1964 Born in Stockholm
Lives and works in Stockholm.
1988-1993 MFA Royal Institute of Art, Stockholm
1984- 1986 Idun Lovén art school
2017 Konstforum, Norrköping
2016 SP Gallery, Stockholm
2014 Galleri PS, Göteborg
2013 SP Gallery, Stockholm
2010 Galleri PS, Göteborg
2008 SP Gallery, Stockholm
2007 Galleri PS, Göteborg
2005 Galleri Engström, Stockholm
2003 Galleri Öhrström, Göteborg
2001 Galleri Engström, Stockholm
2000 Galleri Öhrström, Göteborg
1999 Örnsköldsviks konsthall
1999 Galleri Engström, Stockholm
1997 Galleri Engström, Stockholm
1996 Västerbottens konstförening, Umeå
1995 Galleri Engström, Stockholm
1993 Galleri Mejan, Stockholm
SELECTED GROUP EXHIBITIONS
2010 “Manboy” S.P.G
2009 “Drömmare” Gotlands konstmuseum
2009 “Drömmare” Millesgården
2008 “A man of sentiment” Eksjö museum
2012 The royal Swedish academy of fine arts, ateljéstipendium Cité International des Artes, Paris
2012 The Swedish Arts Grants Committee, five year working grant
2012 The royal Swedish academy of fine arts
2007 Statens bildkonstnärsfond, five year working grant
2007 The royal Swedish academy of fine arts
2003, 2004 The Swedish Arts Grants Committee, two year working grant
2002 The royal Swedish academy of fine arts
1999 Föreningen Norden
1996 The Swedish Arts Grants Committee
1995 The Swedish Arts Grants Committee
1993 The royal Swedish academy of fine arts
1990 Sandrew stipendium
1990 Ida Unnmans stipendiefond
A sign points by its nature away from itself, towards something it intends to signify, and is thereby filled with meaning at the same time it is drained of content. A sign always redirect us to another sign, which in turn leads us further to the next, like a searching finger in a dictionary.
Dan Almqvist’s artistry is characterized by an ever-eluding world of symbols, where recognizable signs are reused over and over again; an intentional painterly repetition. Nothing is new beneath the star, but the repetition is not repetitive. Almqvist puts painting into dialogue with older motifs of his, as if reassuming the everlasting query on the human condition.
In this way, Almqvist’s painterly process gets shaped through a lingering in the own imagery. Through repetition he attempts to safeguard that which for him cannot be reduced to words, but which merely is possible to approach through painting.
The subject matter collects from the realms of childhood and fairytale, and is conducted by the pursuit for an instrument of experience of timelessness. Almqvist let disparate epochs cross-fertilize, references from art history blend with motifs obtained straight from his own vestibule.
When Almqvist enters his studio he shuts the door to the outer world and lets no one near the paintings’ process of creation. Hence, he carefully encloses himself in order to let his imagery emerge once again, protected from the inevitable progress of the every day.