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Erik Berglin

@erikberglin

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Delussional concept maker

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Unreal!! by @erikberglin

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107

5 years ago

Documentation of The Bird Project at Vasli Souza Gallery, Oslo.
Last day 17 september.

All works Ed 5+AP.
Book made by me.
Prints and frames by @artproof.eu taken in Fotogalleri Vasli Souza by @erikberglin

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3 years ago

Stories Concerning Heimaey
Erik Berglin

Order in DM. 350kr

Edition: 400
Volume: 124 pages (52 + 72)
Images: 57
Language: Swedish
Type: Double Swiss binding with hardcover
Format: 180 x 230 x 20 mm
Paper: 170 g Munken Kristall, 150 g Munken Lynx Rough, 160 g Lessebo Color Sahara
Print: 4+4 Digital print
Cover: Half Linen Dark + black screen print
Publisher: Stubborn Books
Design: Markel Ahlenius
Printer: Livonia
Published: September 2024

Copyright: Erik Berglin & Stubborn Books, 2024

ISBN: 978-91-531-1111-5 taken in Heimaey, Iceland by @erikberglin

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2 years ago

UNCERTAIN STATES / SCANDINAVIA
ISSUE 27 - SCULPTURES OF LIGHT

Välkomna på releasefest!
Lördagen den 18 april.
Galleri Thomassen, Göteborg.
Kl. 13.00 - 16.00.
Kl. 14.00 Samtal med Andreas Hagström från Hasselblad Center och konstnärerna Charlie Hay och Erik Berglin.

Uncertain States / Scandinavia är ett konstnärsdrivet projekt som grundades 2016 av Tor S. Ulstein, Dagny Hay och Charlie Hay. Utöver att curera utställningar, publicerar och distribuerar de en gratis tidning med fokus på linsbaserad konst.

I detta nummer är Erik Berglin gästredaktör. De medverkande har alla en praktik som utforskar fotografiets skulpturala potential:
Gwon Osang (Sydkorea/Italien), Clement Valla (USA), Inka & Niclas (Finland/Sverige), Serge Bilous (Frankrike), Cortis & Sonderegger (Tyskland/Schweiz), Andreas Johansson (Sverige), Karolina Wojtas (Polen), Joanna Chia-yu Lin (Norge/Taiwan) samt Linnéa Romeling (Sverige).

Edited by Erik Berglin, Tor S Ulstein, Deborah R Eisinger, Rasmus Vasli, Dagny Hay and Charlie Hay.
Page Layout by Dagny Hay. Design by James Young.
Printed by Markbladet Tryckeri AB. Supported by Norsk Fotografisk Fond

Cover image by Gwon Osang (@gwonosang )

@cortissonderegger @matriioszka @linnea__romeling @grosse_lubie_ @inkaandniclas @jomin_vanlig @jljljljljljljljljljlj @clmntvalla taken in Galleri Thomassen by @erikberglin

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6 months ago

The first known Lavallière (aka pussybow)

Gicléeprint in walnut frame and museum glass.
Signed á tergo 1/3. Frame size 89 x 70 cm.

Documentation from Bad Prompt at Thomassen Gallery.

In the exhibition, objects from museum collections are given new life. I have approached them without preconceptions, allowing their shape, material and stories speak to me on their own terms.

Thousand-year-old terracotta shards are transformed into butterflies, broken marble busts float freely in the room – as if gravity no longer applied. Unconditionally, I have surrendered myself to the objects and tried to release their inherent potential.

The works are based on fragments from humanity’s history; some we know alot about, others almost nothing, yet their idea lives on – as a testimony to humankind’s need to imagine the unimaginable, to create meaning through myth, and to unite what cannot truly be united. It is a process shaped by a reverent dialogue between the past and present, the weight of history and the lightness of dreams.

Bad Prompt seeks to bring new life to fragments that have fallen into oblivion. At the same time, it is a tribute to the beauty of misconstruction.

The installation contains of 23 images in various sizes, framed with walnut and museum glass, and 5 warehouse shelfs with images, text and objects. taken in Galleri Thomassen by @erikberglin

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a year ago

Skvadern (1874-2025)

Gicléeprint in walnut frame and museum glass.
Signed á tergo 1/3. Frame size 56 x 70 cm.

Documentation from Bad Prompt at Thomassen Gallery. On view until 7th september.

In the exhibition, objects from museum collections are given new life. I have approached them without preconceptions, allowing their shape, material and stories speak to me on their own terms.

Thousand-year-old terracotta shards are transformed into butterflies, broken marble busts float freely in the room – as if gravity no longer applied. Unconditionally, I have surrendered myself to the objects and tried to release their inherent potential.

The works are based on fragments from humanity’s history; some we know alot about, others almost nothing, yet their idea lives on – as a testimony to humankind’s need to imagine the unimaginable, to create meaning through myth, and to unite what cannot truly be united. It is a process shaped by a reverent dialogue between the past and present, the weight of history and the lightness of dreams.

Bad Prompt seeks to bring new life to fragments that have fallen into oblivion. At the same time, it is a tribute to the beauty of misconstruction.

The installation contains 23 images in various sizes, framed with walnut and museum glass, and 5 warehouse shelfs with images, text and objects. taken in Galleri Thomassen by @erikberglin

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a year ago

Gravitation is optional

Gicléeprint in walnut frame and museum glass.
Signed á tergo 1/3. Frame size 45 x 34,5 cm.

Documentation from Bad Prompt at Thomassen Gallery. On view until 7th september.

In the exhibition, objects from museum collections are given new life. I have approached them without preconceptions, allowing their shape, material and stories speak to me on their own terms.

Thousand-year-old terracotta shards are transformed into butterflies, broken marble busts float freely in the room – as if gravity no longer applied. Unconditionally, I have surrendered myself to the objects and tried to release their inherent potential.

The works are based on fragments from humanity’s history; some we know alot about, others almost nothing, yet their idea lives on – as a testimony to humankind’s need to imagine the unimaginable, to create meaning through myth, and to unite what cannot truly be united. It is a process shaped by a reverent dialogue between the past and present, the weight of history and the lightness of dreams.

Bad Prompt seeks to bring new life to fragments that have fallen into oblivion. At the same time, it is a tribute to the beauty of misconstruction.

The installation contains 23 images in various sizes, framed with walnut and museum glass, and 5 warehouse shelfs with images, text and objects. taken in Galleri Thomassen by @erikberglin

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a year ago

An act of self-defense (conchiolin oveload)

Gicléeprint in walnut frame and museum glass.
Signed á tergo 1/3. Frame size 70 x 89 cm.

Documentation from Bad Prompt at Thomassen Gallery. On view until 7th september.

In the exhibition, objects from museum collections are given new life. I have approached them without preconceptions, allowing their shape, material and stories speak to me on their own terms.

Thousand-year-old terracotta shards are transformed into butterflies, broken marble busts float freely in the room – as if gravity no longer applied. Unconditionally, I have surrendered myself to the objects and tried to release their inherent potential.

The works are based on fragments from humanity’s history; some we know alot about, others almost nothing, yet their idea lives on – as a testimony to humankind’s need to imagine the unimaginable, to create meaning through myth, and to unite what cannot truly be united. It is a process shaped by a reverent dialogue between the past and present, the weight of history and the lightness of dreams.

Bad Prompt seeks to bring new life to fragments that have fallen into oblivion. At the same time, it is a tribute to the beauty of misconstruction.

The installation contains 23 images in various size, framed with walnut and museum glass. Five warehouse shelfs with images, text and objects. taken in Galleri Thomassen by @erikberglin

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a year ago

The extraordinary metamorphosis of a bowl

Gicléeprint in walnut frame and museum glass.
Signed á tergo 1/3. Frame size 89 x 70 cm.

Documentation from Bad Prompt at Thomassen Gallery. On view until 7th september.

In the exhibition, objects from museum collections are given new life. I have approached them without preconceptions, allowing their shape, material and stories speak to me on their own terms.

Thousand-year-old terracotta shards are transformed into butterflies, broken marble busts float freely in the room – as if gravity no longer applied. Unconditionally, I have surrendered myself to the objects and tried to release their inherent potential.

The works are based on fragments from humanity’s history; some we know alot about, others almost nothing, yet their idea lives on – as a testimony to humankind’s need to imagine the unimaginable, to create meaning through myth, and to unite what cannot truly be united. It is a process shaped by a reverent dialogue between the past and present, the weight of history and the lightness of dreams.

Bad Prompt seeks to bring new life to fragments that have fallen into oblivion. At the same time, it is a tribute to the beauty of misconstruction.

The installation contains of 23 images in various sizes, framed with walnut and museum glass, and 5 warehouse shelfs with images, text and objects. taken in Galleri Thomassen by @erikberglin

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a year ago

Human figure, possible male

Gicléeprint in walnut frame and museum glass.
Signed á tergo 1/3. Frame size 56 x 70 cm.

Documentation from Bad Prompt at Thomassen Gallery. On view until 7th september.

In the exhibition, objects from museum collections are given new life. I have approached them without preconceptions, allowing their shape, material and stories speak to me on their own terms.

Thousand-year-old terracotta shards are transformed into butterflies, broken marble busts float freely in the room – as if gravity no longer applied. Unconditionally, I have surrendered myself to the objects and tried to release their inherent potential.

The works are based on fragments from humanity’s history; some we know alot about, others almost nothing, yet their idea lives on – as a testimony to humankind’s need to imagine the unimaginable, to create meaning through myth, and to unite what cannot truly be united. It is a process shaped by a reverent dialogue between the past and present, the weight of history and the lightness of dreams.

Bad Prompt seeks to bring new life to fragments that have fallen into oblivion. At the same time, it is a tribute to the beauty of misconstruction.

The installation contains of 23 images in various sizes, framed with walnut and museum glass, and 5 warehouse shelfs with images, text and objects. taken in Galleri Thomassen by @erikberglin

45

1

a year ago

Documentation from Bad Prompt at Thomassen Gallery. On view until 7th september.

The installation contains of framed images in various sizes and 5 warehouse shelves with images, text and objects.

The works are based on fragments from humanity’s history; some we know alot about, others almost nothing, yet their idea lives on – as a testimony to humankind’s need to imagine the unimaginable, to create meaning through myth, and to unite what cannot truly be united. It is a process shaped by a reverent dialogue between the past and present, the weight of history and the lightness of dreams.

Bad Prompt seeks to bring new life to fragments that have fallen into oblivion. At the same time, it is a tribute to the beauty of misconstruction. taken in Galleri Thomassen by @erikberglin

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2

a year ago

Moments before it’s all gone

Gicléeprint in walnut frame and museum glass.
Signed á tergo 1/3. Frame size 56 x 70 cm.

Documentation from Bad Prompt at Thomassen Gallery. On view until 7th september.

In the exhibition, objects from museum collections are given new life. I have approached them without preconceptions, allowing their shape, material and stories speak to me on their own terms.

Thousand-year-old terracotta shards are transformed into butterflies, broken marble busts float freely in the room – as if gravity no longer applied. Unconditionally, I have surrendered myself to the objects and tried to release their inherent potential.

The works are based on fragments from humanity’s history; some we know alot about, others almost nothing, yet their idea lives on – as a testimony to humankind’s need to imagine the unimaginable, to create meaning through myth, and to unite what cannot truly be united. It is a process shaped by a reverent dialogue between the past and present, the weight of history and the lightness of dreams.

Bad Prompt seeks to bring new life to fragments that have fallen into oblivion. At the same time, it is a tribute to the beauty of misconstruction.

The installation contains 23 images in various sizes, framed with walnut and museum glass, and 5 warehouse shelfs with images, text and objects. taken in Galleri Thomassen by @erikberglin

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a year ago