Specially suitable for Families with teenage kids, Families with young kids , With free wireless. Skandia will show the major movie releases as well as having a cineclub, and why not fitting it out with THX and maybe digital projecting? This is what cinemas really should be about. Want to be emailed when a new comment is posted about this theater? Svenoli on December 5, at 9: Primo Levi, The Periodic Table.

Drottninggatan 82, 36 Stockholm, Sweden. Paul Auster, Travels in the Scriptorium. Here art is commissioned to add credence to the most dysfunctional functionalist-pastisch one can ever imagine, ever more so a shame since Sergel was conceived by the city architect himself. Your browser is preventing opening of PDF in new tab. Watching Stranger than Fiction Mon Oncle. Gunnar Asplund’s Skandia By Leo Gullbring You slip into a cinema, leaving the blackish grey city-walk, heavy doors closing behind you.

The Squid and the Whale. Login or Sign up. His inspiration for this overly decorated interior with its classical vocabulary was to be found in his Italian journey less than ten years earlier. Gilles Deleuze, Cinema 1. From to it was re-named Look Theatern. Inside you’re welcomed by warm, attuned colours, getting your ticket at the box.

A renovation project started and now, inthe organ is playable. In the City of Sylvia.

And this is no plaster or mailordered stucco with signs at the projection box saying: But this is surely more immortality than sin, although snakes in brass are present at the end of railings wreathed in red leather. Your browser is preventing opening of PDF in new tab. You must login before making a comment.


Suspensions pair for Le Cinema Skandia de Stockholm by Erik Gunnar Asplund on artnet

It cinrma matches the word of Gene Kelly who said that ‘I can remember a time when where we went to the movies was just as important as the movies we went to see. The monochromatic painted walls with their intricate borders reminds of Pompeii. Architect Eric Gunnar Asplund designed a Neo-Classical style movie palace with a semi-Atmospheric style ceiling in the auditorium. The exterior reluctantly tells you this is a movie-place, the building itself originally a palace built at the border of the expanding citycore, just a few yards from August Strindberg’s ‘Blue Tower’.

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The Sergel-cinecomplex might be far better than the cinemas of the ’80s, but shows nonetheless a commercialized lovelessness in its contempt for the public.

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Paul Auster, Travels in the Scriptorium. Asplund leaves a heritage in need of a care as careful as for skandiaa movies themselves. Asplund hadn’t got in contact with modernism yet, but the simple straightforward lay-out of Skandia is somewhat promising, and his City Library is already under way, a masterpiece of the classical announcing the modern.

This is what cinemas really should be about. But well inside another cityscape opens up, admittedly on another scale, but nevertheless with a feeling of streets, narrow passages and a slandia room which feels like a starlit park.

And this is all the more unjust since they got themselves a new movie-palace right in centre on extremely favourable terms to the detriment of the tax-payers.


And there you sit in this very cinema, a dream in itself, and Cronenberg is asking you, ‘do you know where the fiction really ends? Ad notwithstanding all its pro and cons Skandia is not meant to be a museum, although that might be the aim of a municipality stuck on a retro-nostalgic policy regarding the city. That Gunnar Asplund was commissioned to do Skandia, which opened upwas no exception. My name is Lina and I am very happy to present you with my personal Stockholm highlights, giving you a local view and hence, very special insights into my city.

But Cronenberg is fascinated anyway, a game where the only restrictions are the players themselves, where their senses are triggered way out of the ordinary when they plug this umbilical-like cord into that moist little hole in their backs, experiencing a virtuality more real than reality.

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Erik Gunnar Asplund. Skandia Cinema, Stockholm, Sweden, Plan of ground floor. | MoMA

David Cronenberg’s eXistenZ questions reality as well as virtual reality. Indoors mingle with outdoor sequences skancia rooms over limestone floors and marble walls, all of it multiplied in mirrors.

This is what going to the movies once was.