- Soloshow at Breadfield Gallery in Malmö, Sweden.
From the exhibition introduction:
When Jonas Liveröd returns to Malmö with a show focusing on his photobased works, he borrows the impossibly long title
from a landscape sketch by the 19th century British artist John Constable. Constable observed his surroundings with an attention
bordering on the manic, his cloud studies alone are enough to fill several books. Constable watched and his gaze changed
everything around him. It was obvious to him that the world composed and recomposed itself constantly in an endless process
of dissatisfaction. Constables perception hovers like a soundtrack to the structure of Liveröds exhibition. It is unpredictable but
orchestrated - like the flight of pigeons, upside-down worlds in stereoscopic vision, hurricanes and effect of shock waves, how glass breaks,
or a Mercedes crashing into a brick wall in slow motion. Liveröds images have a hallucinatory liquid coating – equal parts painting and
silent movies, and most silent movie shorts didn't really care about telling a story. They were like poems, like interpretations of dreams
- a sort of training camp for the human psyche. In the interaction between the objects and imagery in Liveröds show we find this,
the ambivalent core.
