Martin Holm


Martin Holm (1985) is a Swedish artists with roots in Mälardalen. He studied at Cambridge School of Art, UK (BFA 2008) and has a MA in Free Art at Valand Academy in Gothenburg (2014). With his investigative, studio based practice he nails perception and sense of time to the wall in a room with popular culture, intellectual history, mythology and references to contemporary art. One example is the 10 square metres collage painting ‘Inre Rymd’ (1:1 scale after Anselm Kiefer’s ‘Innenraum’) at the ‘Fast Forward’ exhibition at Gothenburg's Art Gallery, where he used posters, catalogues and other publications from the institute’s archives in the fusion of the exhibition room’s past with the present of the viewer. His art moves in no man's land between poetry and science, lateral landscape paintings and cartography.Martin Holm (f.1985) är en svensk konstnär med rötter i Mälardalen. Han harstuderat vid Cambridge School of Art, UK (BFA 2008) och har en Masterexamen iFri Konst från Akademin Valand i Göteborg (2014). I sin undersökande,studiobaserade praktik ställer han varseblivning och tidsuppfattning mot väggeni ett rum av populärkultur, idéhistoria, mytologi och samtidskonstreferenser. Ettexempel är den 10 kvadratmeter stora kollagemålningen ’Inre Rymd’ (i skala 1:1efter Anselm Kiefers ’Innenraum’) där han inför utställningen ’Fast Forward’ påGöteborgs Konsthall använde sig av affischer, kataloger och andra publikationerur institutionens arkiv i fusionen av utställningsrummets förflutna medbetraktarens nutid. Hans konst rör sig i ingenmanslandet mellan poesi ochvetenskap, lateralt landskapsmåleri och kartografi.


Martin Holm (b.1985) is an independent artist from Sweden with a BA (Fine Art Hons.) from Cambridge School of Art (UK) and an MFA in Fine Art from Valand Academy in Gothenburg. His paint’s pigment is pop culture, art references, classical literature, science and politics, all kneaded together into a lateral questioning of the relationship between spectator and representations of space, be they actual space, spheres of influence, comfort zones, or otherwise. Using the map—both as concept and aesthetic—as a starting point came naturally for him: Across works, series and projects since 2011, Martin’s artistic practice has been on a trajectory illustrated by—in relation to or made out of—cartographical material. For airTranås he is reengaging with a work from 2014, updating context and expanding dimensions.

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