Angela Lind was a rising star in the art world: an art critic who could be interested in and at the same time provide educational inputs to art, and was a writer and host of the Bild Journal in the 1990s. It went through the window. A bundle of energy with an energetic push with its broad vision for decades through innumerable trips to the world’s most important art exhibitions and in-depth trips through the history of art.
Never been arrogant
Angela Lind was able to hold the audience and foot readers by the hand and share her deep and extensive knowledge; About contemporary art, modernism, and all other aspects of art history. Although Angela Lind was a well-educated intellectual, she was never arrogant, took knowledge and easily presented it to the audience.
So it made some sense that she wanted to extend the essays, and her interest in the Virginia Wolf and Bloomsbury team was particularly strong; A collection of writers, artists, historians and cultural figures active in Britain in the early 1900s, Ingela Lind worked on two books: Take Freedom. Bloomsbury and the Art of Living in India (2018) and Playing with Modernism (2008).
She complimented the imagination
In the summer of 2018, Angela Linds exhibited a large exhibition of the Bloomsbury Group at the Artieplag Art Gallery outside Stockholm. Thanks to years of research, she was able to borrow a large number of the group’s products for the show: visual arts, furniture, crafts, and even the first editions of unique books – even Virginia Woolf’s reading glasses, which Ingela was particularly happy and proud of.
Babel, Wolf, Towards the Literary Program The Lighthouse (1927) told her 2018 favorite novel. In the novel, a large family with guests celebrates the holidays in their summer home, and the conversations take place during everyday life, during dinners and picnics. Psychologist’s psychological understanding of people’s inner thoughts and feelings – high and low about each other – fascinated Ingela Lind.
It is easy to understand why this book appealed to Ingela, because she worked with the same spirit: praising imagination, feeling, creation, and beauty – but at the same time knew that even dark lines fit the human mind. . There are important things to learn from the Bloomsbury team’s effort, listening attitude; Ingela said there is a current and urgent need today as a counter-burden to the intense conversational atmosphere on social media.
Met Joseph Beuss
When Ingela Lind and Moderna SVT – Central Constant (2002) in the series were asked to talk about a favorite work of art from the collection of Moderna Musett, she chose the work of Joseph Beas: Hargreave V (Alps), a German artist from 1965. The so-called assembly that looks like mixed garbage in a box.
In fact, Ingela could have boxed in on its scholasticism-critical context, calling the author, Beauce, a “classic weird artist”: the fighter pilot of World War II shot and escaped. Wrapped in animal fat and blankets to Tatar Nomad.
In 1971, Beauz met Ingela as a professor at the Academy of Fine Arts in Dසල්sseldorf because of his model of “every man is an artist” and the enrollment of an unlimited number of students into the school. Ingela was strongly reminded of the fat scent of Beau, like the shaman – he often used bad and blankets in his art. “I’m a fragrant person. Beauce had a strange, strong fat smell,” Ingela laughed, explaining how the disgusting substance in Beas’ art could be interpreted as a healing and expelling force.
As a critic, writer, and guardian, Ingela Lindt’s great art was: always discovering personal, bottom-up and passionate emotions and developing a story rich in many interpretive abilities, thereby making viewers and readers more interested in learning more.