Aftonbladet, Forskning och Framsteg, Dagens Nyheter, Moderna Tider, Galago, Musik, Metallarbetaren, Pedagogiskt magasin Dragon Records, Stockholms Stadsbibliotek, Bonniers förlag, Ordfront, och Natur och Kultur, Stockholms Landsting, Leopard Förlag, W&W, AMS, mfl
Nationalgalleriet, Stockholm -07
Galleri Bibb, Stockholm -07
Konstepidemin, Göteborg -07
Galleri Bibb, Stockholm 2 X derkert (med Teddy Derkert) -03
Galleri Bibb, Stockholm Doktor Böhm (tillsammans med Stefan Lakakatos) - 01
Kulturhuset, Stockholm -1999
Galleri Bibb, Stockholm -96
Galleri Agueli, Stockholm -93
Galleri Sjöstugan, Oxelösund -93
Galleri Karneval, Öland -93samlingsutställningar
Världsutställning – Nationalgalleriet, Stockholm 2007
Galleri Bibb – tillåtet/förbjudet 2007
Grafikens Hus – Samtida grafik 2007
Bokkonst – Galleri Bibb 2005
Mikkelin Taidemuseo 1999-2000
Mikkele Illustration Triennial -99
Galleri Bibb “typos; tekn, teckning” -98
Kulturcentrum, Örebro -96
Galleri Bibb, Datorkonst - 96
Galleri Agueli, Manligt, Kvinnligt, Mänskligt ,Stockholm -95
HG 5, Galago Festival, Stockholm -91 och 92
Galleri Tornhuset, Svensk Satir, Umeå -90/91
Historia 40 p - 1990 (history)
Musikvetenskap 40 p 1975( musicology)
Lärarhögskolan - 1989 (pedagogy)
Litteraturvetenskap 60 p - 1988 (litterature)
Lärarhögskolan, Stockholm 97 -04 Lärare i IT, bild, visual communication
Örebro universitet 02-04 Lärare i bild, visuell komunikation
Konstfack ht -06
Gotlands Högskola 03/04 Lärare i bild, visuell komunikation
Sveriges Radio 1983-1995 Journalist
I was born 1954 in Stockholm, Sweden. Artist of sorts, or rather sort of artist. Collagist since childhood mainly inspired by Life magazine. I have no real formal education in arts. I was more or less auto- attacked by art itself. I was raised in a bourgeoisie home and the idea of becoming an artist never entered my mind. In my family there was a rather famous artist, Siri Derkert she was a communist and an agitator for female rights. She had had a hard time financially so from my parents point of view becoming an artist wasn't such a great idea.
Anyway I liked to play around with paint, and experimenting with collage techniques and different materials. When I was about 11 years I became interested in pop music. So I started to play the guitar. I got a tape recorder from my parents and began to record music and fiddle about with my tape machine.
In the mid sixties the pop music was in a experimental phase and so was the cover art of the records. Many record covers were made in collage styles. For exempla Beatles Revolver and the Cream's Disraeli gear. It was no coincidence that the two major british "pop painters" Peter Blake and Richard Hamilton made the covers for Beatles Sgt Pepper and the white album. Pop music changed in exiting ways but I was also exposed of art work directly or indirectly inspired of dada and modern art.
I didn't stop making pictures but for many years music was my main expression. I took up the saxophone, listened to avante garde jazz and started hanging out with guys playing free music. I played in different groups but eventually got a bit fed up the concept of free playing. Some of the player weren't that good and somehow the music sounded too much all the same. I did get some reviews, some good some bad. I will quote from a very enthusiastic review by Eric Centerwall.
There is no free music, the musician screams from the stage, but his shouting is drowned by two horn players on the balcony. Edvard Derkert's terrorist guitar fires gunshots and constantly abandoned the conventions that have become the debris of the jazz tradition. In macabre agony he ends the show by playing the guitar with his feet and desperately pulling an accordion with his hands. The repudiation is so total that something new just have to be born.
The times they are a indeed changing, today it wouldn't be political correct to describe music that you seem to enjoy as gun shots from a terrorist guitar. On the picture below you can see me protesting against throwing so called "terrorist" out of Sweden. The text in front of me reads: We want proof. I also had much longer hair in those days.
Some time after that I quit the free music scene and I certainly wasn't instrumental in the delivery of something new. After that I played jazz, rock, fusion and what ever in different contexts. I wanted to be a great guitar player and saxophonist but the more I practiced my scales and arpeggios the less interesting playing became. My love for music wasn't reciprocated and I more or less stopped playing music.
Even when I was mostly into music I couldn't quite stop making pictures. The pencil drawing on the right is from a file I had covering my cassette tape collection, This is the page for tape nr. 54 A. This was a self portrait which ended up being just a kind of background for the music information. An early form of graphic design from the late seventies. If you want to see what I listened to in those days click on the drawing.
In the late 80:s I started to pick up on my collage work again. I had some exhibitions and sold a few collages to Aftonbladet (a mayor Swedish newspaper) and realized at last that this was what I wanted to do. In the early 90:s I bought an Amiga computer and started experimenting with pixels and vectors and animations. I truly was mesmerized. I just could 't stop. Most of this stuff is on disks which only runs on the amigo – So they are so to speak lost in translation. What's left of it is an animated I did whit my friend Ola Backström, who to my big grief passed away two years ago, and a little picture of a "happy" Hitler. Se below.
After a few years I switched to a Mac computer which opened up lot of doors for me. First of all I got my hand on the great image editing program Photoshop which I use almost exclusively when I make my pictures. Now I could sell my digital art to magazines, and I could use material which I scanned as many times I wanted. I could both eat the apple and save it for another pic. I have by now almost abandoned paper collage – but the collage spirit lives on. Part of me is still a dadaist.