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CURRICULUM VITALE - Shita

Sculpture exhibitions, solo
1986 Stockholm Culture House, Sweden.
1988 Gallery Mors Mössa Göteborg, Sweden
1989 Heine-Onstad Art Center, Hövikodden, Norway.
1989 Art Museum of Östergötland Linköping, Sweden.
1990 Heine-Onstad Art Center, Hövikodden, Norway..
1990 Alka Culture Center Linköping, Sweden.
1991 Epidemic of Art, Gothenburg Sweden.
1992 Rix Gallery, Linköping, Sweden.
1993 Brunneby Church Linköping, Sweden.
1994 Gallery X4, Linköping, Sweden.
1994 Ministry of Art Linköping, Sweden.
1996 Gallery Pan; Linköping, Sweden.
1997 Gallery West Academy of Art Stockholm, Sweden.
1998 Gallery Tower Linköping, Sweden.
1998 Sandström & De Wit Linköping, Sweden.
1999 Gallery Blue Linköping, Sweden.
1999 Sandström & De Wit Linköping, Sweden.
2000 Sandström & De Wit Linköping, Sweden.
2000 Ice Art Gallery & Café Oslo, Norway.
2001 Guldsmedjan Linköping, Sweden
2002 Sandström & de Wit, Linköping Sweden
Dance and sculpture performances, solo
1985 Glasshouse Stockholm, Sweden.
1986 The Art Museum of Norrköping, Sweden.
1986 Swedish Television Stockholm, Sweden.
1987 Gallery Mors Mössa, Gothenburg, Sweden.
1987 The Sculpture society in Stockholm, Sweden.
1987 The Museum of Art, Uppsala, Sweden
1987 The Norwegians Museum of Art Helsingfors, Finland.
1988 The Art Museum of Norrköping, Sweden.
1988 Örebro Art Center, Sweden.
1988 Lund’s Art Center, Sweden.
1989 The Art Center of Stockholm, Sweden.
1989 The Art Museum of Norrköping, Sweden.
1990 Heine-Onstad Art Center, Hövikodden, Norway.
1990 Gallery Mors Mössa Gothenburg, Sweden.
1990 Alka - Centrum of Modern Art Linköping.

 


Theme: Bringing together of two phenomena’s. The objective, stimmulative and colored possessions artistically placed on the stage intended for maximum internal affect on the dancers and spectators. And followed by stimmulative, emotional and sometimes erotically aggressive movements, done in connection with a feeling for reflected colors and done in such a manner which is for maximum external possessions in cooperation between dancers and spectators.

The core and basic experiment behind the color phenomena’s is the observation of children and animal movements. Behind this particular work “The inner net” is the observation of children in connection with colors as stimuli. In this case their connection with the colors of our Icelandic nature. The philosophy of the inner net is largely in connection with the affects on the movement of the dancers. The dancer is put into a surrounding of colored objects that are artisti-cally placed on the stage as like an art objects. This experience is put into a frame that is the world of men and women. These are basic things resting on the subject of our visual points of views.

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