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.

Diaspora Letters är ett visuellt samtal mellan fotograferna och konstnärerna Nicolás Wormull, baserad i Chile och Ricard Estay, baserad i Stockholm, Sverige. Samtalet inleddes i samband med protesterna i Chile 2019 helt utan ord, där bilderna som de skickade till varandra fick tala. I två parallella dagböcker som demokratiskt samlas i Diaspora Letters får åskådaren ta del av en feberdrömsliknande resa.

En intim mikro-makro dialog som troligen pågått längre än arbetet sträcker sig. Till synes längre än de två känt varandra. Kanske till och med i generationer. Från en diaspora till en annan. Denna utställning är en inblick i hur samtalet har gått under de två år som dessa individer hade en konversation. Vad pratade de om egentligen? Och vad säger samtalet om de två världarna under denna tid?

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.

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.

Precis som jag trodde har skapandet engagerat er väldigt,
Och nu är jag fri att göra som jag vill,
Att ägna mig åt andra ting. Sagt i förtroende –
ni har inte längre något behov av mig.

Utdrag ur dikten Avtagande ljus (1992) av Louise Glück

I sin andra utställning på Galleri ID: I presenterar Snez?ana Vuc?etic´ Bohm en installation bestående av fotografi, objekt och måleri. Utställningens titel, Intervention här med i betydelsen ingripande, medling eller åtgärd, har en central roll i både utförande och tematik. Om måleriprocessen säger konstnären ”Jag använder måleriet som jag använder konsten, jag ser det som en metod; en del i den helhet som intresserar mig. Just i måleriet tillåter jag mig att improvisera mer än i andra uttryck”. Intervention (nu ska du inte avbryta mig) är en undersökning av förbindelsen mellan olika material såväl som mellan interpersonella relationer, privata samtal och offentliga rum, och hur dessa påverkar varandra.

I Den som vill skära i glas, måste ha diamant återanvänder Vuc?etic´ Bohm podium som skulpturbyggnad för ett flertal föremål.
Ett av föremålen är ett större fragment av en handblåst ljuskrona, en replika av författaren George Sands ljuskrona från hennes
sommarresidens i Nohant, Centre-Val de Loire, Frankrike. En transparent glasskiva lutar mot ena sidan av podiet, och håller samtidigt upp en bläckstråleutskrift med Jacqueline Kennedy som färdas i bilkortege genom Dallas, Texas, med sin make John F. Kennedy.
Inuti skulpturen, bildar en utskrift vikt på mitten, en rombisk form då den reflekteras i en spegel. Ett ljusrör belyser bilden omväxlande kallt och varmt.

Snežana Vuc?etic´ Bohms konstnärliga processer relaterar till och inkluderar film, dans, teater, historia, populärkultur och grekisk mytologi, vilka återspeglas även här i utställningen, där koncept och narrativ vävs samman i ett nät av associationer. Återkommande teman i hennes konstnärskap är exil och minne, med familjen som urscen, där den gemensamma nämnaren är en lek kring olika identiteter.

Välkomna!
Snez?ana Vuc?etic´ Bohm, född 1963 i Belgrad, Jugoslavien bor och arbetar i Stockholm. Utbildad på Nordens Fotoskola och Konstfack/Akademin för Fotografi. Hennes arbeten har visats på bland annat, Köttinspektionen/Uppsala, Kulturhuset, Centrum för Fotografi, Norrköpings Konstmuseum, Moderna Museet och Skulpturens Hus. Hon arbetar också med offentlig konst, senast med en installation på Universitetssjukhuset Karolinska Huddinge.
Snez?ana Vuc?etic´ Bohm finns representerad på Statens Konstråd och Moderna Muséet.

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.

Through the Looking-Glass
A Portal into the Dark Fairy Tale

The ‘Looking-Glass’ is an older term for a mirror, and in times past even just the word ‘Glass’ would suffice for referring to this object so benign and yet mysterious. As mirrors were once thought to be an opening that led into the spirit world, it is understandable to see them as a portal yet again, when we consider the inner landscapes of artist Peter Köhler. At once, the looking glass becomes an entrance into not only another realm, but into a vast land of strange terrain where things are not at once what they seem.
To travel into the Looking-Glass then, we can expect to experience something extraordinary, at times unsettling, and yet wholeheartedly familiar. For this is the way that not just any fairy tale, but a dark tale works upon the human heart. The desire to understand something other than our comfortable and secure self-created life is powerful. Through the Looking-Glass, there awaits a story begging to be told. As one walks metaphorically into these images, many tender layers unfold. Our own inner secrets and desires are activated, as are the forces that repel them. As we observe the content therein, the shapes that we identify and the colors that we recognize are upon further inspection not what we first encountered. This is because the classic indicators of a dark fairy tale are present: symbols of death and its process, supernatural entities associated with evil powers, uncomfortable or impossible tasks, ill-omened animals and plants, grotesque and beautiful combinations, intertwining together. Along side these elements are in turn the mundane aspects of life, the common pathways that we are used to walking upon. The genius of these works lies in the way that they cleverly entice one closer by the familiar shapes that suddenly transform before our very eyes into something older, darker and far more intriguing than what we first expected.
For it is the attraction into something occult and hidden that dwells within most souls. Lurking within the Looking-Glass are remnants of age-old tales that reveal themselves as not only uncanny characters interacting within a curious theater of both natural and supernatural design. Somehow, we know the tales without the words, for here they are beholden in pictures. The two-dimensional scenes become alive and wake within us a narrative that at once understands the meaning. That is for each person to find for themselves, those who go Through the Looking-Glass and surrender to the complexity of Peter’s atypical detailing of ink and paint. It may come as a surprise what inspirations are born from participating in this exhibition, as a quiet observer. Indeed, that is the work of the artist, to meet the observer in some way in the between spaces, where the golden coins of Memory and the silver threads of Fate are exchanged. It is from that inner place that the art works upon one, and therefor sets into motion its own magics, from the inside out.

–Corinne Boyer

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!

Humans are the only animals who can’t grow a second skin. Instead, we obtain the essential qualities of protection, warmth and expression by producing clothing that replaces fur, feathers, shell or armor.

In this exhibition, the close connection between garment and body is explored — both in a physical and psychological manner. While the inner surface of a garment touches the skin in the most intimate way, the outer surface represents, defines, or extends the wearer’s personality.

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

Övre Galleriet

Galerie Nordenhake Stockholm starts the new year with Homeing I, a comprehensive exhibition of works on paper by American artist Stanley Whitney. The exhibition coincides with a solo show of paintings by Whitney, Homeing II, in our Mexico City space, opening 8th February. The exhibition title refers to Butch Morris’ album Homeing, as well as an animal’s ability to return to a place after traveling a distance from it, like a homing pigeon.

CAPABLE OF RETURNING HOME is a two-week exhibition activated by the physical presence of artist Alva Willemark and choreographer Sybrig Dokter. Artist and choreographer share time and space at Index with one desire—to test the idea of home. What is a home? How do we feel at home? Who has the right to be at home? The current situation has rendered a world with closed borders, thus ‘home’—and ‘homing’—becomes a multilayered question. Willemark and Dokter write that they understand homing as “a symbol of rapprochement, homing as a method of affidamento (meaning entrustment), entrustment as relational basis for examining a material, a material of memory, home, walking and existing. Leading and following. Working next to, offering and receiving support, propelling each-other forward.”

The Ukrainian born Swedish artist @karpilovski graduated from The Gerrit Rietveld Academy In Amsterdam in 2014. Since then her work has developed into a multi-disciplinary practice ranging from miniature sculptures to large scale installations, performances, texts and paintings. Working both massive and small scale she creates spaces with a focus on the inner and the cultural conditioning it involves. With returning symbols that symbolise emotions rather than subject, Karpilovski focuses on moods and feelings, continuously working without excuses.

During the spring 2022, the Danish contemporary artist Tal R (b. 1967) will exhibit sculptures and drawings at Artipelag. The exhibition The Wrongside consists of two parts, one with sculptures in plaster and bronze, and the other with drawings in charcoal and chalk.

Tal R has become famous for his colourful palette and playful expressions. His world of ideas contains a circular time perspective in a constant interaction between contemporary and historical perspectives. In his art you may find scientific knowledge but equally often also fictional characters. It is this remarkable mix of fact and fairy-tale, this duality, that gave the exhibition the name the Wrongside.

The exhibition at Artipelag is divided in two parts where one part consists of around 100 drawings in charcoal and crayon displayed on a wall. The motifs of the drawings range from the child's drawings to masterpieces reminiscent of the great modernists. They resemble more like archetypes, C G Jung referred to them as prime examples, cutting through our civilisation independent of cultural differences. Tal R forges these archetypes into his very own imagery world.

The second part of the exhibition at Artipelag consists of 35 sculptures in plaster and bronze. These two categories may seem worlds apart but represent an exciting contrast. The plasters are of a more playful character while the bronzes give a more historical appearance.

The exhibitions open Saturday January 15, 2022 and is shown until May 1, 2022.

January 21 will see the opening of Andres Serrano’s exhibition Infamous at Fotografiska. In these new works, the American artist confronts the racist history of white people. The exhibition will run until May 19 2022 and has previously been on display at Fotografiska New York.

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.

ISSUES presents JOY, a furniture collection by Fredrik Paulsen. The first JOY chair will be installed in the art gallery like a sculpture during the Stockholm Design Week with the ambition to actually bridge the separated industries of art and design.

The installation is created in collaboration with visual artist Vincent De Belleval and on the opening night on February 9, there will be a performance by dancer and choreographer Carima Neusser. The JOY chair will be available for purchase at the gallery in a limited edition of 20. First come, first serve.

In recent years, Fredrik Paulsen has staged Fredrik's Fun Fair at the Stockholm Furniture Fair, built a cinema pavilion for the Nobel Prize Museum on Sergels Torg in Stockholm, conceptualized interventions under the collaborative moniker Peace Future Classics and produced a solo exhibition for the Ro¨hsska Design Museum in Gothenburg. He has created several internationally acclaimed projects, including Palazzo Monti, Brescia, Galerie TORRI, Paris, DESIGN Miami and CHART Art Fair / Etage Projects in Copenhagen. He has also designed furniture for Bla° Station and Vaarnii.

Contemporary design is boring. JOY isn’t.

The installation is part of Stockholm Design Week, February 9–13 February, 2022