@MEDELHAVSMUSEET

A Quiet Spring Wanders Through the Apartment (original title En tyst vår vandrar genom lägenheten) takes its point of departure in the rooms we create for our being. These rooms can be physical places, but also mental states that enable interpersonal encounters as well as introspection and a shield from the noise of the outside world.

In this moment, when our society has been shaken to its core, we have been forced to relate to a whole new set of limitations and to create new conditions for how we meet. There has been a displacement between the private and public, and social conventions are being renegotiated and adapted to a new reality. Our conversations (often at a distance) have revolved around both the longing to be part of a community and how it can be reconciled with the need for privacy. What are the conditions for togetherness? When is the seclusion self-selected and when is it involuntary and isolating? Regardless of personal circumstances, we are all part of a greater context and need to relate to it in one way or another. These thoughts are not unique to the time we live in – they recur in artistic practice and accommodate an abundance of perspectives.

The exhibition brings together works from Magasin III’s collection that invite thoughts of the individual’s relationship to their broader context. The works evoke associations to issues of safety, personal freedom, restrictions and introversion – often with multifaceted perspectives.

The title of the exhibition is borrowed from the work En tyst vår vandrar genom lägenheten from 2015 by Jockum Nordström which took our thoughts to a silence, a pause, which may seem both trying and harmonious at the same time. By approaching these collected works, created between c. 1950 and 2018, we have found entryways to reflect on our current moment.

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.

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?

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.

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.

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.

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!

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.

Stora Galleriet