Media / Bibliography
081117 Tidningen Kulturen "Rubikcubism och andra fyrkanter i konsten"![]()
081017 Svenska Dagbladet "Konstexplosion på dataspelens arena"![]()
080815 Tidningen Kulturen "Det digitala landskapet"![]()
080812 Helsingborgs Dagblad "Trio med styrka"
080416 Metro "Datorn bakom konsten"![]()
080328 Computer Sweden "Pixlar och penslar"
071121 Konsten "Nymålat"![]()
060804 Aftonbladet "Högtidligt och erotiskt"
060610 DN kultur "Varje generation avbildar sin tid"
060606 Omkonst "Pixeln möter penseln" ![]()
060602 Konsten "Måleriets testbänk" / The test bench of painting"
051201 Konstperspektiv nr4 Dec 05 "Dataspelsgererationen i konstens högborg".[PDF]
051206 Trelleborgs allehanda ![]()
040127 Norrtelje tidning
040123 Konsten "Vårsalongen"![]()
031121 Konsten "Galleri PS"
031031 Helsningborgs Dagblad "Porträttkonstens historia i Landskrona"![]()
030904 Expressen "Omgörning"
030823 Konsten "Terragen"
030829 DN på stan "Sublimt på olika sätt"
030830 DN kultur "Med tydliga förlagor"
020518 DN kultur "Bilder av döden och intet / Images of death and nothingness"
020516 Expressen "Konstruerad natur / Constructed nature"
Sveriges Radio P1. Intervju
Publications
Game Art - Samlade artiklar och essäer av Mathias Jansson
Måleriets testbänkALP galleri Peter Bergman, Stockholm: Kristoffer Zetterstrand (24/5-17/6)
Anders Olofsson
Notis från Konsten - elektroniskt nyhetsbrev om samtidskonst. Publicerad 060602. |
The test bench of painting
In the future art historians will write learned treatises on the influence of the computer game generation on art, and they will most likely devote Kristoffer Zetterstrand a separate chapter. Zetterstrand has previously shown 'impossible landscapes' generated by crashed 3D-software and so called 'free-look mode' views from the game Counter-strike. Now he has evolved his concept and created a series of paintings which all are based on images of fictive environments built with the help of a 3D-software. If Zetterstrand had been a more technology-loving artist he might have had his images printed out using a large inkjet plotter. But he does not, because Kristoffer Zetterstrand is first and foremost a painter of the old school. He tries out the relation of painting to imagery made possible by new technology, and lets his imaginary rooms be the meetingplaces of both motifs from art history and classical painterly dilemmas. The exhibition confirms Zetterstrand's position as one of the most interesting artists of the young generation.
