Exhibitions & curation

SCROLL DOWN AND YOU’LL FIND THE EXHIBITIONS AND ART PROJECTS I HAVE BEEN ORGANIZING SINCE 2010 AND FORWARD!

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World War III

Utställning:
6 oktober – 31 oktober 2017 på Stadsbiblioteket Malmö, Serieavdelning
5 oktober – 15 oktober 2017 på Garaget, Malmö

Under oktober månad 2017 har Historielabbet bjudit in Koshk Comics från Egypten till Malmö för att visa politiska serier från Mellanöstern. Koshk möjliggör för serietecknare att själva publicera sina verk via en digital app och försöker genom sitt initiativ ge en plattform och en röst till de politiska rösterna som finns trots sträng censur. Nu får Koshks serieskapare möjlighet att visa sina berättelser i seriestaden Malmö. Under oktober kommer samtal och workshops hållas på Malmö Konsthall och serierna visas runt om i Malmö.

SAMTAL: Serier, samhället och censur
Söndag 8.10 kl. 15
Malmö Konsthall: C-salen

Hur möjliggör olika medium och tekniska lösningar publicering av åsikter? Vilken roll spelar konst och litteratur för yttrandefriheten? Hur påverkar censur det konstnärliga skapandet?

Hör mer om konstens olika aspekter i det politiska spelet. Magnus Nilsson, professor i litteraturvetenskap vid Malmö högskola, samtalar med Koshk Comics, en serieorganisation från Egypten som genom en digital plattform gjort det möjligt för serieskapare i Mellanöstern att komma förbi sträng censur.

Samtalet ges på engelska. Fri entré, men begränsat antal platser.
Samarr. Kunskapsklubben, Folkuniversitetet, och Historielabbet.

HELGVERKSTAD SPECIAL: Serieteckning
Söndag 15.10 kl. 13–16:30
Malmö Konsthall: K-salen

Öppen workshop för stora och små med Koshk Comics från Egypten och Tusen Serier från Malmö. Vilket språk talar du? Var med och skapa serier på svenska, engelska och arabiska. Tillsammans med Koshk Comics och Tusen Serier får du möjlighet att prova på att skapa din egen karaktär, din egen serie-stripp och sedan göra ditt eget fanzine.

Gratis. Ingen föranmälan, men begränsat antal platser.
Samarr. Historielabbet, Koshk Comics och Tusen Serier.

WORKSHOP med Tusen Serier och Koshk Comics
Onsdag 18.10 kl. 19–21
Malmö Konsthall: K-salen

Är du intresserad av serier? Kanske har du redan publicerat eller har du precis börjat arbeta på ditt eget fanzine? Serieorganisationerna Koshk Comics från Egypten och Tusen Serier från Malmö håller tillsammans en workshop om självpublicering och serieskapande.
Gratis. Ingen föranmälan, men begränsat antal platser.
Samarr. Historielabbet, Koshk Comics och Tusen Serier.

Projektet är organiserat av: Historielabbet & Koshk Comics
I samarbete med: Tusen Serier, Folkuniversitetet, Stadsbiblioteket, Malmö Konsthall, Garaget

Görs med stöd av Konstnärsnämndens Internationellt kulturutbyte/resebidrag.

Utställningstext

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14/5-12/6 2016, Collective Collectivism: The Temporary Separatists & H.arta Group

The exhibition with The Temporary Separatists and H.arta Group is supported by Göteborg Stads Kultur and the talk is part of the series of talks with sculpture focus organised by sculptureHUB / Snowball Cultural Productions during 2015/16 in collaboration with Galleri Box also supported by Göteborg Stads Kultur.

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NEW WOMEN’S ART HISTORY (an exhibition)

Since the beginning of art history, the practice has been dominated by discussion of men’s art and isms. Even when women became free to create art and were recognized as artists, they have frequently been ignored in art history or mentioned only in certain contexts, such as performance or ‘feminine’ materials… When women’s art is discussed within terms of art history, it is often labelled as feminist. We believe that this default labeling is restrictive to the understanding of women’s art, and to the future of women’s art history and belies the complexity and diversity of art created by women. Much like we would never label Naum Gabo, Richard Hamilton and Frank Stella under the same label , why is it that some people include both Yayoi Kusama and Georgia O’Keefe in discussion of feminist art, is their art informed by feminist ideology or have we just labelled them because of their sex?

Art history have by labeling women artists under one ism made sure that women in history always will be ‘the other’, never a genius or avant-garde. Art history, a patriarchal and hierarchical discipline have used feminism as an art form and by that managed to exclude women from mainstream consensus of art history. Women’s art stays in the ‘feminist art history’ realms never ‘ART’ history.

Through out art history women have tried to break free from male normativity. When men did sculptures, painting and land art in the 60s women said: Let’s do something new and avant garde – performance art. Performance art was to a large extent developed by women artists, one of the reasons; because it was a field not dominated by men, and it was a space where they could set their own rules. Open up an art history book and you will see how this entire decade goes under ‘feminist art’ or ‘body art’- where is the chapter that tells us how avant garde this art form was? How performance art, like other avant garde isms, totally revolutionized the art scene and was not just about feminism but evolving art as a practice? When will women get credit for that?

It’s time to create a new history, a history where women are not defined by men’s terminology or men’s definitions of isms. It’s time to create a room for new stories, new isms and new terminology to truly liberate art history in to something diverse and less rigid.

As feminists we believe in liberation, liberating and diversifying art history, we want to liberate the terminology so women can get as broad of a spectra to identify themselves as male artists has. ‘Feminist art’ should not be determined by the sex of the artists but by the politics informing the artwork. ‘Feminist art’ is not an aesthetic or an artist’s sex, ‘feminist art’ should be an art form that is defined by the feminist ideology that is informing it, that distinction would make ‘feminist art’ stronger, identifiable and more influential. It would also make it possible for women artists to step out of the per-labelling and define their art through new identifications.

‘Feminist art’ has had a great importance in art history but we should have the opportunity to label ourselves inside or outside this terminology. Not be forced in to it because of our gender. Let’s liberate and diversify art history, let’s create a new terminology that fits YOUR art and let’s re-understand ‘feminist art’ as art practices informed by feminist ideology not just art made by Women!

We asked artists in an open submission call, which was open to all self-identifying women, to describe their work by appropriating and reworking existing art history terminology, or by using their own terminology or invented words. This process helps us to challenge the existing modes of art history and criticism. We understand that to truly subvert a dominant norm, a new way of seeing must be created.

If art history started today, how would you identify your art?

Publications will be available presenting different responses to the exhibition theme including manifestos, a created dictionary, artist’s responses and more.

__ARTISTS__

CAROLINE HALLIDAY
CORIE DENBY MCGOWAN
HELENA GOÑI
LIV THURLEY
SANAA HAMID
SEANA WILSON
TULI LITVAK

__EVENTS__

_OPENING NIGHT_
+Tues 17th Feb
18:00

_FILM SCREENING_
+”The Power of Art: Women’s Voices in Africa”
Wed 18th Feb
18:00

_OPEN-MIC POETRY NIGHT_
+Fri 20th Feb
18:00

_WORKSHOP WITH HERSTORY/FEMINIST LIBRARY_
+Sat 21st Feb
14:00

__CURRENTLY DEVELOPED BY__
+adriana rodrigues
+rebecca livesey-wright
+rosie rynn o’shea
+sofia landstrom

__ARTSFEMS__
+www.twitter.com/artsfems
+www.artsfems.tumblr.com
+www.facebook.com/groups/artsfems

__HOSTED BY__
+www.iklectikartlab.com

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A Voice of One’s Own

1 – 8 March, 2014

 voice [vois]

verb (used with object), voiced, voic·ing.

8. to give utterance or expression to; declare; proclaim: to voice one’s discontent.

sub·vertv[suhb-vurt]

verb (used with object)

1. to overthrow (something established or existing).
2. to cause the downfall, ruin, or destruction of.
3. to undermine the principles of; corrupt.

A Voice of One’s Own, an exhibition which questions, undermines and overthrows the patriarchal principles of society by giving voice to the concerns of six student feminist artists and three zine contributors.

Rebecca Bartola makes a strong statement about the underrepresentation of women and diversity with her We Are the 50% posters. She gives voice to the achievements of key women warriors, scientists and explorers who have otherwise been ignored by history. Phillipa Ogden rewrites the tragic endings of novels about revolutionary female characters, concluding instead with messages of hope. She illustrates these alternative endings with a depiction of a room where the characters could meet and share their stories. This safe space appears as initially domestic but becomes subverted by appropriation; a symbol of oppression becomes a symbol of revolution. Tuli Litvak’s performance piece Liberty presents an overcoming of silence through use of the voice and body. At first, Tuli is denied the ability to make sound, but finds empowerment in realising her voice and letting it grow louder.

Catherine Long speaks out against the objectification and problematic representation of women in the media. Her video, Breast Meat, combines the abject with humour, thus subverting the beauty ideals women are expected to achieve. Liv Thurley’s Weapon, was made in response to a statement she overheard from a man who said he would never have sex with a woman who had pubic hair. In turning an irrational aversion to pubic hair into a literal fear, Thurley highlights the absurdity of this statement and undermines it. Viviana Sciara uses the nude female body in her work to challenge the way it is often used as an over-sexualised object most clearly expressed in To dust You shall return. In Portrait of Life and Death, Sciara explores the complex relationship between mother and child and the notion of motherhood, which at times can be fraught with tensions.

The DIY culture of zines goes hand-in-hand with the subversive nature of feminism and empowers women to develop their own political voice. QUEERPO (‘cuerpo’ meaning ‘body’ in Spanish) by Berta López Diáz challenges accepted ideas of identity, sexuality and gender in society; Jūratė Gačionytė’s Women’s Wear: Body Hair empowers women to celebrate their body hair and breaks down accepted notions of beauty ideals; and Sydney Johnson’s Mind the Pay Gap frankly exposes the inequality in pay between men and women. The zine artist’s contributions are integral to our exhibition, and as such, a copy of each zine is presented as an art piece. However, a copy of each is also available for reading to support the themes of accessibility and knowledge sharing which are central to the history of zines.

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OUTER REALMS

2 – 9 September 2013, Galleri Rotor, Gothenburg
Participants: Joaquín Fargas, Stina Johlander, Anna von Wirth, Frank Götmark, Dakota Piorkowski, Victoria Skogsberg, Maxime Djukic-Tamburrini and Lasse Munk.
Curators: Ana Carolina Fleming, Emma Stanisic och Sofia Landström.

Since the Renaissance cultural movements have combined multiple fields of the arts and sciences. Polymaths such as Leonardo da Vinci and Michelangelo were the pioneers in their times, most recently art and science continue to be closely connected in the contemporary art movement Hybrid Arts, here artists work with the frontiers of science and emerging technologies.

Outer Realms shows the curiosity and playful tools of investigation that characterise the practice of artists and scientists working today. Both fields study, describe and question the world around them with different but also quite similar methods. While science aims to prove and solve art often tries to suggest and question the same issues. Whatever problems and questions art or science delve into – together they can form a vital union.

What interested us as curators was the confusion created by blurring boundaries. What do art and science mean? Is there a difference between the two and how do they interact with each other? It was crucial for us to define a unity opposed to a separation and to awake questions in the viewer. We chose not to define the roles of the participants in the exhibition and invited artists that work within the scientific field, engineers working in the artist’s world and even scientists who had no intention of becoming artists. Consequently we were able to compose an exhibition where it’s not immediately clear what is art and what is science.

During our research for the exhibition we made the surprising realization – there is a lack of collaborative projects in Sweden that combine artistic and scientific practices. However we found an abundance of artists and scientists elsewhere in the world working with similar questions that we were interested in, especially the bio-art movement in South America. Contrasting the trend in Sweden, locally we found that the Botanical Gardens and Chalmers University of Technology in Gothenburg had both started investigating interdisciplinary work involving art and science. This developed into an interesting starting point for the exhibition. Here was an opportunity to highlight an artform that, even though underrepresented in Sweden, is seemingly on the rise in Gothenburg. We thought it was important to give a voice to these local movements and the exhibition therefore includes a seminar with the Gothenburg based bio-artist Jeanette Schäring, astronomer Marie Rådbo and physicist Eva Olsson discussing art in scientific fields and science that works in an artistic direction.

The exhibition Outer Realms presents the works of Joaquín Fargas and Stina Johlander, Anna von Wirth, Frank Götmark, Dakota Piorkowski which investigate the ecological and biological aspect of our earth. Victoria Skogsberg and Maxime Djukic-Tamburrini, Lasse Munk’s discuss space through diverse uses of sound. Skogsberg’s work explores the psychology of space, through captured experiences while the Djukic-Tamburrini/Munk work draws attention to the use of modern tools superimposed on our reality.

pictures by Hannah Giles

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DU HAR FÅTT EN LÄGENHET (YOU GOT AN APARTMENT)

21 February and 10 May, 2013 – independent art spaces and apartments around the city of Gothenburg

Independent art project in Gothenburg, together with Jonathan Mattebo Persson.

Read more here: https://curatingjournal.com/2013/05/20/du-har-fatt-en-lagenhet/

Participating artists – Anna Lamberg, Malin Mattebo-Persson, Malin Hult, Carl Oscar Flatby, Björn och Hysterin, Barrie James Sutcliffe, Jonas Eskilsson, Karin Ström, Josh Gura, Ivar Lövheim, HM Hammarin and Lisa Östh

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General Criticism at Whose Salon, Galleri Rotor, Gothenburg 8th of December 2012

We wanted to try to go against the old conventions of the gallery space by inviting people to take down artwork from the walls and talk about them. We wanted to show that the gallery can be an open place where anyone can have a say!
This was a new experiment to see how people reacted to the artworks and to the idea of taking them down! It was the first time we tried this kind of concept and there is a lot to improve next time we do it, but we want to say thanks to Whose Museum for letting us think outside the box and try something outside of our comfort zone! Hopefully we can take this kind of concept refine it and try it again somewhere because it was really fun and inspiring

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ANNA PETTERS / FOR ALL ELSE IS DUST AND AIR

17 March – 13 May 2012 (Museum of Public Art, Lund/Galleri Pictura)
The exhibition For all else is dust and air is the result of an exciting collaboration between Galleri Pictura and Skissernas Museum with a new site-specific work by artist Anna Petters. The exhibition is part of Skissernas Museum’s greater exhibition På Besök.

The installation For all else is dust and air contains drawings, sculpture, light and sound, and is a kind of analogue animation, an experiment with what a drawing could be; creating images out of light. Objects that are usually hidden behind the image are now fully visible; the object itself highlighted and as important to the image as its shadow. Here, the viewer is presented with a chance to see the work behind the scenes and can thus witness the creative process.

The site-specific mural The Family. is being created as the exhibition progresses, making the process from sketch to finished painting quite transparent. This work can be perceived as an attempt to undo the boundaries between visitor, space and image.

Since 2006, Anna Petters has been working with a series of photographic images, though in exhibitions this project has made excursions to installation and sculpture. These images show the human being struggling with herself, her inner darkness, with her environment and the will to function with her surroundings. The photo- graphic project is based on a portrait of alternative conceptions of reality, delusions and warped images of space where spatial, public and sculptural work serve as a sounding board and a catalyst. The installations take the form of shadow plays.

Anna Petters (b.1977) is an artist based in Gothenburg with a Master from the University of Photography in Gothenburg in 2006. Her works range from installation to photography. Previous site-specific installations and shadow plays include exhibitions at Galleri Rostrum in Malmö, 2007 and Konsthall 1.0 in Jönköping 2011.

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António Corceiro-Leal & Jesper Veileby / Hidden Playground

20 January – 18 February 2012 (Galleri Pictura)

Galleri Pictura is now back where it once started, on the third floor in the University house. To be back in this space gives us the opportunity to make sure that students at Lunds University can continue to show the best young contemporary art. This is a place for us to create a platform for art students to meet the art world. This is an amazing opportunity for new exhibitions and a new start for Pictura as an organization. For our opening exhibition we are proud to present Hidden Playground by António Corceiro-Leal and Jesper Veileby.

“Hidden Playground” is an abstract definition coined by the artists to describe a heterotopia, in which the workspace of the artist meets the mental space where irrational thoughts find logical outcomes. This is the first part of a project, in an on-going collaboration between the two artists in which they seek to explore and map the relationships between artistic and magical thinking. They do so by looking at the artist as a persona in suspension between three archetypes. The “child”, the “mystic” and the “scientist”. The investigation of these relationships and conditions is represented in this exhibition. During an intense five day
period the two artists isolated themselves from “reality” and engaged in physical and mental exercises from prewriten instructions, trying to find the borders of this strange heterotopia. The result of this one hundred and twenty hour isolation is an installation of texts, still/moving images and artifacts. We are invited to make our own connections and immerse ourselves in the universe of the pieces where the discourse often oscillates between a restrained stiffness and an absurd humour.This exhibition is the first part of an exciting project that will result in a publication later this year.

António Corceiro-Leal (Portugal, 1976), has an earlier degree from Maumaus – School of Visual Arts (Lisboa, 2009) and a MFA from Malmö Art Academy (2011).
Jesper Veileby (Sweden, 1985) is graduating this spring with a BFA from Malmö Art Academy. They both have their base in Malmö and have during the last year
worked together on this project while attending their final studies. They have both been presented in group exhibitions before, but this is the first time they are presenting work together.

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SARA WALLGREN / UNREPETITIVE PULSE

19 November – 17 December 2011 (Gallery Martin Bryder/Galleri Pictura)

He goes in and out of rhythm. In the endless repetition, he has a beginning and an end, and lives in the space between two points. The ticking of the heartbeat, the tic toc of the clock, is the rhythm to which he is dancing and the foundation of his life, but also a memento of transience. Seemingly he lives in cycles, circles close, one day is like any other. From the peephole in the door it looks as if the man in the staircase lives the same day, every day, recurrence makes life short, but through repetition made infinite. Difference and deviation that occurs in the repetitive act becomes obvious and present. He lives within a pattern and a structure that repeats itself, but with minute variations from one point to another. The Unrepetitive Pulse. The story is repeated but the conse- quence is each time a unique trace that has never happened before in the same way.
Galleri Pictura is proud to introduce Sara Wallgren’s exhibition Unrepetitive Pulse at Martin Bryder Gallery in Lund. In this small space, Wallgren manages to create a dynamic and interesting exhibition that explores many dimensions.

The exhibition is based on an exploration of the subtle differences that arise through repetition. In Unrepetitive Pulse Wallgren combines pencil drawings on thin rice paper with sound. Subscription and audio, are bundled together so that one becomes depen- dent on the other, thus claiming the same place. The drawings are made of thin rice paper that with their brittleness both cooperate with, and work against, the cartoonist.

Sara Wallgren was born in 1981 and is based in Malmö. She is currently an “Artist in Residence” in Berlin where she will be appearing for some time to come. She took her MA at the Malmö Art Academy last year. Before that she attended Fria Målarskolan in Halmstad 2001-2002, Gerlesborgsskolan 2003-2005, and a semester at The Cooper Union of Fine Arts, New York, 2008. This year she has already had a number of exhibitions: in Stockholm at Liljevalch’s Spring Salon and Gallery Mother’s Hat in Gothenburg.

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THE ZIGZAGROOM
Bettina Marx Daniela Neuhaus

2 April – 24 April 2011 (Galleri Pictura)

“It’s like a flashlight switched on in a pitch-dark room. The beam reveals contours and shadows, lending shape to a world of its own – the zigzagroom.”
This is how German artists Bettina Marx and Daniela Neuhaus describe their work The Zigzagroom. Developed exclusively for the space of Galleri Pictura, the duo has created a site specific installation based on their previous collaborations. The work consists of drawings, paintings, light projections and a sculptural construction.

Light projections of abstract drawings cover the walls, creating a unique pattern. Through the usage of projectors, the drawings appear as a kaleidoscope. In addition, certain elements of the room are emphasized through light projections, whereas other parts of the room remain unknown for the viewer. The structure of the drawings continues within the paintings, creating layers and ongoing patterns. A playful dialogue is shaped between the repetitive patterns of the projections and the abstract mosaic structure on the floor.

The abstract shape of the floor is made up of colored pieces of wood, which are put together like a puzzle to create a compact relief of colors and shapes. The floor in the small room of the gallery is filled with this mosaic structure, which also expands out to the larger room. Hence, the evolving nature of the floor produces a link between the two rooms, while simultaneously creating a number of individual islands. Visitors can interact with the installation by walking on the mosaic floor. This enables the viewer to experience the construction of the installation.

The rooms are arranged in a reductionist and careful way; individual structures in the wooden mosaic are repeated in the light projections and found in the small paintings. An experimental interaction takes place between abstract shapes, material, paintings and drawings. Along with the sculptural structures spread across the floor, a unique space and a special atmosphere is created.

Bettina Marx and Daniela Neuhaus are both master graduates from Academy of Fine Arts Münster. They live in Düsseldorf and Berlin and they have had exhibitions in Germany, England, Belgium and France. This is their first exhibition in Sweden. The duo has also been granted numerous scholarships, including the Max Ernst scholarship.

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Josefina Posch
The Logic of Basho «Here’s Looking At You Kid

11 December – 15 January 2010-2011 (Galleri Pictura)

The Logic of Basho «Here’s Looking at You Kid» at Galleri Pictura is a continuation of Josefina Posch’’ In My Secret Life series. It is the result of her latest project, which she has been working on during her three month artist in residency at Art Space Portsmouth in the UK. While there, she collected fragments of body parts from people of different ages and ethnical backgrounds; all with the aim of creating the stature and composition of the average human being. The approach derives from the techniques used by the great masters of the renaissance, where for instance Leonardo Da Vincis “The Vitruvian Man” was an attempt to re-create the ideal human body. Posch’s view on the socially constructed ideals and the correlated notion of beauty is highly relevant to our modern western society.

The dual exhibition names originate from two different sources; on the one hand is Kitaro Nishidas philoso- phy of “The Logic of Basho”. The second part, «Here’s Looking at You Kid», draws from the movie Casablanca and it is part of a soundtrack that belongs to the exhibition. This soundtrack is a collage of dialogues from the 20 most popular romantic movies of all times.

The sculptural installation is placed in a pentagon. Through two peepholes, the viewer perceives the naked bodies of a man and a woman; hence turning the very same viewer into a voyeur in the distance. The sculptures are illuminated by an ultraviolet light, chosen by Posch because it cannot be registered by any digital media. In other words, her installation can never be reproduced authentically. The exhibition also entails a projection of moving close-ups of the man and woman, which are streamed live from within the four walls. This is made possible by a peer-to-peer system specially developed for Posch. The system cuts between the moving images from three web-cams located within the installation itself and do so in tune with the soundtrack of the movie dialogues. These projected images are closer to the sculptures than we can ever be as peephole-viewers, creating a frustration and sense of limitation that can only be truly mediated by an art object viewed on location.

Artworks are increasingly observed through internet documentation and most people experience art through the internet instead of in real life. The risk of such an alternative way of viewing is that we lose the important and direct experience with the work itself – a fact that Josefina Posch wants to emphasize by engaging the viewer and making them aware of the existence of their vision.
Josefina Posch (b. 1971) is an artist based in Gothenburg with a BFA from the Academy of Art University, San Francisco in 1998 and an MFA in New Media Art at Valand School of Fine Arts, Gothenburg, Sweden. She has had several international exhibitions, including solo shows in Shanghai and Miami as well as art works exhibited at the 2007 Venice Biennale