#12 Aleksandar Stojanavski & Peter Gerdman
In this episode of The Art Bystander, our host Roland-Philippe Kretzschmar, meets with Aleksandar Stojanovski and Peter Gerdman of Public Service Gallery.
Public Service was founded in 2022 by Peter Gerdman, Aleksandar Stojanovski and Axel Söderberg. Sprung from a shared passion for the mechanisms of the art world and collecting patterns, they want to accompany a new generation of Scandinavian collectors in engaging with highly talented artists, from around the world, and at a pivotal moment in their careers.
Public Service is dedicated to shape an innovative program with a global outlook and central to the gallery’s programme is to showcase the most exciting young- to mid career international artists to a Scandinavian audience.
Situated in a former bank, Public Service opened its brand new gallery space on Östermalmstorg to the public in January 2023, following an extensive renovation of the premises, which housed Handelsbanken for over 100 years. This conversion is spread over more than 300 sqm, designed by the Stockholm-based architectural studio Halleroeds.
In the episode we also talk about the show of Sally Kindberg at the gallery, a Swedish born artist with a vast international presence both in group and solo shows.
Sally Kindberg
Calendar
31.03.23—28.04.23
“A calendar by tradition marks and organises the temporal limits of a year in a regular manner. The seasons pass, as if always the same. So it goes with the calendar, but not Sally Kindberg’s Calendar. The theme of Sally Kindberg’s show, Calendar, came to her whilst moving home from south to north of London’s river. The car passed through the Rotherhithe Tunnel, build in 1908 for horse drawn traffic, built with serpentine curves since it was thought the horses would be terrified by the light at the end of a long straight tunnel. The tiled interior vividly reflected and refracted flickers of lights from the vehicles within, to dizzying effect. This brief journey took on a dreamlike aspect for Kindberg, as if travelling through the inside of a snake, and passing across an irregular measure of time, an idea that lent itself to Calendar. The thirteen (plus one) paintings in this show make a very particular calendar. The inside-out of a snake that’s a tunnel translates to the traversal of a year marked by images that slip and slide, a polymorphous interplay of ever-mobile overlapping references.” - extract from the exhibition program by Alasdair Duncan.
