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Matts Leiderstam
From April 16th 1998 to May 23rd 1998
After Image / Returned : d'après le Printemps de Nicolas Poussin ou le Paradis terrestre, 1664

Urban intervention: painting left in a Montreal public park cruising
 area.
Projection of the painting location inside the gallery.

In gay cruising there has always been an element of secrecy, hidden codes one has to learn in order to understand. This is also something particularly strong in art history. If one looks closer at paintings, for example the portrayal of the ideal landscape, the genre- and Victorian paintings, one can find layers of symbols and hidden meanings where sexuality is co-creator. It is not explicit, but concealed inside other types of narratives: titles, literary themes, etc. In cruising as in all forms of flirting the gaze is the main tool to give a sign of approval. One aspect of my work deals with this erotic moment, focusing on when you are looking at a painting for the first time and when the painting is looking back at you.


I connect different moments of the history of images by making an after image. I copy or paraphrase a painting or an object, using this to make site specific, subtle yet subversive installations, sometimes presented within the context of the museum where I also use paintings or objects from the collection. In my work I ask myself questions about the painting or the object, about the artist, the collector and about the spectator.

Matts Leiderstam lives and works in Malmö and Stockholm, Sweden. He was apprentice potter at Rörstrands AB in Lidköping and holds a B.A. in Arts Education from the Stockholm University College of Arts, Crafts and Design. Leiderstam is interested in codes of representation, revisiting masterpieces from the history of painting, in particular through his work with collections. His work with quotation proposes a new look at genre and landscape painting by modifying the poses of the male subjects so that they look directly at the viewer. His work has been exhibited in Sweden, across Europe and the United States. His group exhibitions include "Transpositions", at the South African National Gallery in Cape Town, Studio Visit, "The Artist Studio" at the Boijmans Van Beuningen Museum in Rotterdam and "Deposition – Contemporary Swedish Art in Venice" at the Venice Biennale in 1997. In 1996, his work was shown at the Cubitt Gallery in London, England, and he also participated in the 10th Sydney Biennale entitled "Jurassic Technologies Revenant".

Bibliographie
- Lehmann, Henry, «Exhibit offers portraits that avoid our eyes», The Gazette, 9 mai 1998, p.J6.