Polaroids , 1976

About twenty Polaroids created by Strömholm in 1976 present the assemblies of images and objects and constitute so many visual plays on words that reveal the profound influence of surrealism on Strömholm.

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Spain, Japan, India, the United States, 1962

Fascinated by Spanish art and religion, Strömholm regularly spends time in Spain. In 1962-1963 he travels to Japan, India, the United States, and to Africa. Eager for new forms and for new lights, he never tries to report vernacular curiosities. His subjectivity forbids him from taking a purely documentary and descriptive approach.


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Place Blanche, 1956-1962

The series Place Blanche, created between 1956 and 1962, is dedicated to the transvestites and the transsexuals of this Parisian district. Strömholm does not pose his models in the nude. Never a Peeping Tom, he knows how to protect mystery and ambiguity.

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Abstractions, 1949-1953

Between 1949 and 1953, Strömholm participated in experimental and abstract Fotoform its awareness of artistic potential of photography. However, it never loses contact with reality. The visible is stylish, clean, reduced to its essential graphic forms.

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Paris,

It is by the end of the 40’s, at the college of Beaux-Arts in Paris, that Christer Strömholm dedicates himself completely to photography. Far from the humanism of Doisneau or decisive moment of Cartier-Bresson, he develops a subjective and eclectic photography that refuses any anecdote and any hierarchy among the subjects. In addition to portraits stolen from the street, he multiplies the photos of objects. Strange and ghastly rubbish, these last ones return to the surrealist found object and evoke the recovery of the new realists to whom Strömholm was close.

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Pigalle,

The show occupies an essential place in the work of Christer Strömholm who photographs cinema and theater posters and produces a series on the Pigalle square. He likes fixing his attention on the spectators who introduce new points of view and invites us to imagine scenes beyond the picture.

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Portraits of artists ,

Strömholm is very interested in art history and is very close to contemporary artists. He makes numerous portraits and discovers that he possesses a particular talent «to break through the shell of the artists».

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Matters - Golgotha,

Strömholm is fascinated by materials and their violent or dreamlike evocations. Very close to Brassaï, he photographs graffiti, paint colors and torn up posters. The Golgotha series, which extends from the end of the ‘40s to the mid ‘90s, reveals the durability of its interest. With this series, as he said, Strömholm "found a meeting point between a story and the pictures - to let objects and stones become faces" (interview with Gunilla Knape, in Christer Strömholm, Fundacio "la Caixa", 2001).

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