@MEDELHAVSMUSEET

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.

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.

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.

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

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



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



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



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





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

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!

Members of Pussy Riot exhibiting

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.”

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.