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.

For more than three decades, she has challenged, fascinated and confounded. Meet one of Sweden’s most prominent artists Annika Elisabeth von Hausswolff, in the exhibition “Alternative Secrecy”, featuring photographic works from von Hausswolff’s entire career, and see her personal selection of works from the Moderna Museet collection.
In this exhibition, you will find roughly one hundred works from Annika Elisabeth von Hausswolff’s entire career. In addition to photographs, she has created with sculptures, textiles and installations. See art from her debut in the early 1990s to the recent series in enamel and acrylic glass.

As a child, Annika Elisabeth von Hausswolff was fascinated by Nordisk kriminalkrönika, a magazine that reported on Swedish crime in text and images. Since then, women’s vulnerability, violence and psychoanalytical theories have supplied much of the subject matter for her art.

But this multifaceted artist’s career has not only concerned the arts and visual art. In the late 1980s, von Hausswolff was also a singer in the third edition of the legendary punk rock group Cortex.

50 works selected from the Moderna Museet collection

For the exhibition, Annika Elisabeth von Hausswolff has also selected some 50 works from the Moderna Museet collection.

“Every image I’ve selected has asked me a question or argued its case. I have answered by affirming its existence. Together the pictures constitute an incomplete map of my own work,” writes Annika Elisabeth von Hausswolff in the exhibition catalogue.

These works are shown as an independent part of the exhibition and in dialogue with von Hausswolff’s own works. Artists represented include Ivan Aguéli, Irving Penn, Ulla Wiggen and Francesca Woodman.

Welcome!

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.

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.

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.

What happens if a man and a woman switch roles when it comes to sex and power?

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.

Stora 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, 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.

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.

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.

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.

In The Moonlight Catcher, Lisa Jeannin summarizes ten years of alchemical research. Södertälje konsthall shows several newly produced works and a theater with the title Fosforos. Art is an alibi for Lisa Jeannin to pursue alchemy. For tickets: https://billetto.se/e/fosforos-biljetter-599127?utm_source=Billetto+Promotion&utm_medium=Social&utm_campaign=Buyer+Share&utm_content=SE+Eventpage+Share+Copylink

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 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.

We are pleased to present works by Christine Ödlund in our showroom in connection with the release of a her new publication, Growing the Third Ear Under the Great Astral Mother Tree.