@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.

Index presents Pauline Curnier Jardin’s first solo exhibition in Sweden opening Thursday, 2 September 2021.

For the exhibition, Index transforms into a hybrid space between presentation and production where visitors can observe Curnier Jardin’s previous films and gain insight into her ongoing working process for the production of a forthcoming film. Hence, the exhibition takes as a starting point an artwork that actually doesn’t exist, but through the inclusion of a selection of completed works by the artist and information about her practice, one can previsualize options for what it could possibly become.

The exhibition space conceptually supports the upcoming work’s production, functioning as a changing machine rather than offering a defined result. Some aspects of this future artwork will be developed during the exhibition time through production gatherings where reference materials will be observed and collected for the artist to use. The Index team will be working on-site to gather information and facilitate the production of this new work.

Visiting Pauline Curnier Jardin’s exhibition means the opportunity to witness and contribute to the seed of an artist’s idea while simultaneously experiencing previous pieces from Curnier Jardin’s filmic and artistic oeuvre.

Pauline Curnier Jardin works with films and installation offering unexpected ways to understand narrative. She includes historical references, symbolic content, operatic gestures, musical scores, performativity and several approaches to desire and repulsion which in turn raise questions about feelings, ideas and information. Her layered practice moves from physicality to sensitivity, from image culture to secret languages, from surrealistic chaos to narrative structure. Opera or Classical theatre could be possible symbolic frames for Curnier Jardin’s work as it emotionally and subjectively moves the spectator.

For this exhibition, Index is collaborating with the Amsterdam-based art organization, If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution and their online space, ificantdance.studio, will host a poetic mirror following the process of the conceptual production at Index.


Index is supported by Kulturrådet, Region Stockholm and Stockholms Stad. Thanks to the French Institute of Sweden for additional support of Pauline Curnier Jardin’s exhibition.

Pauline Curnier Jardin (b. 1980, Marseille, France) is a Berlin and Rome-based artist working across installation, performance, film and drawing. She is the winner of the 2019 German Preis der Nationalgalerie, the 2021 Villa Romana Prize in Firenze and recipient of the 2019-2020 Villa Medici fellowship in Rome. Her work was included or commissioned over the last years in Steirischer Herbst Festival, Graz; Manifesta 13, Marseille; Palais de Tokyo, Paris; the Bergen Assembly, Bergen Biennial; International Film Festival, Rotterdam; the 57th Venice Biennale; Tate Modern, London; Performa 15, New York. Curnier Jardin’s solo exhibition, “Fat to Ashes” was recently on display at Hamburger Bahnhof Museum für Gegenwart, Berlin and she has an upcoming solo exhibition at Art Basel in 2021. She will also participate in the group exhibitions at the Fondazione Sandretto Re Rebaudengo, Torino; Galeria Municipal do Porto, Portugal; Haus der Kulturen der Welt, Berlin.

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.

The big misconception presents Carl Johan De Geer's textile works. Fabrics, print sketches, installations and photographs from the early 60s to the beginning of the 21th century are shown together with films where Carl Johan De Geer talks about his inspiration and output.

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.

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

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

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.

Stora Galleriet

Utställningsstipendiat

The spring salon at Liljevalchs is a dear, contentious and lively tradition since its inception in 192

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.

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.

Solo exhibition: Björn Krestesen: Cultural mounds, remnants of time and space
February 19 - March 12. Opening Febuary 19, noon- 4 pm

Björn Krestesen (b. 1951 in Nacka, Stockholm) was educated at the Royal Academy of Fine Arts in Stockholm in 1974-1979. This year he celebrates 50 years as an artist and has had about 120 solo exhibitions and participated in about 150 group exhibitions. He is represented at e.g. National Museum in Stockholm, Bernadotte Collections, British Museum, Napa Greenland, MuseoNational de Arte Moderno in Guatemala, China Printmaking Museum Guanlan, Museo de ArteModerno in the Dominican Republic, Museo de la Stampa in Mexico city and at the Museo de la Beas Artes in Cuba.

Gallery Steinsland Berliner proudly presents PANIK, a solo exhibition by Swedish artist Linnéa Sjöberg. The exhibition is comprised of a series of woven works in varying materials executed between 2019-2022.

Linnéa Sjöberg’s artistry is characterized by a dedicated research practice wherein her own life conditions are continuously hypothesized and put to the test. In performative projects lengthy enough to border on personal life chapters, the artist has immersed herself in roles such as the striving business woman in Gtds4810 (2009-2011) and the unruly tattooist in Salong Flyttkartong (2012-2014). Cloaked in these characters she has gathered information concerning the implications of identity formation. In a chapter ending of sorts this information is processed and accounted for in the form of physical manifestations as varied as vacuum-sealed clothing, cardboard collages and intricate textile weavings executed on a traditional loom by the artist herself.

On view in PANIK are a number of woven works bursting with color and detail. The art of weaving, which has come to be a signature of Sjöberg, has a comforting origin in her childhood and more specifically her grandmother’s rag rugs that were woven together by the family’s old clothes. Similarly, Sjöberg’s own weaving has functioned as a way of presenting memories and archival material. The outfits previously worn during aforementioned Gtd4s810 were torn apart and woven into columns of professional blues and greys. The darkly toned 14-meter long woven piece titled Four Generations of Darkness (2016) consists of gathered materials found in the attic of her childhood home.

The woven pieces seen in PANIK contrast these previous works. Observable are motives and compositions suggesting a narrative and technical growth and perhaps even more so, a liberation of sorts. The color scale is generous and energetic, and the woven works are adorned with figurative motives and attached pieces of clothing. The last few years have brought with them a newfound personal focus for the artist. Secluded in her studio, weaving became something closer to a self-governing form of expression, rather than a recording of the past and performed.

Sjöberg’s weaving continues to reflect her artistic research, currently through elements (motive and material) collected from an ongoing immersion in BDSM. In this practice bondage-techniques become a form of ritualistic body-binding dubbed “Package play” where experiences of limitation and freedom are explored. These sessions are retold in Sjöberg’s works where materials that have been close to the body are woven into textile landscapes that also depict sensory words related to touch and intimacy, elements that are decidedly close to the living now.

Linnéa Sjöberg (b. 1983, SE) lives and works in Berlin. She holds an MFA from Konstfack University of Arts, Crafts and Design. Her work has been exhibited at Bonnier Konsthall and Moderna Muséet Stockholm along with several other Swedish and international sites, the most recent being Company Gallery in New York.

Fina Miralles
I Am All the Selves I that Have Been
Welcome to the opening on February the 19th at 12 o’clock.
The exhibition is shown simultaneously at Marabouparken konsthall and Index.

Marabouparken konsthall and Index – The Swedish Contemporary Art Foundation are proud to present Catalan artist Fina Miralles’ first major exhibition in Sweden, produced by, and first shown at MACBA (Museu d’Art Contemporani de Barcelona) and curated by Teresa Grandas.

Fina Miralles’ (Sabadell, 1950) practice extends across decades, and we can read her work from our present time: her questioning of identity, the relationship with nature, her performativity with the self, the inherent politics of everyday life – everything in her body of work is connected to today. We can relate to an artistic practice that observes our time from the poetry of a singular language.

Konstnärsbaren