In this multifaceted exhibition, different ideas and areas of knowledge meet in the exploration of how a symbiotic thinking can inspire change and bring forward new ways of understanding the world. By applying a symbiotic perspective on contemporary and future events and challenges, we allow different methods and analyzes to interact in order to create new images and stories of a complex present and future.

Symbiosis is an exhibition, but also an experimental platform for imagining and shaping a symbiotic thinking, through art, theory and conversation, where different themes provide various points of view. The exhibition consists of theory sections with examples and illustrations, as well as works of art that freely relate to the issues.

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.

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.

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.

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.

Members of Pussy Riot exhibiting

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.

The Maria Bonnier Dahlin Foundation was established by Jeanette Bonnier in 1985, in memory of her daughter Maria, who lost her life in a car accident at the age of 20. Since its inception, the foundation has awarded grants to young Swedish artists to support them in their work. The 2021 guest jury includes artist Jens Fänge and curator and writer Saskia Neuman.

This year’s grant recipients will be announced on 20 August 2021. In addition to a prize money of 100,000 SEK each, the grant recipients will be presented in a major exhibition at Bonniers Konsthall.

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

Övre Galleriet

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.”

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.

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

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

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.

The Swedish artist Lap-See Lam’s practice evolves around the creation of stories through text, animation, and sculptural installations. The exhibition Dreamer’s Quay is composed like an all-encompassing installation and a story in magical realism through time, space, and dreams. The narrative takes the audience from 1970s Chinese restaurants back in time to European Chinoiserie and the early mercantile relations between Canton and Sweden. Lap-See Lam (born 1990) is the most recent winner of the Swedish newspaper Dagens Nyheter’s prestigious cultural prize. Dreamer’s Quay is her most extensive solo presentation to date.

Performance times: "12/2 13-15
13/2 -------- sunday-----break
14/2 16-18
15/2 16-18
16/2 16-18
17/2 16-18
18/2 16-17
19/2 12-14
20/2 -------- sunday-----break
21/2 OBS! NO PERFORMANCE TODAY
22/2 16-18
23/2 16-18
24/2 16-18
25/2 16-17
26/2 12-14
27/2 No performance today
28/2 12-13 (youth from 16+), 16-17
1/3 12-13 (youth from 16+), 16-17
2/3 12-13 (youth from 16+), 16-17
3/3 12-13 (youth from 16+), 16-17
4/3 12-13 (youth from 16+), 16-17
5/3 13-15
6/3 -------- sunday-----break
7/3 16-18
8/3 12-14, 16-17
9/3 12-13, 16-18
10/3 16-18
11/3 16-17
12/3 13-15,
13/3 -------- sunday-----break
14/3 12-14
15/3 12-14
16/3 18:30-20:30
17/3 12-14
18/3 16-17
19/3 12-14
20/3 13-15 "

Stone carvings, a seesaw, and a surrealist table spread are set to inhabit the main gallery at CFHILL. Charlotte Gyllenhammar celebrates her third decade as a sculptor with entirely new, never before shown works, deepening her investigation into scale, space, and time.

Charlotte Gyllenhammar has succeeded in the rare feat of being loved and admired by both art critics and the wider audience alike. She belongs to a generation of artists who entered the art world at a time of turbulent changes. Modernism, with its utopian faith in universal truths, had imploded under the weight of new ideas, releasing the field from the shackles of tradition. In her upcoming exhibition at CFHILL, Believe My Eyes she gives her sculptural, primal shapes free rein to continue articulating new basic principles.

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.