The works in this collection span a variegated scope of contemporary social conflicts that both bridge and diverge the two distinct worlds that currently co-exist within Malin, the ‘here and now’ of Egypt, and the ‘there and then’ of Sweden. The core intention of Malin’s work is an incredibly complex venture, and is replete with layers of meaning and purpose, mirroring those of the paint on her canvases. In its most distilled form, Malin’s art is the consummate amalgamation of philosophy and art.
To begin our new season Safarkhan is proud to present the debut solo exhibition – and one of our first for a foreign artist in well over a decade – for Malin Juntikka, a Swedish social-realist painter who has been living in Egypt since 2024. Born in 1999 in Härnösand, Sweden, she holds a Bachelor of Arts in Theoretical Philosophy from Lund University, and has postponed her return back to her homeland for the purposes of this exhibition, after which she is due to pursue a Bachelor of Fine Arts at the prestigious Konstfack University of Arts, Crafts and Design in Stockholm. Malin’s work is intensely cerebral and underpinned by her philosophical background, her painting explores real people, places and events which she puts under the microscope of her unique philosophical-artistic examination, addressing social norms, ills and phenomena either as a story or critique. The core intention of Malin’s work is an incredibly complex venture, and is replete with layers of meaning and purpose, mirroring those of the paint on her canvases. In its most distilled form, Malin’s art is the consummate amalgamation of philosophy and art. At the crux of her approach to each and every painting she studiously undertakes, Malin contends with the focal question of how to compose the illustration to most directly and unmistakably project the narrative impact of the social phenomenon she is portraying. The artist’s painting is as much a thoroughly engaging educational experience as it is an aesthetically captivating one. Her work embodies a distinct quality that is both direct yet enigmatic simultaneously, a duality of form and function that is replicated in her own constitution as a Swede living in Egypt, who is both an analytical philosopher and social-realist painter.
As Malin’s painting faithfully captures the visual substance of her subjects, her foundation in philosophical literature is abundantly evident as she accompanies each painting with a simplified and direct yet emotive stream-of-consciousness style narration that serves as an elucidating supporting dialogue. Although the artist intends the painting alone to be sufficiently accessible and comprehensible to the viewer, these brief textual commentaries offer a much welcomed further glimpse into her mind’s eye, one that is stirring with an insatiable intellectual curiosity. The works in this collection span a variegated scope of contemporary social conflicts that both bridge and diverge the two distinct worlds that currently co-exist within Malin, the ‘here and now’ of Egypt, and the ‘there and then’ of Sweden. Malin establishes an imposing contrast, both visually and societally, between her native Sweden and Egypt, with the latter having become a place which she has evidently developed – as is apparent through her painting – a palpable bond with during her two-year sojourn. With her burgeoning confidence as a fledgling painter, Malin has attempted tackling ever more complex social phenomena, producing works that are more vast in both physical scale and philosophical undertaking, as she attempts to situate certain social conflicts within their sociohistorical contexts. Malin powerfully animates her extensive exploratory literary research by bringing it to life on the canvas in her own highly original manner. In this profound merging of two disciplines, she impressively creates thought-provoking causal links between seemingly unconnected past and present events, painstakingly and sensitively captured in their compressed form as enthralling yet digestible experiences for the mass audience.
Compositionally, Malin exhibits a deftness of taste and touch at a tender age that only seasoned artists ever achieve. Her manipulation of oil paints first in the palette and subsequently onto the canvas completely defies her as-of-yet extremely limited experience as a vocational full-time artist. All of her works, even the ones of non-Swedish topics, are imbued with a conspicuous and intriguing Scandinavian spirit; pared-back, clear-cut, minimalist, segmentally defined and emanating natural light. Particularly, her painting evokes such candor about the social stories and critiques she is meditating over through her mastery of figurative portrayals – the protagonists of her works – which are rendered with the most evocative minute detailing. This, coupled with a marked intuitiveness towards achieving the desired tone and hue of each color on the canvas, allows Malin to create scenes that are enveloping to the viewer, being remarkably realistic yet escapist in their nature, whilst also conveying the observational messaging that is the fundamental intention of her craft. Ultimately, Malin’s art is a fiercely veracious and candid exposition of contemporary human society across its multifarious natures; the peculiar, the uplifting and the tarnished.
