next moment, the depth unfolds again transformed into a kind of diorama. An arranged space defined by our experiences and associations to the same extent as walls and ceiling. This is a scene that open outward into the exhibition space and inward into the audience.

 

Wet Hair is taking place between the images and the exhibition can be read as a single large scale working the sense that all the images are connected and form a world, an artificial nature on the border between fiction and reality. Nimars photographs insist on being images – “this is not a pipe” nor is it a mushroom or a tulip to paraphrase Rene Magritte. A kind of paradox is created and the familiar slowly grows more strange.

 

As an audience of photography we are used to borrowing the eye of the photographer, in Olof Nimars exhibition our bodies are activated to the same extent. Like a mirror ball in a garden the small piece My Face hangs in a corner of the exhibition. In the shiny surface of the photographed object we see a reflection of the photographer in the same position as the audience, we share the same space.

"This publication was produced by Gislaveds Konsthall as an extension of Olof Nimars exhibition Wet Hair, in the autumn of 2018. In conjunction with images of and from the exhibition it presents text by the poet Iman Mohammed and the curator and writer Brian Sholis. Translations by Samuel Teeland and Nils Svensk. It was designed by artist, Kent Fonn Skåre. Curator Nils Svensk." 

 

Offset print, 500 copies.

Lily, 2018

archival inkjet print, artist made frame, painted wood structure, anti-reflective glass. 170x135x70cm & 170x260x140cm

shown at Kulturkvarteret, Hjo


Giverny's Generosity, 2017

archival inkjet print, artist made frame, anti-reflective glass, each 35x44cm

shown w/ Camille Lavaud at Alta, Malmö

 

Text by Julia Björnberg

 

Olof Nimar’s series of photographs Giverny's Generosity (2017) shows tulips in Claude Monet’s garden in Giverny, France. A garden which was planned and constructed exclusively according to Monet’s fancy in regards to color, light and form. The water for the dam was taken from a nearby village and thus was deprived from the villagers who needed it for washing and for their livestock. The artificial is blended with the authentic and biological in the garden as well as in Nimar’s images.

It is better than we thought, 2017

archival inkjet print, artist made frame, anti-reflective glass, each 30x38cm

shown w/ Luca Frei at Goya Curtain, Tokyo

 

Larger Green Area, 2016

archival inkjet print, artist made frame, anti-reflective glass, 50x67cm and 50x45cm

shown at Galleri Charlotte Lund, Stockholm

 

 

My Face, 2017

archival inkjet print, artist made frame, anti-reflective glass, 28x18cm

shown at Yaya Sushi, Brönshöj (Future Suburban Contemporary)

 

 

Rain Delay, 2016

archival inkjet print, artist made frame, anti-reflective glass, each 42x42cm

shown at Galleri Ping-Pong, Malmö