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.

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.

By coiling, braiding and joining clays together, Maya Strandberg examines her own bodily and spiritual connection to the world. Her sculptural objects refer to experiences of loss, death and grief, but also of strength and courage. Essential to her work is an aspiration to get close to the world.



Strandberg's approach is an intuitive one, where the irregular and organic forms slowly emerge in the clay. The interplay between the work of the hands and the character of the medium suggests a unique will in the sculptures – as if they themselves seek their final form, but in their insufficiency fail to reach their ideal image.



While in the studio, the sculptures appear to be in different stages of a cycle – sometimes in need of rest, sometimes breaking down, drying out or being rebuilt. The ancient is constantly present in Strandberg's work and can be discerned in the shapes of the sculptures that might bring to mind archeological finds from an unknown civilization. The physical work with the clay is inspired by the fact that the material has been formed by weathering during eons of time, and slowly the sculptures assume the role of both man and nature.



In the exhibition "Allt det jag ser skymmer alltid allt det där andra" (Everything I See Always Obscures Everything Else), Strandberg is back in the apartment where she grew up with her mother. It is cluttered, beautiful and homely. Scattered around the apartment are traces of the alternative spirituality that the New Age movement brought about in the 1990s – a faint scent of musk, a Buddha in a window, chakra colors, plants, and gemstones. Back then, life was present, elevated, and magical. Thinking back on her mother today, Strandberg sees a single parent dealing with debts and strained finances turning to divination and feng shui to find comfort.



Maya Strandberg (b. 1981) was born and raised in Växjö. She now lives in Stockholm and works in her studio at Gustavsberg's old Porcelain Factory. She holds an MFA from HDK University of Design and Crafts in Gothenburg from 2009. Strandberg's work has been presented in solo and group exhibitions in venues in Sweden, Denmark and Germany, including hangmenProjects (Stockholm), Röhsska Museet (Gothenburg) and CLAY Museum of Ceramic Art Denmark (Middelfart). Her most recent exhibition was "Jordkrets" at Gustavsbergs Konsthall together with Dominika Kemilä and Lina Sofia Lundin in 2020. She has produced several public commissions and is represented in the collections of Public Art Agency Sweden. Strandberg has received working grants from the Swedish Arts Grants Committee and the City of Stockholm, among others.

Members of Pussy Riot exhibiting

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

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.

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.

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 few of the many works acquired by Moderna Museet in 2021 will be featured in the presentation of the collection. Due to the pandemic, the government allocated SEK 25 million to the Museum for acquisitions to support Swedish art.
Some 30 recent acquisitions will be presented in 2022 in an exhibition in two parts.

With their rich diversity, these works together form a tapestry of contemporary voices. After this tumultuous period, characterised by many forms of loss and existential questions, art helps to process that for which we do not yet have words. It speaks to us through a multitude of expressions, from different positions and generations. A rich choir of both sorrow and hope, capturing fragments of life and time.

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