The initial plan for the Sergels torg square was to put one of his works there, a sculpture that would have been 85 meters high. It’s typical of our excessive Swedish modesty that we ended up settling for a far meeker glass obelisk of just over 40 meters.
Another abstract sculptor, one with a more contemporary style, is Annie Morris. But there is really nothing abstract about her works. They’re like living creatures… Like colour itself embodied.
(PS): How do you think sculpture has evolved over the past few decades?
(MS): The choices of materials have obviously become far less orthodox. On the one hand, we see a return to the origins of the genre, like the ceramics of Watkins and Kristalova. On the other hand, industrially produced materials are now permissible, like the polyurethane plastic used by Carsten Höller. And then, of course, there is also an increasingly conceptual aspect, too, like in Goldin+Senneby’s books containing stock market algorithms.
(PS): What’s your favourite thing about _Sculpture, Sculpture, Sculpture_?
(MS): It’s pretty much the exhibition of my dreams, but I also find myself extra happy to note that without any explicit intention on our part, we ended up with more than half of the participating artists being female. Lena Cronquist is our own Acropolis, I’d say. And Katrine Helmersson is our own Louise Bourgeois.
Klara Kristalova, Annie Morris, Nathalie Djurberg & Hans Berg, Katrine Helmersson, Carsten Höller, Lena Cronqvist, Olle Baertling, Alfred Boman, Åke Persson, Anders Krisàr, Zheng Lu, Tony Cragg, Eva Hild, Goldin+Senneby, Hanna Hansdotter, Klara Lidén, Liselotte Watkins, Carl Milles & Wilhelm Mundt