Art + Sport = Love. SNETT/INÅT/BAKÅT (Terrorboll) by Klas Barbrosson
”I sidefooted the three enormous footballs, felt like Beckham — three long passes, and they ended up moving from Gamla Ullevi to a stair outside an educational institution, to Plattan, and onto a massive elevator roof ouside a bar in Stockholm.
The title of the work refers to a football-related expression and to them being balls, but of course, the interpretation is as open as a perfectly placed cross-field pass – one you kill on the foot or cushion on the chest.
I've been longing for this triptych. it is one thousand two hundred kilos of love." //Klas Barbrosson
Klas Barbrosson (b. 1976) is an artist known to question the concept of culture and to challenge the widely held belief that there are two types of culture: one more important type catering to the highly educated upper middle class, and one superficial, wear and tear-culture for the young and uneducated.
Barbrosson is perhaps most well-known for the way in which he works with sports-culture in his art, and especially the world of 1990s football. One of his public artworks in Gothenburg is a pizza called En Nolla - First Klas, available to order at Odins Pizzeria.
The exhibition is made in collaboration with Stockholm Konst, Svenska Brasserier (and Café Klotet) and the SSE Sport Initiative.
Photos by Mikael Olsson.
"Har lite svårt med formuleringarna 2025. Det e så fruktansvärt mörkt. Men i det hittar man också hur förbannat viktigt det e med konst. Själva andningshålet i en tid som verkligen försöker kväva en. Vägrar. Mitt nya verk SNETT/INÅT/BAKÅT (Terrorboll) kanske just blickar inåt för att hitta den där energin som ingen kan ta ifrån en, eller oss för den delen. En dag ringde en vän och sa att det står ett material till dig på en idrottsplats i Göteborg. Alltså där jag bor nu. Jag sprang dit. Och där var dom. Jag va ung en gång och då såg jag dom här i Solna och jag dog av ett ha-begär. Vilka underbara skulpturer, vilka otroligt fina fotbollar! Sen stod dom där, och vad jag vet står dom där än idag, fast Råsunda inte finns längre. Samma fotbollar har sen jag kom till Göteborg stått utanför Gamla Ullevi som terrorskydd vid en entré. Men nu gör dom inte det längre. Via Gamla Ullevi och en magisk dialog är tre av dessa objekt nu i min konstnärliga praktik. Det känns i hela kroppen, dom läker en år 2025. Titeln anspelar på ett uttryck kopplat till fotboll och vad dom faktiskt är, men givetvis e tolkningen öppen som en riktigt vass crossboll, som du tar ner på läppen eller kexet. Jag drog en stenhård bredsida, på tre enorma fotbollar, kände mig som Beckham, tre långpassar och dom hamnade från Gamla Ullevi, på en trapp till en institution, Plattan och på ett enormt hisstak i Stockholm. Det e första halvlek ända fram till maj. Sen ska dom vidare till Luleå och visas där i andra halvlek. Varje skulptur har en inramad skiss med titel, material och signatur som tillhör. Den här triptyken har jag längtat efter. Ett tusen två hundra kilo kärlek. I en tid som 2025 har dom äntligen kommit hem. Fint att avsluta med ett rim. //Klas Barbrosson"
Having a bit of trouble with finding words in 2025. It’s so incredibly dark. But in that, you also realize just how damn important art is. The very breathing space in a time which truly tries to suffocate you. I refuse. My new work SNETT/INÅT/BAKÅT (Terrorboll) might just be looking inward to find that energy that no one can take away from you - or from us, for that matter. One day, a friend called me and said, “There’s a material for you at a sports field in Gothenburg.” That’s where I live now. I ran there. And there they were. I was young once, and back then, I saw these in Solna and was overwhelmed with desire. What wonderful sculptures, what incredibly beautiful footballs! There they stood, and as far as I know, they’re still there, even though Råsunda no longer exists. The same footballs have since I moved to Gothenburg been standing outside Gamla Ullevi, serving as anti-terror barriers at an entrance. But now, they’re no longer there outside the arena. Thanks to Gamla Ullevi and a magical dialogue, three of these objects have now become part of my artistic practice. I can feel it in my whole body - how they heal me in 2025. The title of the work refers to a football-related expression and to them being balls, but of course, the interpretation is as open as a perfectly placed cross-field pass – one you kill on the foot or cushion on the chest. I sidefooted the three enormous footballs, felt like Beckham - three long passes, and they ended up moving from Gamla Ullevi to a stair ouside an educational institution, to Plattan, and onto a massive elevator roof ouside a bar in Stockholm. This is the first half of the game, until May. Then they move on to Luleå for the second half. Each sculpture has a framed sketch with its title, material, and signature. I’ve been longing for this triptych. One thousand two hundred kilos of love. In a time like 2025, they have finally come home.
// Klas Barbrosson"
