Örebro konsthall is a municipality run artcenter for contemporary art.
Örebro konsthall mission is to provide exciting art experiences for the citizens of Örebro and city visitors by exhibiting Swedish and international contemporary art of high quality.
Örebro konsthall is part of the municipality of Örebro and has charge of the municipal art collection which currently consists of approximately 8300 works of art. These are mostly deposited in various places, for example offices, schools and homes for the elderly. About 300 pieces are placed outdoors in parks and squares.
Örebro konsthall strives to make art accessible to a wide audience and offers various programs as art talks, art education for all ages.
In 2008 Örebro Konsthall started up OpenART, the Art Biennial where art transforms Örebro city into a giant outdoor exhibition of contemporary art. Since 2013 OpenART has it´s own organization.
Konsthallens Vänner (the Art Gallery's friends ) is an active art club. The aim is to support the gallery and to increase the interest and commitment to visual arts in general.
Manager at Örebro konsthall is Anna-Karin Wulgué.
September 14 - November 3 2019
A tunic made of asphalt resembles both a sequined gown and a hair shirt. Its surface may seem burned to a crisp, but is still impenetrable. A prehistoric creature formed from bread and porcelain has not yet evolved into anything recognizable, and a sunburned man in a cowboy hat and a cable-knit sweater seems unconcerned with the third hand gently strangling him. A young man, perhaps a prince, has deigned to be crowned by a fast-food chain.
Under the title Memberment, Cecilia Jansson and Geoffrey Chadsey present Man as a bearer of conflicting biological and cultural processes. Jansson shows sculptural work, and Chadsey drawings. Both artists portray the human being as an entity in constant transformation. Our bodies – like the objects with which we surround ourselves – are politically and historically charged constructions. The world receives its meaning from the way in which we exist within it, and are able to relate to our own heritage.
In the artistic practice of Cecilia Jansson, this is expressed through an investigative approach to material itself. Her attitude is frank and direct, while still rendering the human body as well as other forms of life as uncertain, currently in flux or imbued with a potential of turning into something entirely different. This metamorphosis finds its source in nature and the cultivation of the natural world inherent in human activity. A similar sensibility is present in her interpretation of the form, surface or traits of any everyday thing. Such as a potato. Jansson’s sculptures are not just objects in an existing space – instead they interact with their surroundings much like a person. They find a place, claim their own place, or challenge a place by not quite fitting.
Geoffrey Chadsey’s imagery takes a more visually direct focus to the subject of “man-as-construction.” In large scale drawings of full-length people, the human being is represented as a place where numerous identities overlap. As seen by Chadsey, the individual becomes an ambiguous keeper of cultural experience and influence, and as such also something that escapes a fixed definition. The artist’s work is founded in classic portraiture, but in his images culture appears as pure surface, and biology as an intrusive element that cracks the shell a person has chosen to occupy or hide behind. His forces of nature do not seem a question of choice the way those outer trappings do.
Although Memberment – a play on the word “dismemberment” – is based on a common theme and a similar mode of working, the practice of each artist maintains its own distinct space. If Jansson’s objects exist outside a specific timeframe, Chadsey’s subjects are products of this contemporary Western age, with its particular mass cultural signifiers. Not in a way that makes them complete each other. This is rather a case of two distinctive artists showing us their respective viewpoint on a shared area of interest. Together, their work establishes a common geography, within which each person can conduct their own investigation.
(translation by Andreas Vesterlund)
The gallery started as Gallery Fenix in 1979 in Fenixhuset (the Phoenix building), opposite Stora hotellet. In 1986 the address became Olaigatan 7 and the name was changed to Konsthallen i Örebro (the Art Gallery in Örebro). During 1994-2003, we were housed in Länsmuseet (the County Museum) and formed together the Art Museum. Since 2003 we find ourselves in Olaigatan 17B, in a former banking hall. Our bright and airy art gallery is one of the most beautiful galleries in Sweden, overlooking the black river Svartån, the old castle Örebro Slott and a bustling street life outside.
The city art center is in charge of the municipal art collection which currently consists of approximately 8300 works of art. About 300 works of them are placed outdoors in parks and squares.
Purchases are made by the gallery manager together with the staff. All purchased works are photographed and registered. Most of the artworks are deposited indoors in the various municipal departments. The gallery has a small depot where municipal staff can select art to their workplaces.
Sculptures of durable materials, such as bronze and stone are found in many places in the municipality, in squares and school playgrounds, in neighborhoods and parks. Art can be purchased to suit a specific spot, mainly outdoors. Artists can be asked to make a proposal for specific spots, based on the special conditions and needs of the location.
Örebro municipality allocate 1 % of the construction budget to art when building new or rebuilding. Örebro konsthall is responsible for the implementation of the project and invites artists to present a proposal. Depending on the size of the allocated funds an open competition can be arranged. The proposals shall be accepted by the recipient and the architect before the work is carried out.
Tuesday-Thursday 12.00-18.00, Friday-Sunday 12.00-16.00
Olaigatan 17B, 703 61 Örebro
Main entrance with ramp and electric door openers.
There is a small unattended cloakroom, with a toilet (suitable for the disabled) and with a baby changing table.
Please don’t hesitate to contact our staff for opinions and complaints. You can write to us:
Örebro konsthall, Box 32 530, 701 35 Örebro or email@example.com.
Any questions that you can not find answers to on this site? Contact us!
Mail: Box 32530, 701 35 Örebro
Visit and delivery: Olaigatan 17B, 703 61 Örebro
Phone: +46(0)19-21 49 00
+46-(0)19-21 48 95
Maarit Nilsson Polet
+46-(0)19-21 48 96
+46-(0)19-21 27 13
+46-(0)19-21 48 97
+46-(0)19-21 49 00
+46-(0)19-21 60 91
Information about the exhibitions:
+46-(0)19-21 48 97
Text and images:
+46-(0)19-21 60 91