MAMI : AMA : MÖDRAR är en kollektiv process där 9 olika konstnärer och kulturarbetare gått ihop för att skapa en utställning som belyser och gestaltar mödrarnas berättelser.

”Vi är barnen som bevittnat hur våra mödrars liv trasats sönder av en arbetsmarknad med låga löner och slitsamt kroppsarbete, mödrar som kastats ur systemet rakt in i fattigdom.

Deras liv är en spegling av ett ekonomiskt system som bygger på ojämlikhet vilket har bidragit till deras undergång. Som barn vill vi bryta den tystnad och isolering som omgärdat våra mödrars liv. Vi vill skriva in deras berättelser i historien och tala om de styrkor, omhändertaganden och kärleksförklaringar som rört sig i det tysta.”

Bland verken synliggo¨rs de komplexa relationerna mellan mor och barn, vittnesma°l till mo¨drar som ba¨r pa° migrationens erfarenhet, och det ofta absurda i mo¨tet med va¨lfa¨rdssamha¨llets olika system. Ha¨r fa°r vi a¨ven ta del av intima bera¨ttelser fra°n vardagen vilka varvas med bera¨ttelser som ekar genom generationer. I utsta¨llningen visas skulpturer, ljudverk, storskaliga och interaktiva installationer, video, ett deltagarbaserat textverk, ma°leri, performance, fotografi, onlineverk och en konstaktion.

Utställningen skapades i samarbete med Botkyrka konsthall, med vernissage den 29 augusti 2020 och visades fram till den 16 januari 2021.

Mint presents A Careful Strike*; a group show that departs from the monumental painting The History of the Workers Movement by the sheet metal worker, musician and artist Ruben Nilson (1893–1971), permanently installed at ABF Stockholm. Painted during a ten year period around 1940. Following a tradition of workers’ art, the collective struggle for emancipation is at the centre of Nilson’s painting. The exhibition follows Nilson’s artwork both in its ambition and challenge: What does the reproduction of a movement’s history entail? What different roles can art play in social movements and through which expressions? How is art engaged in today’s movements? A dialogue with the specific struggles and the histories that inform Nilson’s composition of intertwined visual narratives, structured through visible conjoined cuts form the curatorial framework of the exhibition. The works historical connections to contemporary situations are put in relation to what is missing within the frame – the histories and experiences that are left out while establishing a prevalent worker’s history. A Careful Strike* is an exhibition and a public program (that preceded the exhibition during the fall of 2020), where workers’ art is confronted with Swedish and international contemporary works. The form and history of social movements are reflected through situated experiences of migration, care, exploitation and struggle. Through songs, poetry, talks, and artworks historical events and issues are made visible in a conversation on our current condition. What do we need to remember and what is to be done to win back the future? *The exhibition borrows its title from the militant feminist collective Precarias a la deriva (Precarious women adrift) 2004. The collective was formed in Madrid in 2002 in reaction to the male-dominated unions that were organising a general strike in reaction to labour law reforms in Spain. Precarias a la deriva wanted to highlight the challenges many face in participating in strikes, due to a reality of precarious employment and a higher burden of reproductive work. They wanted to create a collective situated narrative on the general tendency toward the precarization of life they were experiencing and the ways to revolt and resist in our everyday lives. – Precarias a la deriva, Una huelga de mucho cuidado (Cuatro hipótesis), 2004. The exhibition is produced with generous support from The Worker Movement’s Culture Fund, The Swedish Arts Council and The City of Stockholm.

Accelerator presents British artist Jonathan Baldock’s first solo exhibition in Sweden. Baldock is presented in parallel with the Swedish artist Adèle Essle Zeiss in an Autumn exhibition programme focused on transformation and how we relate to the human body and our personal space. Two exhibitions characterised by sensuousness, presence and a cautious hopefulness.

Please note some artworks contain dried lavender.

Accelerator presents Swedish artist Adèle Essle Zeiss as part of an Autumn exhibition programme focused on transformation and how we relate to the human body and our personal space. Essle Zeiss is presented in parallell with artist Jonathan Baldock. Two exhibitions characterised by sensuousness, presence and a cautious hopefulness.

Marabouparken konsthall continues this fall with a large-scale solo exhibition by Leif Holmstrand. The exhibition will include works from his entire time as an artist, from the 90s until present day. Leif Holmstrand is perhaps mostly known as a performance artist, and the performative is a clear red thread in the exhibition. Live performances will also be a part of the program during the course of the exhibition.

The exhibition highlights his comprehensive work as a visual artist. His many objects where the material is central – yarn, textile, black garbage bags, prams, tough nylon rope – have occasionally been actors in his performances, but are also independent works in their own right. They gather here on the stage that is the exhibition room – even though they have been created during a twenty five year period, they are all remarkably contemporary, sharing a distinct affinity among them.

A selection of costumes featured in performance situations are shown in the exhibition. One of them stems from the extensive project Asami Kannon, which manifests itself in both literature and performance. While the character gets its first name Asami from a Japanese horror film, Kannon is the Japanese name of an East-Asian deity, female at times, male at times, who is associated with compassion and charity. In the piece many recurrent themes of the artist congregate – the ritualistic, the violence, the vulnerability of the body and mind, the transboundary gender belonging, trash as culture and life’s ultimate consequence – but also a deep empathic understanding of mankind’s condition, warmth and compassion.

An interest in the mythological is consistent for Leif Holmstrand. In a series of photographic works from 2018, Holy Helpers, he presents “14 mutated saints” with the words: in a world of garbage bag plastic, make-up and new kinds of eyelashes; these saints can guide queer people through diseases and traps of the mind and dangerous surroundings”.
In another work we meet Aphrodite Anadyomene while she rises from the sea, an Aphrodite that drags the seas garbage with her from the depths – she too a goddess who far from Botticelli’s Venus, is connected to a darker history of rage and violence, born as she is from her fathers castrated genitals. The shapeless ocean, taking firm shape – an ideal image of creation and art – becomes an image of art as a place containing a versatile reality of raggedness, a place where experiences can be included and managed and where Anadyomene, partly risen, partly trapped in a wave of entangled nets and black plastic, claims her place in the world.

The, by format, largest work in the exhibition Breeder Covers (2017 – 18) takes up all of the gallery’s 25 metre long back wall. It consists of 24 objects, crocheted in black yarn. Shapeless, but precise, they reminisce of both body and garment. Alike, but all different, a kind of army, intimidating but pitiful. The yarn hangs and drapes, the crocheted forms seem waiting to be filled. The “breeder” from the title is gay-slang for heterosexual men. Each of the objects has also been given an individual title after a species of slime-mold, curious single-celled organisms who under certain conditions act as a mass, prepared to sacrifice its inefficient parts.

During the same period we are exhibiting Leif Holmstrand’s drawings in the project room on floor 1. They have a feeling of restlessness, the pencil seldom seems to leave the paper and the line’s long threads form nets, maps, figures reminiscent of the sculptures’ rope and yarn.

Leif Holmstrand’s extensive oeuvre also includes close to 40 published collections of poems, which we will emphasize in the public program of the exhibition.

The big misconception presents Carl Johan De Geer's textile works. Fabrics, print sketches, installations and photographs from the early 60s to the beginning of the 21th century are shown together with films where Carl Johan De Geer talks about his inspiration and output.

Concrete housing blocks floating out into dreamy color fields, a group of artists who map real estate ownership along the blue metro-line, a sound piece about the rootlessness of Tigrinya and an invention that might improve the water quality on Järvafältet. These are just a few of the artists’ proposals that were sent in after the open call, announced by Tensta konsthall last summer. Of 134 proposals, 26 will be presented in the exhibition Phantoms of the Commons.
Järva was one of the earliest and heaviest pandemic-stricken areas of Sweden. After years of gradual shutdowns of services and meeting places, Tensta became even more closed, and consequently became more isolated also. Even Tensta konsthall, which has for a long time functioned as a social non-commercial spot, had to close. Now, we open again with a presentation of works in the forms of video, painting, installation, publication and social activities, which move around issues such as language, ownership of our public space, art as care, sauna-bathing as a starting point for meaningful conversations and a big all women dinner party including individual food stories. For the visual exhibition design, Tensta konsthall has asked the Gothenburg-based artist Eric Magassa for a commission.

During the exhibition period, the Small Gallery will be transformed into an open working space for the course Art Mediators for Change, an EU-project entitled Agents of Change - Mediating Minorities.

The jury consisted of the artists Apolonija Šušteršic and Sam Hultin, along with the curator Jari Malta in collaboration with the Tensta konsthall team. The exhibition has been realized with the support of Region Stockholm.

Phantoms of the Commons will be open from 29.10 2021 till 16.1 2022. We are open Tuesday– Sunday 11.00 – 17.00

Painterly structure: Eric Magassa, Bring Me the Horizon

Gallery Steinsland Berliner is proud to present WHAT A WASTE an exhibition by AKAY & Olabo. You are welcome to join us at the gallery for the opening on Friday 5/11 between 17.00-20.00.


What a waste...

What makes something a valuable commodity and when is it garbage? Items on store shelves are precious enough to protect with security guards, surveillance cameras, special mirrors and alarm systems. But when food products pass the sell-by date, they end up in the dumpster. Unsold fast fashion garments are sent to a landfill after the trend ends. All the materials and resources and labor that went into their creation is, with one decisive action, suddenly made worthless. What is that moment? When does a must-have product of a multibillion dollar industry transform into literal trash?

And on the other hand, what is the alchemy that can transform discarded tarps and leftover cargo straps into art? Akay and Olabo have rescued refuse from gutters and construction site dumpsters and created pieces that are not out of place on a gallery wall—beautiful and remarkable and the result of their joyful resourcefulness and trickster ethics. They’ve harvested the city for these pieces. Making sure nothing goes to waste. And, as often in their process of creating, by navigating the gaps between what’s currently socially acceptable and what’s sure to be politically necessary, they’ve widened the path some. Provided a glimpse into something that was hard to notice beyond the aisles of commodified items and mountains of waste. One possible way through this mess, forged by impulsive curiosity and a casual disregard for the economic system that extracts, consumes, discards.


Stockholm based artists and frequent collaborators respectively known as AKAY & Olabo move around the city utilizing it as backdrop, tool and recourse to create thought provoking installations and public interventions characterized by a practical ingenuity and unflinching questioning of societal rules and procedures. AKAY & Olabo’s most recent exhibition at the gallery was Permanent Vacation in 2018.

The artist Berit Lindfeldt turns everyday objects into abstract art. Welcome to an exhibition with this year’s recipient of the Friends of Moderna Museet Sculpture Prize, and experience her innovative, multifaceted sculptures.
On a visit to Iceland in 1996, the sculptor Berit Lindfeldt (born 1946) started collecting objects and materials, since she was unable to bring along any art supplies. So, she began working with whatever she could find in the surroundings.

Since then, Lindfeldt has continued using bronze, cement, plaster, wood, iron, rubber and foam to combine and fuse ordinary objects into abstract, yet often strangely familiar, manifestations.
In Lindfeldt’s practice, form and content meet in brilliant and often unexpected ways.

Numerous public sculptures
Berit Lindfeldt has received many commissions for public sculptures all over Sweden. One of these was the monument over Astrid Lindgren, the “Källa Astrid” fountain (2007), which now stands outside the culture centre Astrid Lindgrens Näs in Lindgren’s native Vimmerby, Småland.

She has also exhibited internationally and in Sweden. Recent Swedish exhibitions include “Tillvarons kant” (On the Edge of Existence) at Liljevalchs in 2014, “Insidor och Utkanter” (Insides and Outskirts) at the Royal Academy of Fine Arts in 2020, “Barmark” (Bare Ground) at Elastic Rural in 2021, and “Värme/Energi” (Heat/Energy) at Kummelholmen in 2021.

Sixten Sandra Österberg's first solo exhibition at CFHILL is curated in our Main Gallery and includes all new artworks. Sixten Sandra Österberg mainly works with painting in a classic pictorial tradition. In a more deconstructive process, the forms are modified in an attempt to allow other, not always given, expressions and gestures to be conveyed. It is a painterly practice that wants to linger on the perceptive body and how it can, through image processing, deactivate / activate contemporary political and social conventions.

CFHILL's recurrent exhibition Ten by Ten aim at offering a diverse selection of iconic artworks, from different times and places, highlighting the great leaps in art history. This autumn we proudly present ten pieces that each illustrate important aspects of the rapid artistic development during the extraordinary 20th century. Created between 1908 and 2018 the selected works, by male as well as female artists, were executed in six different countries spread over two continents. Pieces strong enough to stand alone and yet here they are, placed in dialogue with one another in our gallery. Works by; Gustaf Fjæstad, Sigrid Hjertén, Christian Berg, Pablo Picasso, Antoni Tàpies, Arman, Kenneth Noland, Howard Hodgkin, Andy Warhol & Amoako Boafo.

Many artists take inspiration from their travels and their lives. In Jin-Sook So's work there is a sense of place – Sweden, Japan, America and Korea – and also a sense of Korea's past. She has lived and studied in these countries and views herself as neither being locked into a single nationality or a single artistic medium. She references each place in her work in ways that are strikingly modern and original. So's early electroplated, steel-mesh patchwork pieces are an illuminating example. While reminiscent of traditional Korean bojagi wrapping cloths, her soft, color-washed color palette, the additional texture of the mesh, even the frosted Perspex frames in which they float, are a reinvention. No longer a functional, decorative item, or even a textile, these patchworks have become contemporary artifacts – combining the fragility of silk in appearance and the strength of steel in execution.



It was in the 80s, during an extra year of study in the Metals Department at Konstfack University of Arts, Crafts and Design, that So became familiar with hard metals. She began treating metals, such as stainless steel mesh, like textiles; bleaching, braiding, twisting, and oxidizing them, burnishing them with gold, silver and copper nitrate, using brushes, blow torches and wax. Her work for the Lausanne Biennial in 1989 reflected this new approach. For that piece, she worked directly with the flat steel mesh, developing the volume by pleating it manually, repeating and twisting the form and then coloring it, blue, black and brown, with a blow torch. Energy and voluminous dimension characterize the work.



The exhibition "Steel Mesh Untitled" features a selection of works executed in oxidated steel mesh, Perspex, wood and paper, that range from early on in So's career until present day.



Jin-Sook So (b. 1950) was born in Jeonju, Korea, and lives and works in Stockholm, Sweden. She is educated at Soodo Women's College of Art in Seoul, the University of Art in Kyoto and Konstfack University of Arts, Crafts and Design, Stockholm. Her work has been shown extensively around Europe, Asia and USA, and is represented in MAD Museum of Art and Design (New York), National Museum of Art (Osaka), Brooklyn Museum (New York), Röhsska Museet (Gothenburg), Nationalmuseum (Stockholm) and the Public Art Agency of Sweden, among other institutions and private collections.





Text: Rhonda Brown & Tom Grotta, co-curators Browngrotta arts

Emma Bernhard’s first exhibition at Galerie Nordenhake Stockholm brings together a selection of new works that carefully incorporate abandoned items. In Bernhard’s series of sculptures and paintings, materials are immersed in a new context that allow us to break and reconfigure notions of value.

A group exhibition of painters only.
The 1st Stockholm Painters’ Salon brings a concentrated blast of contemporary Sweden-based painting across a range of expressions.
More than 30 painters on less than 20 m2.
Love painting and it will love you back!

Artists’ Film International is a network of art institutions from around the world, first established in 2008 by the Whitechapel Gallery, London. From a selected theme, each participating institution chooses a film from an emerging artist. The theme for 2020 is Care.

Bonniers Konsthall has invited Victoria Verseau to participate with her film Approaching a Ghost.

Konsthall C proudly presents Unkilled, an exhibition about refugee detention. Unkilled is based on material from a film project by Hanna Heilborn and David Aronowitsch.
In five audiovisual works, they shed light on the global structure around the detention of people on the run. Three detainees describe their experiences from within detention, in Sweden and England. We also hear a PR representative from the multinational company Serco, one of several private actors that run detention centers for refugees and migrants in the world.

Please note: The exhibition contains testimonies of vulnerability, violence, mental illness and the retelling of a suicide attempt.

Stora Galleriet

During the spring 2022, Annika Liljedahl (b.1946) exhibits sculptures and works at Artipelag. The exhibition Väx till Liv also includes the work Insekt Insikt, set to music, from Artipelag’s collection.

Annika Liljedahl works cross disciplinary with materials such as Japanese silk, lacquer, pins, steel and fiber optics. Through art, she examines man's relationship to the world around and thus also to nature. Her artistry oscillates between seriousness, humour and satire and often deals with life affirmations and life in development. It is Liljedahl’s continuous investigation of life in transformation that has lent its name to the exhibition Väx till Liv.

The exhibition Väx till Liv shows a generous presentation of works from the 1980’s to present day. Among the works, the picture series Förvandling (1983–1989), Hinna (1994) and the work Insekt Insikt, from Artipelag’s collection. In addition, a few new sculptures will be displayed.

The music to Insekt Insikt is composed by Lo Kristenson.

The exhibition opens Saturday January 15, 2022 and will be shown until May 1, 2022.

The sound work in the exhibition is composed by Lo Kristenson.

Die Brücke — a group exhibition featuring Antwan Horfee, Conny Maier & Philip Emde.

The exhibition title is taken from the Avant Garde German artist group active at the beginning of the last Century known for playing a pivotal role in the expressionist movement in Europe. The featured artists — Antwan Horfee, Conny Maier and Philip Emde — carry the legacy into 2022 and beyond with their distinct artistic practices that reflect on our existence in the contemporary landscape. The exhibition is a collaboration with Ruttkowski;68 (Cologne & Paris) and curator Nils Müller.

Bettina Marx (born 1981) lives in Bonn, Germany and works with painting, graphics and spatial installations. Her world of images moves between abstraction and figuration, and is based on traces of a place's history and its properties. The exhibition title Wander, drift, melt and fold suggests the diversity of movements - historical, temporal, meteorological, process-based and production-related - that we encounter in Bettina Marx's work.

The exhibition at Fullersta Gård is mainly based on a series of works that she performed after a trip to Hälsingland and Dalarna in 2018, and which is now being shown in Sweden for the first time. With a previous interest in the traveling painters' decorative pumpkin paintings and the famous falu-red color, she visited several historic farms in Dalarna, as well as the historic farms in Hälsingland that are on the UNESCO World Heritage List.

Vad gör rutnätet?

Jag arbetar sedan några år på en serie av abstrakta målningar som alla bygger på en form av rutnät som jag lärde mig redan som ung konststudent. Det är en arbetsmetod och på samma gång ett verktyg som har använts genom konsthistorien av konstnärer när de komponerar/disponerar bildytor.

I utställningen utforskar jag rutnätets visuella struktur och bygger ut det i rummet, samt reflekterar kring dess betydelse i vår tid. Det med tanke på att vi lever i ett nu där vi är oavbrutet uppkopplade till ett världsomspännande datanät via våra skärmar.

Vad gör rutnätet? är också ett praktikbaserat konstnärligt forskningsprojekt som jag driver med stöd av Vetenskapsrådet, förlagt till Konsthögskolan i Malmö.

Utställningen skall ses som forskningens rumsliga/visuella gestaltning och hela projektet planeras att presenteras i form av en bok som presenteras senare under året.

Matts Leiderstam (f. 1956), lever och arbetar i Stockholm och Malmö.

I Totties utställning ”AIWHEtL” materialiseras förfluten tid i nuet genom återvinning.

Restprodukter som färgrester och penseltvätt införlivas och återbrukas i nya arbeten och i omarbetningar av tidigare verk och textmaterial.

Utifrån regler som stipulerar repetition av linjer, visuella och rumsliga förskjutningar eller specifika färgrecept, gestaltar verken skärningspunkter mitt i skiftande tankestrukturer.

A selection of Stockholm Stad's art purchases from 2020 & 2021. The exhibition is at Liljevalchs+

Re-imagining the antagonist Duchess Raven Waves in the 80s cartoon Lady Lovely Locks, the installation Duke Raven Waves draws from memory, art history, nostalgia, and popular culture, in order to try to come to terms with the good versus evil dichotomy which we are all taught from the many prominent narratives in our childhood, and which seems to stay with us as we grow older. The textile, the sculpture, the video, and the sound; they all seem as if co-exist in a symbiotic play between the abstract and the figurative, and between the kinetic and the static. This state makes the installation seem as if freed from the constraints of both linear time and spatial orientation; ultimately blurring the reassuring simplification of the childhood narratives. In doing so it tells a story of longing for transformation — of becoming and ceasing to be, and all the stages which occur in between — yet at the same time, of a self which tries to resist any form of change.

The spring salon at Liljevalchs is a dear, contentious and lively tradition since its inception in 192

The Finnish-Sami artist Outi Pieski has been acknowledged for her works that converse tenderly with Sami culture and identity. In paintings and large-scale installations, she explores themes of Sami history and future, indigenous people’s rights and sustainable development. Pieski’s works have close ties with Nordic nature, and she sees art as a tool for relating to, and recovering from, the forced assimilation of the Sami people.

In several of her works, Pieski references the Sami craft of duodji, with materials such as wood, silver, and textiles. Duodji was marginalised in the wake of colonisation, but the tradition still has a strong hold: “Duodji is a collective way of making. It is our connection to each other, to past and future generations, and to nature. For me, duodji is radical softness dealing with vulnerability, sincerity, sensibility and communality.”

— Outi Pieski

The exhibition at Bonniers Konsthall consists of two parts which are both related to the collective way of making. When entering the library at Bonniers Konsthall visitors are met by Beavvit II / Rising Together II (2021). A textile installation inspired by the gathering of good friends dressed in the traditional Sami costume gákti. While the main installation is based on the traditional Sami horn headgear, ládjogahpir, which Pieski is relating to the history of Sami women. Her installations are often based on a collective practice involving collaborations with other artists, researchers, and activists. Paintings, photographs and other graphic elements in the installation builds on an extensive study of the object, carried out by Outi Pieski and the researcher Eeva Kristiina Nylander (formerly Harlin). The story highlighted by the headgear involves a colonialist metamorphosis. The headgear was banned by the colonialists and forced to change its shape, a parallel to the forced transformation of society into a more patriarchal culture that reduced women’s status. Today, the ládjogahpir symbolises the fight for Sami women’s emancipation from colonial and patriarchal inequality.

Vernissage 11 february kl 17–22 with a limited amount of visitors in the exhibition. The exhibition can also be seen from the strees.

On 18 February, Fotografiska will open the doors to its major spring exhibition; ???? featuring images by the Russian photographer Elizaveta Porodina. With her experimental, dreamlike and occasionally surreal photography, she invites us to merge the past and the contemporary – a journey through time and space. Elizaveta Porodina has become a favourite within the world of fashion and now she is inviting the Swedish public to view her evocative and multifaceted imagery, a parallel universe and window to the mind.

Fina Miralles
I Am All the Selves I that Have Been
Welcome to the opening on February the 19th at 12 o’clock.
The exhibition is shown simultaneously at Marabouparken konsthall and Index.

Marabouparken konsthall and Index – The Swedish Contemporary Art Foundation are proud to present Catalan artist Fina Miralles’ first major exhibition in Sweden, produced by, and first shown at MACBA (Museu d’Art Contemporani de Barcelona) and curated by Teresa Grandas.

Fina Miralles’ (Sabadell, 1950) practice extends across decades, and we can read her work from our present time: her questioning of identity, the relationship with nature, her performativity with the self, the inherent politics of everyday life – everything in her body of work is connected to today. We can relate to an artistic practice that observes our time from the poetry of a singular language.

Solo exhibition with Mona Hatoum (b. 1952 to a Palestinian family in Beirut, Lebanon), an artist who through installation, sculpture, performance, photography, and video, consistently explores issues of the familiar and the foreign, home and exile, memory and loss.