Fay çe que vouldras. - Milliken Gallery · prophecies of the Hermetic Order of the Golden Dawn, a...

Fredrik Söderberg

We pray to the Sun and Hail the Moon

Opening March 18th 17.00 - 20.00

Exhibition until April 30, 2010

In his third solo exhibition at the gallery, Fredrik Söderberg paints meticulous and rich water color paintings originating from the darker side of our common heritage generically called the occult. While previous exhibitions had the artist exploring cult and ritual such as modernism, Swedish painter Carl Larsson, and Black Magic practice, this show adds as Ronald Jones writes a “sacred atlas of [Söderberg’s] search for an answer to life’s fundamental question: What happens after death?” Lavish sigils merge with a practice of painting a la Austin Osman Spare whose automatic drawings and relationship to magic have influenced the artist. The larger paintings are meditations that pay homage to Hermetic philosophies with Crowley-like panache that address how one can affect the physical realm by having contact with the transcendental and metaphysical through Alchemy, Astrology and Theurgy.

Elisabeth Millqvist writes in her catalogue text for the Magasin 3 exhibition Dreams, Desires, and Fantasies, 2008 that compares the artist and Swedish icon Carl Larsson, “Söderberg belongs to a group of artists whose work lives parallel to the art scene’s preoccupation with critical theory and who through drawing and painting create personal fantasy worlds and dissolve the boundries between history and myth.” Art critique does exist in the work as a sidebar, but the focus on larger existential issues has always interested Söderberg more than the context of the art institution.

Fredrik Söderberg graduated from Konstfack School of Art, Stockholm in 2000. He has had selected solo shows at Schittraum, Cologne Germany, 2008 and Galleri Brandstrup Norway, 2007. The artist has exhibited with Carl Larsson in Dreams, Desires, and Fantasies, 2008 curated by Elisabeth Millqvist, Magasin 3, 2008; Jekyll Island curated by Eric Parker and Max Henry, Honor Fraser, Los Angeles, 2008 and Rental Gallery, New York, 2008. Upcoming exhibitions include Nordic Delight curated by Sinziana Ravini for the Swedish Institute in Paris, September 2010.

Also, feel free to read the essay by Ronald Jones that accompanies this exhibition.

For further information please contact Milliken Gallery.

Fay çe que vouldras.

However, we know that in our desire and others' expectations after some time will be a general reformation of both divine and human things. For, before sunrise, the sky illuminated by the dawn light.

Fama Fraternitatis, 1614

Above all, one must soberly accept Fredrik Söderberg’s new paintings as

the sacred atlas of his spiritual search for an answer to life’s fundamental question: “What happens after death?” In Judaism, Christianity and Islam the divine resurrection of human beings by means of a spiritual awakening and transformation into a life after death, is a central doctrine. And while Söderberg shares this spiritual optimism with conventional religions, he finds his comfort within the realm of the esoteric and occult, especially from the teachings and prophecies of the Hermetic Order of the Golden Dawn, a complex fusion of teaching and ritual magickal practice that brought together Kabalistic cosmology, the Rosicrucian initiation system, ritual magick, Egyptology, astrology, tarot, and various other occult lineages. To stare into his paintings therefore, is to see the hand of a seeker, a spiritual artist at work, as much as it is to gaze into Luca Signorelli’s Resurrection of the Flesh, 1499-1502. In Symbols and Tools, 2009 we see a complex array of iconography including the Rose Cross Lamen, but far from an inert visual inventory, the iconography has the spiritual power to sink Söderberg into his occult trance life as he paints them. In this painting, as well as others like Meditation 7, 2009, the symbols of the Golden Dawn literally instrumentalize his spiritual search.

Of course the Golden Dawn has its own history around personalities like Aleister Crowley, the infamous occultist, drug addict, social provocateur, and sexual libertine who the British press demonized as “the wickedest man in the world,” but this doesn’t rub off on Söderberg. He makes solemn claims for his art spawning alternative experiences, especially where the mysteries of life are concerned. In this sense Söderberg’s art discovers new spiritual vistas, while being earnest, proactive, pre-scientific, and post-critical. His art is allergic to irony. Seeing beyond his untethered life, the heart of Crowley's writing tells us True Will is our essential spiritual core as we move from a relatively unenlightened state to a state of pure selfhood. "Do what thou wilt" was Crowley’s moral and spiritual compass, yet he never meant it to refer to the outer emotional self, but rather to the sacred core of personal divinity. His conception of God was as a force within oneself. Söderberg has found faith in these basic tenets, and his art thus becomes the face to his search for spiritually. Why not? Do you have a better alternative? Ronald Jones Stockholm

Installation view, We pray to the Sun and Hail the Moon, 2010. Watercolor on paper, variable size

Fredrik Sörderberg (SE) Selected images courtesy Milliken Gallery

Konx Om Pax, 2011. Watercolor on paper, 76 x 56 cm


A Journey to the Center of the Earth, 2011. Watercolor and leaf gold on paper, 75 x 56 cm


Rosecross Portrait, 2011. Watercolor and leaf gold on paper, 76 x 56 cm


Serpent, 2011. Watercolor and leaf gold on paper, 45 x 34 cm


The Anatomy of Sexuality IV-Franz von Bayrons Dream, 2010. Watercolor on paper, 160 x 110 cm


AOS- The Black Brother, 2010. Watercolor on paper, 112 x 130 cm, with frame: 125 x 175 cm


We Pray to the Sun and Hail the Moon, 2010. Watercolor on paper, 54 x 36 cm, with frame: 68 x 52 cm


Alexander Sanders, 2009. Watercolor on paper, 20 x 26 cm


AOS-London 1956, 2009. Watercolor on paper, 55 x 74 cm


Sorcery, 2009. Watercolor on paper, 36 x 48 cm


Avebury III, 2009. Watercolor on paper, 33 x 25 cm


Stone Grave, 2009. Watercolor on paper, In frame: 84 x 71 cm


The Anatomy Sexuality I, 2008. Watercolor on paper, 97 x 147 cm, with frame: 102 x 173 cm


The Begining of Magick II, 2008. Watercolor on paper, 97 x 148 cm, with frame: 122 x 173 cm


The Temple, 2008. Watercolor on paper, 32 x 43 cm, with frame: 46 x 56 cm


Chimera, 2008. Watercolor on 650g paper, 75 x 105 cm.


4/28/10 1:02 PMFrieze Magazine | Shows | Fredrik Söderberg

Page 1 of 3http://www.frieze.com/shows/print_review/fredrik_soederberg/

Fredrik Söderberg

Milliken Gallery , Stockholm, Sweden

This striking collection of Fredrik Söderberg’s watercolour

paintings, entitled ‘We Pray to the Sun and Hail the Moon’,

may inspire engaged viewers to question their relationship

with infinity and perhaps even dissuade some from

swallowing the world’s investment with spiritual redemption

or continuing to embrace a detached narcissism. Söderberg’s

charm lies in his explorative mapping of self-reflective

spiritualisms, as well as in his ability to create provocative

microcosms inspired by our own spheres – even if his works

may appear cryptic to some.

Mandragora (2009)

Linked to the transcendental teachings of the Hermetic

Order of the Golden Dawn and Aleister Crowley’s

philosophies on ceremonial magic and the occult, these

unearthed energies are a fresh discovery for those who find

About this review

Published on 20/04/10By Jacquelyn Davis

Summer Solstice (2008)

Back to the main site

http://www.frieze.com/shows/review/fredrik_soederberg/

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unearthed energies are a fresh discovery for those who find

themselves removed from any form of spiritualism. Much

like Crowley’s wide array of eclectic interests, Söderberg’s

paintings investigate the unknown from diverse angles. At

first glance, rich watercolours such as Avebury (2009)

appear to be timeless landscapes when they are actually

secular perspectives focused on the geographies of

meditation and transformation. Others, such as Summer

Solstice (2008) and The Beginning of Magick II (2008), are

extreme in their quest to enlighten the viewer about the

pervasive foundation fuelling the occult. These paintings

visually interpret hierarchical connections between energy

and power through balanced geometries and the recurring

presence of cosmic forces – a massive sun or seductive moon

– reminding one of a secret Masonic history or ancient

Egyptian influences.

Some of Söderberg’s paintings appear to be more

preoccupied with a mysterious means to a justifiable

spirituality rather than any specific end. In Mandragora

(2009), the artist painted a solitary mandrake root

suspended, presented as an object worthy of further

examination. For the mandrake root is directly associated

with occult practices, facilitating rituals and harbouring

mythologies related to its own hallucinogenic powers and

aphrodisiacal abilities. In Ritual II (2009), time has stopped

and the moment of the sacrificial act – whether it is sinister

or harmless – becomes the true focal point. Viewers may find

themselves questioning the border between psychosexual

effrontery and pre-emptive violence.



Such explorations into the occult remain appealing because

this cosmic voyage, in part, embodies and preserves the core

existential concepts of modern works such as Albert Camus’

The Rebel (1956), in which he writes, ‘But from the moment

when a movement of rebellion begins, suffering is seen as a

collective experience. Therefore the first progressive step for

a mind overwhelmed by the strangeness of things is to realize

that this feeling of strangeness is shared with all men and

that human reality, in its entirety, suffers from the distance

which separates it from the rest of the universe … I rebel –

therefore we exist.’ Söderberg cultivates this singular feeling

of strangeness that we collectively experience as human

beings. Placing emphasis on cultural faux-pas and exception,

‘We Pray to the Sun and Hail the Moon’ exhibits the

contradictory influences of cultural artefacts versus the

fantastic – but not as they were meant to be initially

consumed. Herein lies the beauty of representation. The

freedom to rebel is often followed by delightful confusion;

Söderberg has managed to instigate both aforementioned

sentiments, clearing a trail for the unpredictable. ‘He makes

solemn claims for his art spawning alternative experiences,’

comments Ronald Jones in an accompanying exhibition

essay, ‘especially where the mysteries of life are concerned.

In this sense Söderberg’s art discovers new spiritual vistas,

while being earnest, proactive, pre-scientific, and post-

critical. His art is allergic to irony.’ Perhaps there is hope for

the diligent and searching after all.

Jacquelyn Davis

Frieze3-4 Hardwick Street, London EC1R 4RB, 020 7833 7270

http://www.frieze.com/

2008-04-23 15.14Omkonst - Fredrik Söderberg, Milliken Gallery och Magasin 3

Page 1 of 2http://www.omkonst.com/08-soderberg-fredrik.shtml

www.omkonst.com:

Fantasy, ockult och Carl LarssonFredrik Söderberg, Milliken Gallery 10/4 - 18/5 och Magasin 3, Stockholm, 11/4 - 8/6 2008 Text: Björn Larsson

På Milliken Gallery och på Magasin 3 blandar Fredrik Söderberg

inslag från österländsk mystik och religion, fornnordisk sagoromantik,

esoterisk modernism och hårdrock med ockulta inslag; alltsammans

utfört i formspråk hämtade från Black Sabbath-skivomslag, tarotkort,

ordensheraldik, Picassos Guernica och tidningsillustrationer ifrån 70–talet

av Jane Bark och Hans Arnold.

På Magasin 3 har curatorn Elisabeth Millqvist tillsammans med

konstnären inventerat Nationalmuseums och Göteborgs Konstmuseums

samlingar i jakt på Carl Larsson-verk där fantasin är utgångspunkt för

bilderna. Tanken var väl att det här skulle bli ett möte mellan två

”fantasyintresserade” konstnärer, men slingrande jugendornament och

några illustrationer av mytologiska och litterära figurer (bland annat

illustrationerna till Viktor Rydbergs medeltida riddardrama Singoalla) är

knappast tillräckligt för att rubba bilden av Carl Larsson som en målare

styrd av idealistiska idéer där naturen och kärnfamiljen har en central

roll.

Ändå är det ett verk av Carl Larsson som drar blickarna till sig. För

även om Midvinterblot inte är en fysisk del av utställningen, är det

nationalmålarens version av legenden om hednakonungen som frivilligt

offrar sig själv, som inspirerat Söderberg till några målningar som

tematiskt fungerar som utställningens mittpunkt.

Med sin teatrala koreografi och sitt kitschigt konturbaserade måleri är

Midvinterblot som gjord för 2000-talets fantasy-, rollspels- och

populärmusiksgenerationer. I svenskt konstliv är målningen dessutom en

symbol för kontroversiella konstnärliga historietolkningar och debatter om

historieautenticitet; målningen fick ju inte hänga på avsedd plats i

Nationalmuseums trapphall när det begav sig, bland annat på grund av

att konstnären ansågs ha en förvirrad historiesyn, men också för att

uppdraget var oklart utformat. (Den hamnade där ändå till slut år 1996.)

Att tala Midvinterblotspråk är med andra ord att tala om nationella

självbilder, den konstnärliga frihetens villkor, historierevision,

kulturpolitikens tillkortakommanden, rock n roll-mytens koppling till

martyrskap och, inte minst, om Nationalmuseums roll som väktare av

svenska kulturskatter. Det är komplexiteten i den diskussionen,

tillsammans med Söderbergs galopperande receptivitet gentemot allt som

är ockult, mystiskt eller fantasy, som gör utställningen på Magasin 3 till

en oväntad och oförutsägbar händelse.

Stockholm 2008-04-23 © Björn Larsson

© Fredrik Söderberg

"The great cthullhu" © Fredrik Söderberg

Milliken | Magasin 3 | Omkonsts startsida

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FREDRIK SÖDERBERG Born 1972, lives and work in Stockholm EDUCTATION 95–00 Konstfack Art-Department, Stockholm, Sweden SELECTED SOLO EXHIBITIONS 2010 We Pray to the Sun and Hail the Moon, Milliken Gallery, Stockholm 2008 Magasin 3, Stockholm with Carl Larsson. Curated by Elisabeth Millqvist

Milliken Gallery, Stockholm Schnittraum//Lutz Becker Gallery, Cologne, Germany 2007 Galleri Brandstrup Oslo Norway 2006 Zodiakens, Geometri tillsammans med Andreas Nilsson Galleri UKS Oslo Norway 2005 Ragnarök, Milliken Gallery, Stockholm, Sweden

Every second burning forever, Restaurant Riche, Stockholm, Sweden 2003 Der Bosch, Amsterdam, Netherlands

They All Float Down Here, Gallery Alp Peter Bergman, Stockholm, Sweden 2001 Hotad skyddad verkstad, Soc, Stockholm, Sweden

SELECTED GROUP EXHIBITIONS 2011 Music in Art, Milliken Gallery, Stockholm 2010 Swedish Institute in Paris, Nordic Delight, curated by Sinziana Ravini, Paris, France. 2008 Jekyll Islansd curated by Erik Parker & Max Henry, Honor Fraser Gallery, Los Angeles, USA Milliken at Rental Gallery with Matti Kallioinen & Lisa Jeannin, New York 2007 NO+CH Nordic Chinese Visual Arts Exhibition Fake Space Bejing China

Matti Kallionen, Christine Ödlund, Nils Edwardsson, Lisa Jonasson. Galleri Pistolet Sofia, Bulgaria Galleri De Praktijk, Amsterdam, Netherlands

2006 Galleri Glassbox Paris Frankrike Berlin Art-fair Milliken Gallery, Copenhagen Art-fair Milliken Gallery Linnés Natur Linnés Hammarby Uppsala Dwell with Christine Ödlund and Matti Kallioinen, Galleri 54 Göteborg

2005 Fultjacks Blot Raid Projects Los Angeles USA Sollentuna Artfair, Sweden

2004 En Magisk Värld with Bo Melin and Andreas Nilsson. Marabou Parken, Sundbyberg, Sweden Dao Dang Performance Festival, Beijing, China Escapism Champion Fine Art, New York, USA Skulpturens Hus, Stockholm, Sweden

2003 Skilling Banco Aftershopping, Stockholm, Sweden Invasion, Dunkers Kulturhus, Helsingborg, Sweden Allt hör ihop, Växjö Konsthall, Sweden Bondegatan 47, with Jonas Olson, Stockholm, Sweden

2002 Stockholm Art&Science together with Erik Aalto Kulturhuset, Sweden Allt hör ihop, Konstmagasinet, Sundsvall, Sweden Trippy, Bildmuseet, Umeå, Sweden

GROUP EXHIBITIONS CONTINUED 2001 Framtiden, Sen, Artnode Stockholm, Sweden

Allt hör ihop, Södertälje konsthall, Sweden Aftershopping, Kulturhuset, Stockholm, Sweden

1998 Aloha with Matti Kallioinen, Wanås Slotts park, SwedenLars-Erik Hjertström Lappalainen, Konsten.net Review Milliken Gallery exhibition April OTHER PROJECTS 2010 Scarlett Imprint, catalogue about contemporary ocultism, Record cover Skull DFX/CM von Hauswolff. 2009 Equinox Festival – A Festival of Scientific Illumination, London

Design for record covers on Important Records. 2007 Record design for the band The Skull Defekts and Enema Syringe and other artist at the experimental label IDEAL Records and English label

Riot Season. Artwork for the cd to the music magazine WIRE special Issue nr about Swedish experimental music. 2006 Record design for the band Wolfeyes and Anla Courtis for the Swedish experimental record label

Kning Disc and the record label IDEAL Records 2003 Responsible for the music together with Matti Kallioinen in the project o-b-o-k together with Ronald Jones at Magazine 3 project room

Djurgårdsbrunn, Stockholm, Sweden Organized the exhibition “Skilling Banco” together with Jelena Rundquist at “Aftershopping” Kulturhuset, Stockholm, Sweden

2002 Published the book “Universe” together with the Graphic designer Tobias Berving, Sweden.

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