Fredrik Værslev in Portugal
(2025)- Abstract
- Fredrik Værslev’s work, seen recently at the National Museum in Oslo, explores how painting can evoke familiar imagery—sunsets, flags, curtains, windows—without representing them directly. His polyptych Untitled (Sunset 1) suggests the experience of a sunset through horizontal lines and color transitions, rather than literal depiction.
His flag series, focused on the Portuguese flag, reflects on the tension between national symbols and painterly intervention. Initially printed via silkscreen, each flag is altered through color shifts, distortions, or graffiti-like marks, challenging the idea of patriotic unity. These interventions question the symbolic power of flags, especially relevant in times of political tension—such as Trump’s... (More) - Fredrik Værslev’s work, seen recently at the National Museum in Oslo, explores how painting can evoke familiar imagery—sunsets, flags, curtains, windows—without representing them directly. His polyptych Untitled (Sunset 1) suggests the experience of a sunset through horizontal lines and color transitions, rather than literal depiction.
His flag series, focused on the Portuguese flag, reflects on the tension between national symbols and painterly intervention. Initially printed via silkscreen, each flag is altered through color shifts, distortions, or graffiti-like marks, challenging the idea of patriotic unity. These interventions question the symbolic power of flags, especially relevant in times of political tension—such as Trump’s 2024 rally backdrop or the redesign controversy of Portugal’s national logo. The choice to paint only Portuguese flags in a Norwegian context adds irony. Few Norwegians recognize the symbol, while in Portugal the works may provoke nationalist interpretations or discomfort. The repetition and variation of the same image aligns with Værslev’s interest in seriality and the legacy of artists like Jasper Johns and Louise Lawler—where context and presentation shape meaning. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/508fda74-ba9a-4b8e-a634-c464b0f44072
- artist
- Værslev, Fredrik LU
- organization
- publishing date
- 2025
- type
- Non-textual form
- publication status
- published
- subject
- publisher
- Galeria Filomena Soares
- language
- English
- LU publication?
- yes
- id
- 508fda74-ba9a-4b8e-a634-c464b0f44072
- date added to LUP
- 2026-02-09 11:18:11
- date last changed
- 2026-02-09 11:18:11
@misc{508fda74-ba9a-4b8e-a634-c464b0f44072,
abstract = {{Fredrik Værslev’s work, seen recently at the National Museum in Oslo, explores how painting can evoke familiar imagery—sunsets, flags, curtains, windows—without representing them directly. His polyptych Untitled (Sunset 1) suggests the experience of a sunset through horizontal lines and color transitions, rather than literal depiction.<br/>His flag series, focused on the Portuguese flag, reflects on the tension between national symbols and painterly intervention. Initially printed via silkscreen, each flag is altered through color shifts, distortions, or graffiti-like marks, challenging the idea of patriotic unity. These interventions question the symbolic power of flags, especially relevant in times of political tension—such as Trump’s 2024 rally backdrop or the redesign controversy of Portugal’s national logo. The choice to paint only Portuguese flags in a Norwegian context adds irony. Few Norwegians recognize the symbol, while in Portugal the works may provoke nationalist interpretations or discomfort. The repetition and variation of the same image aligns with Værslev’s interest in seriality and the legacy of artists like Jasper Johns and Louise Lawler—where context and presentation shape meaning.}},
author = {{Værslev, Fredrik}},
language = {{eng}},
publisher = {{Galeria Filomena Soares}},
title = {{Fredrik Værslev in Portugal}},
year = {{2025}},
}