LASSE ANTONSEN
 

CURRENT AND UPCOMING EXHIBITIONS




September 6 - October 19, 2014

September

READYMADE@100


Curated by Mark Cameron Boyd


American University Museum

Washington, DC
















Lasse Antonsen, “Panacea,” 2006

Glass bottles with cork, wood crate


For my panacea, instead of one of those quack vials of a mixture dipped from Acheron and the Dead Sea, which come out of those long shallow black-scooner looking wagons which we sometimes see made to carry bottles, let me have a draught of undiluted morning air. Morning air! If men will not drink of this at the fountain-head of the day, why, then we must even bottle up some and sell it in the shops, for the benefit of those who lost their subscription ticket to morning time in the world. But remember, it will not quite keep till noon-day even in the coolest cellar, but drive out the stopples long ere that and follow westward the steps of Aurora.


Henry David Thoreau, Walden, pages 149-50




July 18 - August 31, 2014


LASSE ANTONSEN

I AM

LIDHOLMTHEVIOLINMAKER


Bristol Art Museum

Bristol, Rhode Island




















“A Passion for Discovering Truth”

Tullii Ciceronis, “Officiis,” 1616, early 20th Century Wind-Up Bird



While traveling in North Carolina in 2007, Lasse Antonsen found a book in a used book store signed “Lidholmtheviolinmaker 1918.” It was a book in Latin, comparing ancient Scandinavian languages, and published almost one hundred and fifty years before Lidholm acquired it. Antonsen knew it had to be a violin maker of Swedish background or descent. His research established that the violinmaker’s full name was Erik Johan Lidholm, and that he had emigrated from Sweden in 1892, when he was twenty-one years old. Once settled in the United States, Lidholm apprenticed with a violinmaker in Minneapolis, Minnesota, and later established his own workshop in St. Louis, Missouri. He continued to build high quality violins under his own name until his death in 1942, at the age of seventy-one.


In this exhibition, Antonsen is presenting objects, and altered objects, that Lidholm might have collected, treasured, and put on display. Each object in the exhibition has a wall label providing insight into Lidholm’s thinking about music, nature, travel, art and literature. As many immigrants, Lidholm was torn between a deep appreciation of his new country, with its culture, landscape and people, and a nostalgic longing for his lost homeland. Equally powerful for Lidholm, was a nostalgic sense of what else he could have encountered had he traveled to other countries, what other centuries he wished to have lived in, and the strange, foreign lands he traveled through at night, in his dreams.