January 2026
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According to the Swedish Dictionary, a diorama is an arrangement of free-standing objects against a perspectively rendered background for an illusory representation of reality.
Bogholt's exhibition is based on the idea of the diorama's attempt to capture and give an illusion of nature. The diorama can stand as a vantage point towards a possible reality. A delimited surface, a two-dimensional image, a constructed landscape, a garden.
Malin Bogholt received the Academy of Fine Arts' exhibition scholarship from the Gerard Bonnier Fund in 2023. The scholarship includes an exhibition at the Academy of Fine Arts, funds to carry out the exhibition and an exhibition catalogue.
Written about the exhibition: > Art.net
Diorama
Part of the exhibition's catalog text by Kalle Brolin, artist
The exhibition in the East Gallery at the Academy of Fine Arts features an installation consisting of different parts. Sculpture, moving objects and painting are tied together in the exhibition title Diorama. In the exhibition, Malin Bogholt uses the idea of diorama as a metaphor for a limited, constructed reality.
Malin Bogholt builds sculptures from different parts in relation to each other. Finished objects are combined with processed materials, such as peeled and painted branches. The objects can be taken from everyday life, perhaps tools of some kind, a box or a piece of furniture, and they carry with them their own references and meanings. The artistic gaze charges them with emotions and associations. In each sculpture, relationships are built between the different parts. This can be read in the materials, in the balancing act, in movements, sounds, and mutual dependence. The materials can be wood, metal, textile, with contrasting physical properties. These properties can control how the parts are joined together and in what order – heavy is set against light, soft against hard, firmly anchored against floating. In this, both relationships and a kind of dialogue between the parts arise. The sculptures can be built as a balancing act, where one part reaches out and gropes for something, while another part anchors the sculpture and prevents it from tipping over. Parts that are set in motion affect other parts, set them in motion, cast shadows, make sounds.
The paintings are kept on a small scale, as a contrast to the often more bulky “buildings”. In the two-dimensional format we can “look in”, the image becomes a commentary and converses with the sculptures that are in the physical space. Malin Bogholt’s sculptures gather complexity within clear forms, which makes us think of them as a kind of bodies with character and presence, they “are someone” and they “tell something about themselves”. A presence, together with us, in the space that we share.