[JEANSELLEM VIEWER] — 07 - 26.09.1973 BEATRICE HEYBROEK — Categories: press, visual, docs — Keywords: Galerie S:t Petri, Jean Sellem, archive — Category: press — Unidentified newspaper, 22 September 1973. (“Konstronden” column, by Torsten Weimarck.) Excerpt, “LUND” column. — GALERIE S:T PETRI, S:t Petrikyrkogata 5, open Mon-Fri15-20, Sat and Sun 12-17.Beatrice Heybroek's paintings and objects have a kind of awkwardness that is, of course, anything but temporary or unintentional. It seems to simply reflect and draw attention to an even greater awkwardness in the space around us. It is a very special sensibility that she possesses, as an artist—distant. Her expression is not particularly accessible, but the strange thing is that this hardly seems to hinder an intuitive way of looking at things. In some way, the images she shows seem to be derived from photography, something familiar, not at all unknown. Wednesday is the last day. — — — Category: press — Sydsvenska Dagbladet, 7 September 1973 (handwritten pencil annotation: “SDS 7.9.73”). — Exhibition openingsMalmö Galerie Gustaf, Regementsgatan 94, 4–8 pm. Gerhard F. Scholz.Lund Galerie S:t Petri, S:t Petri Kyrkogata 5, 5–8 pm. Visual language. Beatrice Heybroek. — — — Category: press — Helsingborgs Dagblad . Handwritten pencil annotation below the image: “Helsingborgs Dagblad 21.9.73” — GALLERY S:T PETRI next to Lund City Library is always a pleasure to visit, mainly thanks to Jean Sellem. He has a keen interest in young art, which is reflected both in his choice of exhibitors and in the national and international connections that Sellem makes available.Recently, these included a group of artists in Bergen and another in Iceland, both clearly at the forefront of the latest modern trends. The current exhibitor is Beatrice Heybroek from Stockholm, who presents highly personal reliefs in plaster, plastic and collages under the title ‘Bildspråk’ (Visual Language). These include a headboard with a built-in music box, ‘Moln’, a frog-shaped ‘Hu-vudkulle’ with its croaking sound, and a ‘Vit sång’ with birds and soldiers. The little boy in the photo opposite is actually a recess in the wall of the house, which perfectly expresses his smallness and bewilderment. The artist simply expresses her desire to exchange her art for objects of all kinds. It seems rather appealing.KARL-ERIK ELIASSON — Top of the article with an illustration of a work by Beatrice Heybroek. (see previous image for the full translation) — — — Category: press — Sydsvenska Dagbladet, 18 September 1973 (handwritten pencil annotation: “SDS 18.9.73”). — Beatrice Heybroek, an exhibitor at Galerie Sit Petri, creates naive, perhaps even naive collages. Here, childhood is not idealised in the usual banal way of adults.The child's lack of experience makes its existence and experiences different from those of adults. Nevertheless, they are completely natural in relation to the circumstances. Beatrice Heybroek depicts what is natural for the child in a natural way. The images are somewhat clumsy but not artificial.VIOLA ROBERTSON — — — Category: press — Arbetet, 15 September 1973 (handwritten pencil annotation: “ARBETET 15.9.73”) — A young woman artist exhibits in LundLUND: Beatrice Heybroek was born in Stockholm. She studied art at Fågelsta, Stockholm (1969), Galerie Mesch, Hamburg (1971), Hallagården, Örebro (1971), Galerie Prisma in Stockholm (1972–73), and Sveagalleriet, Stockholm (1972). She presents herself as follows in a catalogue:— She believes there are two kinds of art: art that enriches people, offering new perspectives and experiences, and art that deceives them. In her visual language, the world around us is reflected on both large and small scales, through the negative and positive experiences we encounter in life. The positive is depicted through the sky, clouds, and sun. Negative human oppression is illustrated, for example, by a person locked into a grey corner of a room, shouting “Faen”.In Lund, Beatrice Heybroek is exhibited at Gallery S:t Petri, where she shows around thirty works. — — — Category: press — Skånska Dagbladet, 7 September 1973 (handwritten pencil annotation: “SKD 7.9.73”) — Peace in a display boxToday, Friday, the opening takes place at Gallery S:t Petri in Lund. It is Beatrice Heybroek from Stockholm who is exhibiting there until 26 September.She believes that there are two kinds of art: art that enriches people, gives new perspectives and experiences, and art that deceives people. In her visual language, the world around us is reflected both on a large and a small scale, as well as the negative and positive experiences we encounter in life. The positive is depicted through the sky, the clouds and the sun, therefore all these elements are present in her works. Negative human oppression is illustrated, for example, by a person who is locked into a grey room corner and who shouts “Faen”.Beatrice Heybroek says: “To work with art is to work for peace and against oppression.”This is how Bengt af Klintberg describes her: he shows great respect for her painting. It is a deep faith that he sees in her pictures. Where there was little, and where a path has been given through hand and eye, there is security and order — a poetic feeling in Beatrice Heybroke. — — — Category: visual — Black-and-white photographic reproduction of an artwork (no mention of the title) by Beatrice Heybroek. — — — Category: visual — Black-and-white photographic reproduction of an artwork (no mention of the title) by Beatrice Heybroek. — — — — — Category: docs — Gallery S:t Petri, Lund, 1973 — Printed invitation card in booklet form, published by Gallery S:t Petri on the occasion of Beatrice Heybroek’s exhibition “Bildspråk” (7–26 September 1973) — Front cover of the invitation card for Beatrice Heybroek's exhibition at Galerie S:t Petri — Gallery S:t Petri invites you to the vernissage on Friday, 7 September, from 5 to 8 p.m.Beatrice Heybroek – Visual Language 7–26 September 1973Born in 1945. Has participated, among others, in exhibitions at Hos Petra (1969, Stockholm), Galerie Mensch (1971, Hamburg), Hallagården (1971, Örebro), Galerie Prisma (1972–73, Stockholm), and Sveagalleriet (1972, Stockholm).Works shown: Clouds, Morning, Noah’s Ark, Revolt, The Deserters, White Song, Spring. — Works shown (continued): The Child in the Forest; We, the Adults; Saltimbanques; The Boy on the Mountain; Me and Me; Gunfire; Angel Cloud; Swimming Woman; Hill of Heads; Our Nature; Flock of Sheep and Cloudy Sky; Migration of Peoples; Falling Man; Between Sky and Sea; Wedding; The Blackberry Hill; Rain Cloud.The gallery is open on weekdays from 3 to 8 p.m., and on Saturdays and Sundays from 12 to 5 p.m. Address: S:t Petri Kyrkogata 5, Lund. Telephone: +46 46 14 78 00 — — — Category: docs — Gallery S:t Petri, Lund, 1973 — Critical text by Bengt af Klintberg on the work of Beatrice Heybroek, published in connection with her exhibition “Bildspråk” (7–26 September 1973). — Beatrice Heybroek shows you an extraordinarily deep trust in her paintings. It is like when you were a child and a friend took you by the hand and let you come along to see wonderful secrets. There is a breathless display-case feeling. I know few artists who possess such poetic sensitivity as Beatrice Heybroek. She has a calm, persistent faith in poetry and in people’s ability to be reached there, without artificiality, without intentions.In her works there is a kind of delicacy hovering over dolls, miniature animals, old fabric monsters. But one quickly realizes that she is not seeking to awaken nostalgia or depict an idyll. The events of our time are constantly present; through the apparent idyll vibrates a strong atmosphere of threat. Without becoming loud, Beatrice Heybroek finds images for an insecurity that is not private but global.Already the broad, protective frames or the shielding cabinet walls around the images speak of security and insecurity. There is a fertile tension in the arrangement itself: sometimes the figures appear confined, sometimes protected, sometimes one does not know from what they are protected. Security here is freedom from oppression, the grass’s freedom to grow. Through her works, Beatrice Heybroek addresses the paradoxical power of the gentle and the sensitive to confront oppression.I remember when I attended Norra Real and discovered cracks everywhere in the asphalted schoolyard. There were small, white, round mushrooms that burst through the black-grey asphalt with their force of growth.Security and freedom are united in the images of nature, sky, and birds. The green ground and the weathered clouds are states of mind rather than an external reality; they are part of a poetic, cosmic pulse or tone. Between animals and humans there exists a secret understanding. Lions and angels watch over vulnerable human beings.And above all, everything is convincing: flowers caught in a rain of red threads just as they were about to flutter away; on another wall a music box that you can wind; on a third, you see how the ground rises and sinks and hear how it creaks (yes, actually!). These are small surprises, and they make one happy.Bengt af Klintberg