My family estate and other merciless stories. RUM #230, April 2021.
(Ukraine, we are with you. Burn in hell, Putin!)
When Jackson Pollock claimed “I am nature” he was wrong. Nature is no more. All is culture.
Found objects from my studio. Polaroids during three decades collected in a box, put together att CFF Gallery, autumn 2019. Curated by Irène Berggren.
RUM Magazine #199 September 2018. We pass the door-step of a grand apartment at Norr Mälarstrand in Stockholm. When it is an empty shell and architect Andreas Martin-Löf´s restoration a blank paper. Five large Images later presented at Nordiska Galleriet in September 2020.
Nature or culture. The solid rock foundation of Stockholm City in RUM Magazine #197, July 2018.
”Architecture brut”. A survey of an architectural phenomenon in comparison with a famous sparkling wine. Text and photo by Johan Fowelin in ”RUM” #182, April 2017.
My credo to the authenticity of rural life and architecture in Blekinge. Text and photos in “Form” 5/2015.
Seven essays in Magazine Kritik between 2009 and 2017; 4×5=20 tankar om arkitekturfotografi, Det är så jävla korkat, Amatörer!, Vilken är bäst?, Varför alla hatar Helgo Zettervall, Pre-Mo, Hur svårt kan det vara?
Fifty years anniversary of Hötorget in Stockholm, October 2009. Outdoor exhibition, two rows of large scale images. Contemporary colour and historic black and white by Lennart af Petersens. A master of his time, capturing the city in swinging tune with the jazz age. My beat was techno, the music of our time.
Poster; Forum No 4 /2009/
# 1 / C5
I have no secrets.
(Aki Kaurismäki in Livraison #3)
Clothes by Sandra Backlund.
Tempus edax rerum, tuque, invidiosa vetustas, omnia destruitis vitiataque dentibus aevi paulatim lenta consumitis omnia morte!
(Oividius Metamorphoses XV, 234.)
Fine Art Silver Gelatin Prints. Negatives from a public archive at the Local Transport Company in Stockholm. Exhibited at Roger Björkholmen and Index Gallery, Stockholm.
Climate change is here to stay.
(Muybridge, my images are nothing compared to yours!)
Signed “W.Germany”, “Import” or “#13” this pottery is mass-produced. Occasionally Danish hand-crafted or Swedish amateur works. In rare cases pieces by known artists. This is a homage to Cezanne, Morandi and Robert Mapplethorpe. As well as generations of art students struggling with shadows, shapes and forms of a “Nature Morte” consisting of randomly collected items, put together by a teacher in messy hair and corduroy, suggesting he is true believer of ART. Book project, text by Lars O. Ericsson.
Get your act together, PUNK! Documentary photography. Collaboration with artist Dan Backman.
“Seduction”; eight chemically toned silver gelatin prints, 40×50 cm. Exhibited at Gallery Forum, Stockholm, 4-14 October 1993 and Galler 60, Umeå, 24 February- 6 Mars 1994.
”…some of the most interesting aspects of the images are the representation of men in pornography as they do not reflect the expected view of activity and control. In stead they express a vulnerability with contributes to a questioning and undermining of dichotomies limiting the life of both men and women. ”
Maria Lind about the exhibition “Bearded Lady” in Magazine “Bang” #3, 1993.
Between 1993 and 2008 I explored fashion photography. Few people understod my work and almost no one payed for it. Eventually I went back to art and architecture. And still, a humble thanks to all the beautiful models, stylists and make-up artists who dared to share my vision; Axel, Julia, Natalia, Erika, Maria, Gina, Lovisa, Carolina, Sally, Bo, Martin and all the rest.
Exhibition at Södertälje konsthall with Gunilla Wihlborg and Stefan Ahlenius. Review by Gertrud Sandqvist.
“The Metro was one of the most significant architectural manifestations during the twentieth century. The aesthetic and social pathos of modernism expressed in a transport machinery. Transit and travel charged with not only a practical meaning; a metaphysical hope of a better life.
At the same time as the ideology of an epoch is unduly obtrusive in the pale fluorescent light of Metro underworld, I sense an end of an illusion and it´s social model”.
Johan Fowelin, April 28 1994.
Berlin November 1989. Exhibited at Moderna Muséet 1991, S:t Petersburg University 1992, Gothenburg Art Museum 2014 and Dunker Arthall, Helsingborg 2015 and Nationalmuseum 2019.
Chemically contaminated images of useless scrap, slowly fading away from the few hope-full buyers at Gallery XXX in January 1989.
My contribution to political activism. An attempt to get rid of a nuclear power plant built exactly on the spot for childhood paradise. Eventually I succeeded as the plant closed in 2005. With help from Maria and Claes.
Every spring between 1976 and 1984 I was driving a Mercedes through Europe. Together with a friend of my father, we went to all museums. theaters, restaurants described in books that filled the backseat of the “Benzo”. As well as bars and places not described in the books. The owner of the car was a bachelor and a terrible driver. Eventually I discovered my 40 years older tutor and travel companion was interested in more than my driving skills; John rest in piece! In next life homosexuality is not a shame (or a crime).