1986, Utan titel, Oil on canvas 180 x 140 cm
How would you describe what you were working on when you were awarded the Maria Bonnier Dahlin Scholarship, and what did the scholarship mean to you?
I was in Berlin, at the Künstlerhaus Bethanien when I received the Maria Bonnier Dahlin Scholarship. The scholarship of SEK 10,000 was intended for the exhibition Stealing Diamonds, which was one
side exhibition for the Venice Biennale in 1986. Mats B was the exhibition commissioner for the Nordic pavilion this year. I think he was involved in the selection of Maria Bonnier Dahlin fellows.
What discussions characterized the art scene at this time, and what was particularly important you?
I do not remember in detail what I was interested in 1986.
How would you describe the social and political climate that prevailed, and there were some questions or events that particularly affected your work?
The Chernobyl nuclear accident characterized the discussions and the atmosphere, significantly more in Berlin than in Stockholm.
When you look back and compare the art life then and now, which are the most eye-catching changes?
The art scene has become larger, both geographically and in number of actors.
What are you working on today?
I don't yet know what I'm doing right now.
This is an excerpt from Samlade stipendiater!: 30 år med Maria Bonnier Dahlins stiftelse, by Niclas Östlind, (red.) (2016). Stockholm: Bonnier fakta.