Eric Lennarth
Miljöaktiverare, 1987/2017

Jacob Dahlgren 
Primary Structure
Kari Cavén 
Cow Chapel, 1993


Anne Thulin 
Double Dribble, 2010

Robert Wilson
A House for Edwin Denby, 2000

Revist – Past Performance

In the Revisit series, we take a look into permanent works in the collection as well as exhibitions from previous years. In 2015, we have chosen to focus on that which no longer remains—performance art. In recent years’ exhibitions, we have explored the concept of sculpture from many different angles. What does the history of performance at Wanås look like? With the help of artists and past correspondence, texts, and images in the archive, we are looking back with a presentation in the café, programs during the season, and summaries of around 19 performances by 25 artists.

Presentation in the Café and program: June 14 – November 1, 2015.

Robert Wilson – A Conversation. Sunday, September 27, 2015, at 3pm. The Loft at Wanås. More information and ticket booking please see below.

Anna Kleberg and Ulrika Sparre, LIKA Performance by  based on Dan Graham's Like, 1971, October 24, 2015, at 1.30pm and 3.30 pm. Meet up at the Art Gallery.

Robert Wilson. Foto/Photo Lucie Jansch.
Robert Wilson, Edwin’s Last Day, 2000. Foto/Photo: Anders Norrsell
Robert Wilson under arbetet med/working on, A House for Edwin Denby, 2000. Foto/Photo: Anders Norrsell

Ann Hamilton, aloud, 2008. Photo Anders Norrsell

Patrick Killoran, Autobody, 2000. Photo Anders Norrsell

Annika Larsson, Covered Car, 1999. Photo Anders Norrsell

Efva Lilja, DU 3, 1994. In the image Jan Vesala & Stina Ahlberg. Photo Olof Thiel

Melissa Martin, Embedded, 2006. Photo Anders Norrsell

Kristina Matousch, Jag och din, 1999. Photo Anders Norrsell

LIKA performance with Ulrika Sparre och Anna Kleberg

LIKA is a performance by artists Ulrika Sparre and Anna Kleberg made in dialogue with Dan Graham's performance Like from 1971. Graham's work Two Different Anamorphic Surfaces, 2000, is by both kids and grown-ups one of the most beloved works in the permanent collection.  The meeting with Graham's pavilion transforms the role of the visitor from passiv to active. The curved walls of glass and the constant shift between refection and transparence generates an ongoing movement of images, as if in a film in which the castle, the vegetation, the pond and the visitors play the main characters. 

Saturday October 24 oktober at 1.30pm and 3.30 pm .

Included in the admission fee. No booking is needed.

For all ages, children in the company of an adult.

Robert Wilson – A Conversation; Sunday, September 27, 2015

Acclaimed director and artist Robert Wilson visits Wanås for a conversation about voices and silence, presence and absence. The installations A House for Edwin Denby, part of the permanent collection, and Edwin’s Last Day, an installation Wilson made in 2000, are the starting points. The talk will cover experimental theater and performance, as well as video portraits. Performance has a long history at Wanås.  The occasion is part of the ongoing Revisit – Past Performance, a program and exhibition that looks back at performances in the collection and in previous exhibitions. Robert Wilson has said, ”an artist recreates history, not like a historian, but as a poet.” The conversation will take place on Sunday, September 27, 2015, at 3pm. 

Robert Wilson – A Conversation. Sunday, September 27, 2015, at 3pm. The Loft at Wanås

Tickets for the event: 100 SEK. Combination tickets: 200 SEK admission + Conversation (regular admission130 SEK), 180 SEK students & seniors (regular admission 110 SEK). Free admission for holders of seasonal tickets or membership Wanås Vänner/The Friends of Wanås (booking required).

Tickets can be prebooked via email konsthall[at] or telephone (+46 44-660 71, /+46 44 661 58) and picked up at Wanås Konst Art Gallery.

Travel & accommodation: Please consult our website  Stay & Eat or contact Sofia Bertilsson press[at]

Kristina Matousch, I and Yours , 1999

For I and Yours, Kristina Matousch produced and sold two kinds of ice cream in the park for the exhibition opening. They were called Magnus and Doris, and they were turd-shaped. 90% of the male visitors chose Magnus, and 90% of the female visitors chose Doris. Kristina recalls the circumstances in Berlin that led to the sale of ice cream in the park: “In the subway I saw large billboards for Magnum ice cream, with a seductive woman about to take a bite and the words ‘Me and my Magnum.’ This, in combination with all the dogshit on the city streets, provided the inspiration for this piece in my sketchbook.” 

Matousch was allowed to manufacture the ice creams with the assurance that the manufacturer would remain anonymous, but the professor who had arranged the contact had NOT explained that the ice creams would look like turds. “A rumor started to spread through the factory, and people peeked into my room and giggled like children and wanted to see. Embarrassed but excited. […] The entire staff stood gathered by the assembly line. Some helped to put the ice creams in the trays. It was an amazing sight and feeling to see them ride along this conveyor belt and feel the mood of the employees. Really wish this had been documented.” “A little boy came running and yelled, ‘Mom, I want poop, I want poop!’ She replied, ‘It’s NOT poop, it’s ice cream!’”


Patrick Killoran, Autobody , 2000

In Autobody, Patrick Killoran transformed cars into family portraits that left the parking lot and hit the road. He draws parallels between cars and people (Autobody) and explores the relationship between object and subject. Killoran photographed the bare torsos of Marika and C-G Wachtmeister and their three children (those who were licensed drivers). Only the torsos with skin and hair are visible on the photographs, no heads. The picture was transferred to a film that was attached to each person’s car—the cars were clothed with bodies. Marika and C-G

Wachtmeister wrote of Killoran’s performance project in the 2000 exhibition catalogue: “Wanås is, in part, about impossible projects […] The exhibition has […] physically moved away from Wanås out into the world. The exhibition space has expanded beyond the storehouse, the park, and the old barn.”

Killoran recalls a car trip: “I have a great memory of Harald [Wachtmeister] picking me up in his body; I mean his car… and driving around Malmö discussing the artwork. Then at some point after getting out of the car he started pointing at a mark on the hood of the vehicle and saying that it was not on his body and then taking off his shirt and I then had to proceed and locate the mark on his chest. That was a first.”


Jason Rhoades, Troop, 1996

In Troop, Jason Rhoades, together with students from Malmö Art Academy and Funen Art Academy in Odense, Denmark, re-enacted a battle between Sweden and Denmark at Wanås. He was inspired by historical descriptions of the snapphanar, pro-Danish guerrillas who fought the Swedes in what is now southern Sweden.

Rhoades’ troops were outfitted with kitchenware from IKEA. Anders Lindsjö, who worked with Jason Rhoades, remembers: “Jason had succeeded in getting sponsorship from IKEA to produce the work. The students were given time to manufacture weapons and armor, primarily from IKEA’s kitchen department—colanders as helmets, trays as shields, etc… I remember that we had about 15 students from Odense. And only 2 Swedes! (Nils Petter Lennartsson and Mats Adelman.) The fiberglass horses [from the installation by the artist] took part in the scenes. Personally, I drove Jason, in the uniform of a general, on a revamped ‘Klippo’ (a 1970s-era riding lawnmower) onto which we had mounted a big Chesterfield armchair above the blades. I drove. Jason in the armchair! Those were the days… :-)”

Presentation in the Café and program: June 14 – November 1, 2015.

Upcoming program (September – October): Performance lecture by Robert Wilson, as well as talks and events by Kristina Matousch and Anna Kleberg & Ulrika Sparre (dates to be announced).