Mamma Mia the Party

Politics in the UK at the moment are strange, messy, divisive and frankly quite depressing.  So a night out in Niko’s taverna immersed in ABBA music seemed like the perfect antidote.  ‘Niko’s taverna’ can currently be found at London’s O2 Arena where ‘Mamma Mia the Party’ opened in September.    

Mamma Mia the Party is the brain child of ABBA’s Björn Ulvaeus who at the age of 74, seems to have the energy of a twenty-one year old.  He has worked with talented musical producer, Ingrid Sutej, to create a very clever concept, an immersive theatrical/dining experience, where you, the guest, are at the centre of the action; drink, eat and ultimately dance and party.  Mamma Mia the Party started in Stockholm at Tyrol (part of Gröna lund) in 2015, where it was a huge success resulting in it expanding to London.  And Swedish West Coasters look out- it  will be in Gothenburg from September 2020.   

I have visited the O2 on a few previous occasions and was immediately struck by how cleverly the dark arena space had been transformed into an airy, light Greek courtyard complete with bougainvilleas, olive trees and a central fountain.  Tables were generously spaced around the room with some in a gallery at a higher level.  Björn is a perfectionist and the attention to detail is impressive, even the knives and forks had been placed in attractive, retro Greek olive oil cans. We enjoyed a four course Mediterranean meal, which was of impressive quality with a most delicious bread basket! 

All the ABBA songs are there, the performers have lots of energy and talent (there is even some trapeze work) and the script of the play is witty with several jokes adapted to the country they are performing in (ie the odd Brexit one in London).  It’s not a cheap night out (tickets are from £160 including food and entertainment) but it’s definitely an uplifting night: the atmosphere was great, full of energy and warmth.  By the end of the evening, everyone at our table was up on their feet. Thank you for the music!

This post also appears in Nordic Style Magazine.

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Helene Schjerfbeck exhibition, Royal Academy of Arts

Thrilled to at least see the exhibition of Helene Schjerfbeck’s works at the Royal Academy. I have been admiring this Finnish artist from afar for several years. Her works frequently pop up at auction and I have often been tempted. But her name, huge in Finland is known by few in the U.K. Hopefully this exhibition will help change that.

Helene Schjerfbeck was born and grew up in Helsinki. She didn’t have an easy childhood; falling down the stairs at home, she broke her hip at the age of three. The injury was not treated properly and caused her trouble throughout her life, giving her a permanent limp.

A gifted child, Schjerfbeck won a scholarship to attend the Finnish Art Society’s drawing school at the age of eleven, the school’s youngest ever pupil. Schjerfbeck’s love of drawing remained with her throughout her life and there were few days when she did not put pen to paper.

Helene Schjerfbeck, Costume Picture II, 1909, oil on canvas, Ateneum Art Museum, Helsinki

As a young woman, Schjerfbeck travelled extensively, spending pockets of time in London and at artists’ Mecca, St.Ives in Cornwall as well as visting Paris, Vienna, Florence and St.Petersburgh. The exhibition includes landscapes and portraits painted in the 1880s and 90s, bearing the clear influences of French Impressionism. But Schjerfbeck found her own style: inspired by frescoes she saw in Florence, Schjerfbeck developed a scrapping technique, that she continued to use throughout her life, creating the effect of a deteriorating fresco as in the glorious profile of a girl, in Fragment, 1904.

Helene Schjerfbeck, Fragment, 1904, Villa Gyllenburg, Helsinki.

One room in the exhibition is devoted to Schjerfbeck’s self portraits, beginning with a drawing that she produced as a teenager and ending in a charcoal sketch drawn in 1945, the year before her death. It is mesmerising to see this series of portraits, beginning with youth and expectation and becoming a deep meditation on old age and impending death.

Helene, Schjerfbeck, Self Portrait, a Study, 1915, pencil, watercolour and silver leaf on paper, Turku Art Museum.

One thing that struck me is the purity of Schjerfbeck’s style; there is little that is extraneous to the subject matter. This felt characteristically Finnish to me (a nation who tend not to like fuss).

Helene Schjerfbeck is on at the Royal Academy of Arts, London until 27 October and then at Ateneum Museum, Finnish National Gallery, 15 November 2019-26 January 2020.

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Munch and Sohlberg exhibitions

There are currently two exhibitions on Norwegian artists at major London museums- Harald Sohlberg at Dulwich Picture Gallery and Edvard Munch at the British Museum. I have now seen them both and enjoyed each in different ways.

Harald Sohlberg (1869-1935) is little known outside Norway even in the other Scandinavian countries and although I have long loved Dulwich Picture Gallery (England’s first public built gallery) I went to the exhibition almost with a sense of duty than with particularly high expectations.

I was struck by how beautiful the works were; full of colour and highly intricate detail, they vividly capture the raw beauty of the stark Norwegian landscape. Clearly influenced by the German romantics and the Symbolist style pervading Europe at the turn of the century, Sohlberg moves from Naturalism to an evident Symbolist style.

Harald Sohlberg, Fisherman’s Cottage, 1906.

I was delighted to see several sketches and letters in the exhibition, which were full of humour and give you a strong idea of Sohlberg the man, not just the artist.

My favourite room was the last room filled with blue winter landscapes depicting the Rondane mountains in northern Norway. The Rondane mountains apparently do have a blueish sheen and this vibrant blue resonates from the paintings; Sohlberg expresses the sublimity of nature in a manner in which few artists succeed.

Harald, Sohlberg, Winter Night in the Mountains, 1900.

Moving back to central London the British Museum is showing an exhibition of pictures by Norway’s most famous artist, Edvard Munch (1863-1944). The exhibition concentrates on his prints with the bulk of the graphic works on loan from the Munch Museum in Oslo. The exhibition is extremely comprehensive; prints of all his famous works are on show- the Scream, the Madonna, Melancholy, Puberty.

Edvard Munch, Puberty, etching.

Before seeing the exhibition, I heard a talk by the curator, Giulia Bartam, who explained the various and complicated printing techniques that Munch used. Learning from sophisticated, skilled printmakers in Berlin, Munch apparently took to the process very quickly, mastering lithography and the dramatic effects that can be achieved with print making.

One of the joys of seeing the prints as opposed to his oil paintings with which I am more familiar is to see the creatively decorated borders (often in the Art Nouveau style) which occasionally include hand coloured sketches.

This is not a happy exhibition- we are constantly reminded of the sadness and death in Munch’s life; both his mother and sister died when he was a boy. Munch had serious psychological problems and difficulties at forming relationships with women who are generally portrayed as temptresses or adulterers. Even young girls who at first glance look pretty and innocent always seem to have an ominous shadow beside them bringing an eeriness to the completed work.

Edvard Munch, Madonna, lithograph, 1895.

Munch conveys the anxieties and fears of a fast changing, angst ridden society; Solhlberg shows us the purity and magnitude of the exquisite beauty of the Norwegian landscape. I came out of Dulwich Picture Gallery feeling spiritually uplifted and with an urge to visit the Norwegian mountains; I came out of the British Museum saddened by Munch’s difficult life but simultaneously in awe of his skill as an artist and printmaker.

Harald Sohlberg runs at Dulwich Picture Gallery until 19th June. Edvard Munch, Love and Angst is on at the British Museum until 21st July.

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Sorolla at the National Gallery

Yesterday Sotheby’s invited me to the National Gallery to a breakfast and private view of Sorolla, Spanish Master of Light, which opened on Monday. It’s a beautiful exhibition and indeed Sorolla’s use of light was phenomenal.

Joaquin Sorolla (1863-1923) was extraordinarily prolific, producing around 3,000 paintings in his life time (that’s more than Picasso). Many of the paintings felt distinctly Spanish and the influences of Valazquez and Goya were evident but I also noted strong Scandinavian influences in some of the later works.

Two works in particular remind me of the Danish Skagen painter, Peder Severin Krøyer: Young Fisherman, Valencia (1904) and Strolling along the Shoreline (1901). Krøyer exhibited three beach scenes at the Exposition Universelle in Paris in 1889 where he won the Grand Prix of which Sorolla would certainly have been aware. Six years later, in 1895, Sorolla and Krøyer both exhibited at the Exposition Nationale des Beaux-Arts, and again in the Exposition Universelle of 1900 where Sorolla admired Krøyer’s work.

Joaquin Sorolla, Young Fisherman, Valencia (1904)

Peder Severin Kroyer, Boys bathing on the beach, Skagen, 1892, Hirschsprung Collection
Joaquin Sorolla, Strolling along the Shoreline (1909)
Peder Severin Krøyer, A summer evening on the South Beach at Skagen, 1893.

The two Sorolla paintings in the National Gallery exhibition clearly show the influence of Krøyer not only in subject matter but also in his brush strokes and treatment of light. I enjoyed all of this exhibition but the beach scenes were my personal favourites.

Sorolla, Spanish Master of Light is on at the National Gallery, London until 7th July.

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The Wolf and the Watchman

Last night I headed to the Swedish Ambassador’s Residence (an absolutely exquisite Adam building), for a talk by Swedish author, Niklas Natt och Dag to celebrate the launch of the English language edition of his bestselling Swedish novel, 1793, called ‘The Wolf and the Watchman’ in English.

The book is set in 1793, the year after King Gustav III was famously assassinated. It tells the story of a watchman, living in a rough and gritty Stockholm, suffering after years of foreign wars, who discovers a body in a swamp and hands over the case to an investigator. The Swedish Academy of Crime Writers gave the book the award for best Crime Debut novel in 2017 even though Niklas Natt och Dag said in his talk that he had not in fact thought of the book as a crime novel. Barry Forshaw, the Nordic crime expert and commentator , was in the audience and commented that the book seemed to him a blend of Nordic Noir and serious historical fiction.

I was touched to hear Niklas Natt och Dag had been quite a solitary child and books for him were like companions, as he escaped into an imaginary world. Now as an adult, he has published his own novel providing companionship to others.

The author belongs to the oldest surviving noble family in Sweden dating back to the thirteenth century; his surname, Natt och Dag translates as Night and Day- the origin being his family crest, a shield split into gold and blue. He signed books after his talk and had a wax seal so everyone who took home a copy literally had a signed and sealed book.

The author signing copies of his book. A bust of Gustav III behind him

The Wolf and the Watchman is by all accounts is beautifully written. It is out in UK book shops today.

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Swedish Church Christmas Fair

It was the opening of the Swedish Church’s Christmas Fair on Wednesday night.  This is the start of the Christmas season for me, and I really enjoyed wandering around with a glass of warm glögg, chatting to familiar faces and picking up some Advent candles, Advent calendars and quite a few items of Swedish Christmas food.  Everything is beautifully displayed and the sales ladies wear the pretty traditional costumes from different regions in Sweden.  There are gorgeous hand-knitted items and beautiful woven textiles.

Fancy a tomte?

I went back again yesterday to meet some friends for lunch and have an open sandwich and a saffron bun and it was packed.  I imagine it will be even more packed at the weekend but there is a very warm, happy atmosphere and it is a great spot for Christmas gifts and decorations.  There are also lots of chidren’s books by Swedish favourite, Elsa Beskow- the illustrations are wonderful.

Crisp bread and ginger snaps

The Swedish Church Christmas Fair is open from 11am-7pm on Saturday and from 12-5pm on Sunday

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Rasmussen Auction

Went to the Danish Embassy in London for a talk on Scandinavian design combined with a viewing of highlights of Danish auction house, Rasmussen‘s autumn sale.  The talk was mainly about chairs (this may sound weird but the Danes are famous for their beautiful furniture design and Danish mid twentieth century furniture is now highly collectable); it is fascinating how the politics of the twentieth century influenced art- Sweden who had a Socialist government from the 1930s right up until 1976 were producing industrial produced furniture for the masses, Denmark by contrast were creating exquisite hand crafted chairs that were expensive but made to last.  Finland, independent from Russia since 1917, were creating wonderful free-flowing curved designs in their furniture (think of Alvaro Aalto).

Rasmussen had a few items of furniture and several paintings on display including quite a few abstract oil paintings by artists belonging to the Danish CoBrA movement founded after World War II.  I  however, leaned towards the earlier works particularly one beautiful eighteenth century drawing.  Maybe it will be a Christmas present to myself….

Finn Juel ‘Spade Chair’


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I am just back from a couple of days visiting Copenhagen.  The weather was bleak and dreary; the skies the colour of Hammershøi’s paintings but the city was anything but dull.  I crammed in lots of art galleries revisiting the enchanting Hirschsprung Collection,  crammed with works by the Skagen painters, who, at the close of the nineteenth century, congregated at Skagen, on the tip of Jutland, the northern most point of continental Europe, creating an artists’ colony.  The painters went to Skagen for the exceptional light; it is worth visiting the Hirschsprung just to see the works of Peder Severin Krøyer who captures the light and beauty of the Skagen beaches exquisitely.

Peder Severin Krøyer, Boys bathing, sunshine, Skagen.

Another highlight was the David Collection, an elegant eighteenth century townhouse, formally the home of the prolific collector and wealthy and successful lawyer, Christian Ludvig David.  He began collecting Danish Golden Age paintings and branched out first to European porcelain and furniture and then Islamic art.  The Islamic Collection is world class and contains some exquisite jewellery and porcelain.  The highlight for me was a room devoted to the work of Denmarks arguably most famous painter, Vilhelm Hammershøi.  I love the calm quiet interiors, the clean lines and the soft grey palette that is so very northern.

I also visited the Renaissance Castle, Rosenborg- beautiful but dark, and I found the collection of Royal treasures slightly overwhelming.  The rooms were a chronology of the riches of Danish kings- I realised don’t know my Frederiks and Christians well enough.  Someone told me to read Rose Tremain’s novel, Music and Silence, to get a real feeling for the court of Christian IV.

I stayed in a relatively new hotel, 71, Nyhavn: a large warehouse that has been converted to a substantial sized hotel.  The service and food were good and the design sleek and minimal although I missed out on a room with a view. The harbour at Nyhavn is very pretty-lined with colourful eighteenth century houses, all now listed buildings.  Hans Christian Andersen lived at number 20.  The Nyhavn of today, is alive with restaurants, bars and stalls selling souvenirs, food and mulled wine: a delightful place to wander down.


The Opera House, Copenhagen.

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Elmgreen and Dragset, Whitechapel Gallery

‘Wow did there used to be a public swimming pool here?’ my friend asked. A whiff of chlorine hit us as we entered the spacious white room with stained walls and tiled floors- an abandoned swimming pool stood before us, empty aside from bits of dust and debris. On the wall is a sign relating the history of the pool, beginning with its founding in 1901 thanks to generous funding from a Victorian philanthropist, through to its closing during Thatcher’s time and ultimately  its sale for ‘luxury redevelopment.’ The pool was apparently where David Hockney got the inspiration for his first drawings of swimming pools and it had even featured in a novel.  It all sounded fascinating (perhaps a little too fascinating).  Indeed it was all fiction.  The pool is the creation of Danish/Norwegian art duo, Michael Elmgreen and Ingar Dragset, most well known in the UK for their sculpture of the Boy on the Rocking Horse for the forth plinth in Trafalgar Square.

The Whitechapel Pool

Their swimming pool, in common with many exhibits in the exhibition is a social commentary.  This is not the glamorous, inviting pool of Hockney’s work but a pool that used to be for the people but has been closed down and privatised.  Rising gentrification has led to a loss of public places of enjoyment and indeed general welfare.  Lying by the side of the pool is the abandoned carseat of a luxury car (the work is beautifully cast in bronze- it is very tactile and hard to believe that it is not covered in soft leather).

Pregnant White Maid, Aluminium, stainless steel, clothes.

Other works in the exhibition include a sculpture of a young boy staring at a gun and even more eerily one of a boy in school uniform sitting crouched by the fireplace; nearby stands a maid hands behind her back and heavily pregnant.  The viewer can weave a whole story here.  Not all is misery and sadness though-there are touches of humour throughout, notably in the double pair of Levi jeans and Calvin Klein underpants left hurriedly on the floor.  There is plenty to explore and think about here and the craftsmanship is highly skilled and beautiful.

This is How we Bite Our Tongue is at Whitechapel Art Gallery until 13th January 2019.

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ABBA Super Troupers

As an antidote to Bergman, I made a trip to the Southbank Centre to see the pop up exhibition, ABBA Super Troupers.  And so I entered a world of nostalgia for the 1970s,  when ABBA mania hit Britain, following the bands now famous win of the Eurovision Song Contest in Brighton.

The exhibition takes you on an hours musical journey through the history of ABBA from their coming together to their break up; it is full of Abba memorabilia, costumes and recreations of 70s interiors including the hotel room where the band stayed during Eurovision and the flat full of packing boxes, that appeared in the video ‘One of Us’. There are clips of interviews with band members and a recreation of Abba’s Stockholm recording studio with an opportunity to try your hand at karaoke. Our guide was great- brimming with an infectious enthusiasm, and overall it was all a bit of kitsch fun.  Definitely one for the die-hard ABBA fans.

Abba Super Troupers runs at the Southbank Centre until 29th April.

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