Sunday 25 April, 2pm
Always sometimes (excerpts from)

A preview of ccap 2021 new production always sometimes which uneven strides in recurrent strain an anticipated tendency. Thus, a choreography that refers to former ccap choreographies, yet at the same time travels a ragbag newly acquired grooves. 

Performers: Annika Hyvärinen, Philip Berlin, Morgane Nicol, Oskar Landström
Music by NHK (from the album Program)

ccap is a non-profit organization for production and distribution of choreography under the leadership of Cristina Caprioli. ccap works with transdisciplinary art projects and social activities through performances, installations, publications, workshops etc.

Cristina Caprioli is since the mid-80’s a resident of Stockholm, where she in the 90’s funded CCAP, to this day the base of all her work. Cristina works with choreography in various forms and formats, from stage performances, installation and exhibitions to films, festivals and publications. All of her work is a long-term project, running parallel to a national and international touring and teaching.

Public program in connection with Marie Fahlin’s exhibition Centauring, 18 April 2pm.
Conversation: Riding in the Expanded Field.
With Lena Oja, Aase Berg, Paula von Seth, Carl-Johan Malmberg and Pernilla Zetterman.

The conversation will be in Swedish.
Please note that the number of tickets is limited.

This practice has been called The Art of Riding for the last 2000 years; but what does that concept consist of if regarded as a contemporary artistic practice?

If we choose to consider equestrian art as a new artistic practice it requires us to explore this practice within the premises of the artist talk. This talk can be regarded as an initial survey of the general characteristics of this space, the outer boundaries and assumed consequences. How do we navigate in this new found practice while staying within an artistic context? How does our choice of perspective change the actual outcome of our equestrian actions and results? The horse will be the same but if the road travelled is based on our artistic practice we can assume that it changes the outcome of the actual equestrian actions.

The precision of the artistic talk combined with the physical equestrian experience is the background for inviting to this discussion. The horse is obviously the main criteria of the existence of this practice, but if riding horses shall be considered as an artistic practice the horse is a co-artist; and that space in between may be where this field will become visible.

Aase Berg is a poet and essayist based in Stockholm. She is also a literary critic and writes predominantly in Dagens Nyheter. Since her debut with Hos rådjur [With Deer] in 1997, she has published several collections of poetry and essays as well as novels. Many of her books take a poetic-political hold of the dissolving boundaries between nature and culture, and between animals, humans and machines.

Carl-Johan Malmborg is an author and critic based in Stockholm. He has worked as radio producer for Sweden’s Radio, as a teacher in film and art studies at Stockholm University, The Royal Institute of Art and Södertörn University College, and as a culture journalist in the daily press and various journals. Since 2016 he is an honorary member of the Royal Swedish Academy of Fine Arts.

Lena Oja is an artist and writer mainly focusing on writing as a vital creative tool in different fields of artistic practice. She has explored how the technical aspects of the schooling of a horse changes if you look upon riding as if it were art. The project The importance of earnestness in a borne agreement between horse and human, focuses on how the artistic context actually highlights and changes the outcome and quality of the equestrian experience.

Paula von Seth is an artist, art educator and curator. Her photographies, performances, videos and sculptures explore contemporary postcolonial and ecological value systems, and art as a tool for creating common resources and visions. She is a co-writer of Commons in Cape Town (2013). Currently von Seth studies rural development and agricultural sciences at the Swedish University of Agricultural Sciences and participate in a research programme in environmental communication there.

Pernilla Zetterman lives and works in Stockholm. She has exhibited at Gallery Taik, Fotomuseum Winterthur, The Finnish Museum of Photography, Artipelag, Kunstmuseum Wolfsburg, Fotografiska and the Hasselblad Center, among other places. Zetterman has been a researcher in photography at Aalto-University in Helsinki and holds a MFA from the University of Arts, Craft and Design, Stockholm and a BFA in Photography and film from University of Gothenburg. She is a laureate of the Victor Fellowship from the Hasselblad Foundation.

The public program in connection to Marie Fahlin’s exhibition Centauring continues on Sunday 11 April at 2pm with choreographies by Frédéric Gies, Rebecca Chentinell and Marie Fahlin.

(Black) Ribbon Dance, Thread and Cicatrix Textus will be presented as a durational part of the exhibition. Please note that the number of tickets is limited! Book yours at Billetto.

Before 2pm it is possible to visit the exhibition without a ticket.

Photo: Thomas Zamolo

Frédéric Gies – (Black) Ribbon Dance
(Black) Ribbon Danceis a new version of the piece Ribbon Dance, created in 2015. Ribbon Dance makes manifest the drives and forces that set off bodies or things in movement and the movements’ potential to self-generate, like a motor activated by its own energy. Dancing to the beats of a techno set by Fiedel, Frédéric Gies surrenders sensually and joyfully to these currents and forces and to the ways the ribbon they handle changes the texture of their body. In this new version, the ribbon becomes the softest whip of them all.
Dance: Frédéric Gies DJ: Fiedel

Photo: Nadja Voorham

Rebecca Chentinell – Thread
Thread is an adaptation and rewriting of an earlier work from 2013, A thread between heaven and earth[En sträng mellan himmel och jord], which emerged from an exploration of co-choreographing and dissolution of authorship, between two choreographers tied to different dimensions, one to the earthly and one to the other- worldly. Thread weaves in another voice and intertwines three wits and languages in the choreographic research of essence, authenticity and lineage. In Thread, an individual body appears as both form and background for the speculation and imprint of the writing of movement.
Choreography: Rebecca Chentinell in close collaboration with Félicia Atkinson and Per Jonsson

Marie Fahlin – Cicatrix textus
A performative writing for writing’s own sake (asemic writing), where the dance of the hand takes precedence over the meaning creating text and the asemic, in turn, informs the eye-hand.
Choreography/ing: Marie Fahlin
Performer: Maria Öhman

New Dimensions – POST DEGREE EXHIBITION is a group exhibition with some of the 2020 degree students of Graphic Design & Illustration, from Konstfack University of Arts, Crafts and Design.

A few weeks into their degree projects, our graduate students had their lives and education sharply affected by the spread of coronavirus. The subsequent disruption to their education led to uncertainties about how their final work would be shown. It was interesting to see that regardless of the fact that their projects had begun before the situation became serious, they were already, in their work, asking questions that have suddenly become common: How do we live now? And how should we live? They have been mapping relationships between humanity and machine learning and women and wealth, investigating the performativity of religion, the poetry that can be found in public signage, the civic fabric of communities and the stubborn pursuit of increased economic growth. They explore how we can find intimacy in reading and how we return to wild nature. For a respite from worries, there are stories about hungry giants haunting primeval forests, a political reading of the world of elves and orcs, a whole anthology of weird fiction and a modern retelling of Hamlet. And finally, who should we listen to and how do we know what is right?

Catherine Anyango Grünewald and Sara Kaaman
Senior Lecturers in Graphic Design & Illustration

Graphic design by Joel Järvi, Vanja Ivarsson and Mikaela Cederholm

Participants

Hannah Baklien
Andrea Bjurström
Therése “Fonfe” Grabs
Hanna Hedström
Frida Häggström
Marcus Jernberger
Klara Lindwall
Gustaf Montelius
Simon Nilsson
Gustav Skoogh

Program during Centauring

Please join us for the second part of the public program during Marie Fahlin’s exhibition Centauring. On Saturday 20 March, from 2pm, Weld Company performs choreographies by Anna Koch and Litó Walkey. 

Visitors can come ande go as they like. Please note that number of visitors in the gallery is restricted in order to prevent crowding. We ask for your patience in case there is a need to wait outside the gallery. 

Anna Koch – Manège à trois

Manège à trois is a work for voice, hands and objects that takes place within a miniature manege, through micro-actions, rhythms and formations. Poetic epithets, often used as characteristics for specific movement groups within a choreographic process, are verbally uttered together with anatomical and somatic descriptions, revisiting works from the choreographic archive of Weld Company, whilst endorsing the horse.

Performed by members of Weld Company: Sybrig Dokter, Per Sacklén, Caroline Byström, Anna Westberg, Kajsa Sandström and Rebecka Stillman
Choreography: Anna Koch

Photo: Anna Koch

Litó Walkey – aswebegin

aswebegin honors the act of beginning. It favors the instability of the drawing board, supposing to find the radical and creative therein.

We carry our individual and collective memories and scripts close. We engage the impossibility of complete accuracy while applying our best attempts. We wear our nerves on the outside of our skin. We dare to contradict ourselves and each other. We expose full certainty and full uncertainty, sometimes simultaneously. Regret, relief, joy and surprise are present. If we think of a clever ‘interesting’ way to go through the material, the interest may not live long. While overloading our momentary attentions and intentions, we are coming to terms with the ungraspable present and celebrating its passage.

Performed by members of Weld Company: Sybrig Dokter, Per Sacklén, Caroline Byström, Anna Westberg and Kajsa Sandström
Choreography: Litó Walkey

Photo: Weld

Anna Koch is a dancer and choreographer whose practice moves through different fields, but has dance as its foundation. She is the founder of Weld, a platform for dance and art in Stockholm that opened 2006. In 2013 she initiated Weld Company, an enabling structure for contemporary dance and choreography.

Litó Walkey is an artist of Canadian and Greek origins, based in Berlin. Moving between writing, choreography and performance, her work engages strategies of collaboration, proliferation and translation to activate critical ecologies of attention. She teaches at the Arts Universities of Stockholm, Helsinki and Copenhagen and advises choreographic work.

Weld Company works with choreographers and dancers representing different generations, working methods and expressions. The company moves unrestrained through larger and smaller formats by further developing the idea of a dance company and what it can be and do today. The Company works with invited choreographers, self-made works as well as the Swedish dance history. Besides the traditional dance contexts the company ‘parasites’ on existing structures and work in the gaps between the unestablished and established.

Program during Centauring

On Sunday 14 March the public program in connection with in Marie Fahlin’s exhibition Centauring begins with Cristina Caprioli’s partial haze. From 2 pm an array of choreographic interventions will take place in the exhibition.

partial haze is a durational performance, visitors can come ande go as they like. Please note that number of visitors in the gallery is restricted in order to prevent crowding. We ask for your patience in case there is a need to wait outside the gallery.

partial haze
Dancers: Julia Sundberg, Cilla Olsen, Oskar Landström, Morgan Nicol, Sophie Augot, Philip Berlin and Louise Dahl

Choreography: Cristina Caprioli

Thin traces above spin a suspended haze, under which uncertain figures quietly move.

You lift your gaze and travel to and from. As if a clear morning, you pause for a moment and trust the outer-space. This haze is an illusion, a tone that vibrates a make-believe view.

A first (flat) haze was performed in the fall 2019 in the context of PASSHALL in the Hall in Farsta. In the summer of 2020 it should have been installed in a site specific format at Wanås Sculpture Park but got cancelled due to the pandemic.

Now, this haze spreads itself amongst the many, whilst performing a suspended background.

Cristina Caprioli is born and raised in Italy, dancing in Germany and the US, since the mid-80’s resident in Stockholm, where she in the 90’s funded CCAP, to this day the base of all her work. Cristina works with choreography in various forms and formats, from stage performances, installation and exhibitions to films, festivals and publications. All of her work is a long-term project, running parallel to a national and international touring and teaching. Cristina is Professor of Choreography and has been awarded many grants and prices.

ccap.se

Exhibition opens Saturday 13 February, 12noon-4pm

Information regarding Covid-19

Marabouparken konsthall in collaboration with Stockholm University of the Arts, The Department of Dance and the choreographer and PhD candidate Marie Fahlin are happy to announce Marie Fahlin’s exhibition Centauring.

The exhibition of Marie Fahlin’s artistic research project Moving through Choreography – Curating Choreography as an Artistic Practice takes the notion of “centauring” as its starting point. It can be understood as a temporary integration of two bodies, practices, objects or fields of knowledge in the creation of a third – to us unknown – creature, phenomenon, situation, becoming or being; a centaur.

The centaur is a fantasy figure, a liminal being, but also the notion, or image, used in dressage, to describe the practice and the aesthetics of an equipage. The project has evolved from questions concerning how curating and choreography can be understood as a common artistic practice, how they are “centauring”, and how this practice operates in relation to dressage.

The relation between horses and humans within the field of dressage (equitation) builds on choreographic practices (forms, patterns, movements and the equestrian’s “aid”) and includes affect creating situations like intimacy, dominance, fear, flow and compliancy. In her project, Marie Fahlin has used objects, language and choreography emanating from dressage and equitation. Together with performers she has researched how these can be set in motion in performative actions in relation to an audience, in order to find new ways of curating the inner and external aesthetics, as well as extending the knowledge field, of dressage.

The exhibitions consists of an installation that covers the whole of the exhibition space and among other things includes a video documentation of the performance ONE – I leave the skin dead and dry shining light behind me, objects and text works. Centauring succeeds Marie Fahlin’s project Manege, which took place at Marabouparken in November 2019.

As an integrated part of the exhibition, a program will take place. Artists, choreographers, dancers, experts of dressage, together with other artistic researchers, have been invited to perform, to intervene with the exhibition and engage in conversations on the art of riding as well as the notion of artistic research, in relation to visual exposition and the field of art.

Integrated program during Centauring
13 February-2 May

13 February, 12pm–4pm
The exhibition opens. Included in the exhibition is a video documentation of the performance ONE – I leave the skin dead and dry shining light behind me

4pm online
Video documentation Marie Fahlin’s ONE – I leave the skin dead and dry shining light behind me is screened online at SKH:s Vimeo page.

14 March, 2pm. Performance
Cristina Caprioli – partial haze

20 March, 2pm. Performance
Weld Company/Anna Koch – Manège à trois
Weld Company/Litó Walkey – aswebegin

11 March, 2pm. Performance
Frédéric Gies – (Black) Ribbon Dance
Rebecca Chentinell – Thread
Marie Fahlin – cicatrix textus

18 April, 2pm. Conversation [in Swedish]
Riding in The Expanded Field
Lena Oja, Aase Berg, Carl-Johan Malmberg, Paula von Seth, Pernilla Zetterman

25 April, 2pm. Performance
Cristina Caprioli – Alltid ibland aka for the sake of a scramble

28 April, 2pm. Viva voce [in English]
The public defense of Marie Fahlin’s doctoral project Moving through Choreography – Curating Choreography as an Artistic Practice (Stockholm University of the Arts).

Opponent: Joanna Sandell. Examination committee: Theodor Ringborg, Astrid von Rosen, Gabriel Smeets, Rebecca Hilton (deputy member). Principal supervisor: André Lepecki. Supervisor: Cristina Caprioli

The public defense takes place in the exhibition at Marabouparken konsthall

2 May. 2–4pm. Finissage
Performance: Marie Fahlin – ONE – I leave the skin dead and dry shining light behind me
Release of Koreografisk Journal #7, Artistic Research
A discussion on artistic research with invited guests, moderated by Anna Koch.

Centauring handout

Centauring is a collaboration between Marabouparken Art Gallery and Stockholm University of the Arts/Department of Dance

Many people have contributed to this project, thank you to you all!

Åsa Norberg, Fredrik Norén, Jesper Nyrén, Jennie Sundén

The P.A.N.K. grant is part of a residency programme focusing on public art. At most five newly graduated artists per year are invited to reside in Sundbyberg and work with new works for public space in Sundbyberg. The programme is a collaboration between Marabou Park and Förvaltaren the local Housing Company.

Story reading in Marabouparken
We go exploring with children’s librarian Nanna in Marabouparken. Afterwards, it will be story hour. From 4 years with adults. Welcome!

Thursday 16 July at 1pm
Thursday 23 July at 1pm
Thursday 30 July at 1pm

Tai Chi outdoors in Marabouparken
Gathering at 5.55pm outside the art gallery’s restaurant Dolks Kök, Löfströmsvägen 8. We will then stay outside on the grassy area in the lower park. Cost SEK 30 / time, drop in – payment in cash or with Swish. The training is on even if it is a little rainy weather but not in heavy rain. The training is led by Anna Holtenstam and no previous experience of Tai Chi is needed to participate, the training is adapted so that everyone can join in – warm welcome!

Tai Chi is based on movements originating in self-defense, performed in a soft and slow flow. More info can be found here: http://merchi.nu/tai-chi/

Wednesdays at 6–6.45pm
May 13, 20 and 27
June 3, 10 and 17
August 19 and 26
September 2 and 9

Wanja Djanaieff and Her Twenty-Two Favourite Colours

Curated by Cecilia Wallman and Wanja Djanaieff

This year’s big exhibition is finally opening at Marabouparken konsthall, a retrospective with Wanja Djanaieff, one of Sweden’s most influential textile designers.

Wanja Djanaieff has been Head of Design at NK Design Group, Strömma and Almedahls. Her work became known to a wider audience when she designed the clothes for the Swedish Olympic troupes in Munich in 1972. She has also worked as scenographer, costume designer and professor.

The exhibition presents sketches, clothes and the iconic patterns that came to represent the style of an entire era. During the exhibition period there is also a screening of the newly produced Filmen om Wanja by son and documentary filmmaker Niklas Djanaieff.

Apart from her contribution to design, Wanja Djanaieff has been committed to a sustainable development in the textile industry and has researched the usage of flax and handicraft techniques. It is a commitment that has contributed to the renewal of Hemslöjden [The National Association of Swedish Handicraft Societies], inspired collective creation and led to increased knowledge of the importance of our cultural heritage for contemporary design.

The exhibition gives an insight into the development of Swedish design in the 1960s and 1970s whilst also being a personal story of an unusually diverse artistry.

Exhibition photos: Jean-Baptiste Béranger

Thank you Designarkivet, Hemslöjden, Holma-Helsingland, Klässbols, Kulturen i Lund, Kulturens, Kungl. Husgerådskammaren, Linodlarföreningen Fransåker, NCS Colour, Slöjd Stockholm.

NCS Natural Color System

Spirit Labour – Adrian Heathfield & Hugo Glendinning

What kind of labour is it, to work communally with the bodies, movements, expressions and affects of others, to dedicate one’s lifework to the othering that issues from these relations? Is a life – especially a life spent making, learning, giving and transforming oneself with others – a kind of infrastructure? How might we better understand and value the social and artistic force of such practices?

These questions are at the core in Adrian Heathfield and Hugo Glendinning’s Spirit Labour. The film follows the artist Janine Antoni as she encounters some exemplary artistic figures of the late 20th and early 21st century: choreographer and dancer Anna Halprin, and writer and philosopher Hélène Cixous. Spirit Labour traces a genealogy for artistic practices prone to engaging with the elements and non-human forces. Articulating the artists’ work as a form of what Heathfield calls ‘spirit labour’, the film acts as a powerful counter to notions of art as subservient to the spirit of capital.

Adrian Heathfield is a curator and writer, and works mainly with live art, performance and dance. He co-curated Live Culture (Tate Modern, 2003), Performance Matters (2009-2014) and a number of other performance and durational events in European cities over the last sixteen years. Heathfield is a part of the collective freethought (with Irit Rogoff, Stefano Harney, Massimilliano Mollona, Louis Moreno and Nora Sternfeld), which curated a program with exhibitions, discussions, screenings, publications and commissions for the Bergen Assembly, September 2016. Heathfield is Professor of Performance and Visual Culture at the University of Roehampton in London.

Hugo Glendinning is a photographer. His output stretches across the cultural industries from fine art collaborations in video and photography, through production and performance documentation. Glendinning has worked with the leading British theatre and dance companies, and his work has been published and exhibited internationally.

Anna Halprin (b. 1920) has been creating revolutionary directions for dance since the late 1930s, inspiring artists in all fields. Through her students Trisha Brown, Yvonne Rainer, and Simone Forti, Anna strongly influenced New York’s Judson Dance Theatre, one of the seedbeds of postmodern dance. Defying traditional notions of dance, Anna has extended its boundaries to address social issues, build community and foster both physical and emotional healing.

Hélène Cixous (b. 1937) is a professor, French feminist writer, poet, playwright, philosopher, literary critic and rhetorician. Cixous is best known for her article The Laugh of the Medusa, which established her as one of the early thinkers in post-structural feminism. She founded the first centre of feminist studies at a European university at the Centre universitaire de Vincennes of the University of Paris (today’s University of Paris VIII).

Janine Antoni (b. 1964) works in performance art, sculpture, and photography, focusing primarily on process and the transitions between the making and finished product. She often uses her body, both as an entity, or paying particular attention to body parts as tools, utilizing her mouth, hair, eyelashes, and, through technological scanning, the brain, to perform everyday activities to create her artwork. She carefully articulates her relationship to the world, giving rise to emotional states that are felt in and through the senses. In each piece, no matter the medium or image, a conveyed physicality speaks directly to the viewer’s body.

Trailer

Spirit Labour
41 minutes

Featuring: Janine Antoni, Anna Halprin, Hélène Cixous
Directed and Edited by Hugo Glendinning og Adrian Heathfield
Original Music and Violin by Aisha Orazbayeva
George Philipp Telemann, Fantasia No. 10 for Violin Solo, Largo, performed by Aisha Orazbayeva
Voice: Sophie Gueydon

Camera: Hugo Glendinning

Text: Adrian Heathfield

Elements of an incomplete map
Bus Tour Through the History of Political Imagery

17 November, 11.30am–2.30pm

As part of the exhibition Inhale, exhale, resume, a guided tour will be conducted between places in the city that have been crucial to the collectives and movements that the exhibition explores. The tour uses and activates the map available in the exhibition room. Through it, historical layers that otherwise remain hidden unfold at the same time as the city’s many transformations become visible. Artists Sebastian Dahlqvist and Helena Fernandez-Cavada will talk about artist-run movements initiated in Stockholm in 1938–1955 as reactions to the inaccessible position of art in society, a growing fascism and the acceleration of global capitalism.

A tour bus will depart from Marabouparken konsthall at 11.30 am on 17 November. The tour lasts approximately 3 hours. Conversations and readings will alter between English and Swedish. Free of charge. Sign up with isabella.tjader@marabouparken.se.

Sebastian Dahlqvist och Helena Fernández-Cavada
Inhale, exhale, resume
10 oktober–24 november 2019

Bibod av Erik Sjödin

Plant a Meadow
– Workshop with Vilhelm Kroon and Erik Sjödin

Saturday 26 October, 1pm–4pm

Please join us for this hands-on workshop about planting and maintaining a meadow, conducted by artist and researcher Erik Sjödin alongside biologist Vilhelm Kroon. Participants will set up a meadow by the bee shed built as part of the exhibition Community Services in the summer of 2018.

The workshop will be practical, participants are invited to remove a portion of the current lawn, add new soil, plant plug seedlings, and sow seeds. The activities will take place outdoors, regardless of weather, so please dress accordingly. Bring sturdy shoes and a raincoat if necessary. There will be spades and other utensils for approximately ten participants, but more people can join in to listen and learn. Open to all ages, free of charge, no need to sign up in advance.

The workshop is a continuation of the exhibition Community Services, a collaborative project undertaken by Marabouparken konsthall and the city of Sundbyberg.

The 2018 exhibition

Gemenskapstjänster
Erik Sjödin och Mia Isabel Edelgart
14 juni–26 augusti 2018

Manège (riding arena, training) is a format where artists, performers, theoreticians, riders and choreographers together engage in a multi-layered public event where questions about control, intimacy and ethics in relation to dressage, and dressaging, of horses and humans, are being investigated. Performances , lectures and an exhibition are interweaving in order to create a situation for sharing and learning through the encounter with art and discourses around the topic of dressage.

”Humans break themselves in (se dressent) like animals. They learn to hold themselves. Dressage can go a long way: as far as breathing, movements, sex. It bases itself on repetition. One breaks-in another human living being by making them repeat a certain act, a certain gesture or movement.”

”In the course of their being broken-in, animals work. Of course, they do not produce an object, be it with a machine, a technique, or with their limbs. Under the imperious direction of the breeder or the trainer, they produce their bodies, which are entered into social, which is to say human, practice. The bodies of broken-in animals have a use-value.”

Henri Lefebvre
Rhythmanalysis: Space, Time and Everyday Life. London: Continuum, 2004. 

Manège is a collaboration between Marabouparken konsthall and Stockholm University of the Arts/Department of Dance. Curated by Marie Fahlin, PhD in performative and mediated practices.

The restaurant adjacent to Marabouparken konsthall, Dolks Kök, will be serving lunch and coffee throughout the day.

Participants:
Shiva Anoushirvani
Caroline Bergvall
Jeanette Bolding
Julia Bondesson
Jonna Bornemark
Cristina Caprioli
Christina Drangel
Marie Fahlin
Moa Franzén
Signe Johannessen
Anne Juren
André Lepecki
Lena Oja
Weld Company and Anna Koch
Release of Koreografisk Journal #6

Manege handout

Liv Bugge, PLAY (2019) Photo: Liv Bugge
Let the Tail Talk Talk Liv Bugge in conversation with Filipa Ramos Thursday 17 October, 6pm

Let the Tail Talk Talk

Liv Bugge in conversation with writer and curator Filipa Ramos
Thursday 17 October, 6pm

Artist Liv Bugge and writer Filipa Ramos will be in conversation in the context of Liv Bugge’s exhibition Let the Tail Talk at Marabouparken, discussing key issues at the core of Bugge’s practice, namely the politics and logics of visibility and invisibility of people, nature and objects alike.

In her dissertation, Bugge connects two magic disappearances: the disappearance of the fossil into the museum structure and into history, and the inmate’s disappearance into the prison structure – away from society. Regardless of such processes, these bodies – the living and the non-living – leave traces and imprints behind. In the prison the walls have damages and inscriptions, cavities resulting from aggressions, carved names of people and places. The fossilised trilobite is an image of stone, a hundreds of millions years old imprint of what was once one of the world’s most common animals.

Let the Tail Talk is Bugge’s first major solo show in Sweden. Bugge is interested in non-verbal communication and tactility, how we communicate through our bodies and allow them to shape our worldview. She was educated at the Academy of Fine Art, Oslo and HISK (Higher Institute for Fine Art) in Belgium. She has undertaken a practical PhD, The Other Wild, finished in 2019 at the Academy of Fine Art, Oslo. Her research seeks to address systems of control and internalised normative structures that harness and govern dualisms like life and non-life, humanness and wildness, by taking conversation and touch as a starting point in the making of artworks.

Lisbon-born Filipa Ramos is a writer and editor based in London, where she works as Editor in Chief of art-agenda. Her writing and research, largely focused on interspecies relationships, has been published in magazines and catalogues worldwide. She curated Animalesque, a large group exhibition on becoming animal-becoming other, at the Bildmuseet Umeå, (Summer 2019) and BALTIC, Gateshead (Winter 2019/20). Together with Lucia Pietroiusti and for the Serpentine Galleries she curates ongoing symposia series The Shape of a Circle in the Mind of a Fish.

Inhale, exhale, resume
Sebastian Dahlqvist and Helena Fernández-Cavada
Open Call

Sebastian Dahlqvist and Helena Fernández-Cavada was chosen to produce and subsequently present an exhibition during the autumn of 2019. Sebastian Dahlqvist and Helena Fernández-Cavada were selected from 87 applicants by Marabouparken’s advisory group, which consists of Elof Hellström, Sharam Khosravi, Marie-Louise Richards and Selam Tadele, together with Rudy Loewe, who was selected in last year’s Open Call.

The exhibition examines and highlights artist-driven movements and collective strategies and ambitions during the 20th century in Sweden. It raises questions about the history and potential of political imagery, as well as stories of collective organization in the Swedish art field. But also the boundaries often go for these we-formations. The exhibition at Marabouparken is a first part of an ongoing study and focuses mainly on collective and movements operating in Stockholm during the years 1938-1955.

The movements and collectives that the exhibition highlights emerged as reactions to the inaccessible position of art in society, a growing fascism and the acceleration of global capitalism. Today we are experiencing a resurfacing and normalization of fascism and reactionary movements. Moreover, the acceleration of global capitalism has assumed even more violent attributes. Throughout the exhibition, artists Sebastian Dahlqvist and Helena Fernández-Cavada look towards earlier colleagues, their ambitions and failures to find a common ground where to belong. An attempt to discern what opportunities, or even responsibilities, are left to those who come after.

The exhibition features a montage of archival material, two new video works, a cartographic exploration of various sites in Stockholm used by previous colleges for collective organizing and a performative walk through the city. The gaps in between the tables on which the archival materials is displayed reminds us that what is presented is and will remain incomplete.

The research behind the exhibition builds on the private archive and previous research done by the art historian Thomas Millroth. Other archival material has been borrowed from the Jan Myrdal Library and the Swedish Labour Movements Archives and Library. After the end of the exhibition part of the material will be donated to the Swedish Labour Movement Archives and Library. Together with archivists the artists are working to ensure the future and accessibility for the material making it possible for other colleges to continue building on.

The exhibition is supported by Arbetarrörelsens Kulturfond

Sebastian Dahlqvist is an artist and curator based in Malmö and Stockholm. His artistic practice often involves collaborations and engages with questions related to collective memory, ways of reading and writing history and the production of social and political relations to space.

Helena Fernández-Cavada is a visual artist currently based in Malmö, Sweden. She draws every day in order to pose questions and spend time with them – a process which Hannah Arendt called ‘understanding’. This process ranges from the questioning of established relationships to emerging contradictions as an attitude to life.

The Ruling Citizen
Inauguration of The Kitchen Square

On the 4th of October, The Ruling Citizen – a seminar offering workshops and lectures on democracy, empowerment and civic influence – will be held in Hallonbergen, Stockholm. As a part of the seminar, the art- and architecture project The Kitchen Square will be inaugurated. The Kitchen Square is a mobile project space for dialogical cooking, featuring a concrete cast mirroring the standardized kitchens typical of the area. It is the product of a collaboration between local women’s groups, artist and architect Elin Strand Ruin, Balder, and Marabouparken konsthall, funded by Kulturbryggan. The Ruling Citizen is arranged by Elin Strand Ruin, Balder, Kairos Future, Urban Design, RISE, and Marabouparken konsthall.

Program, Friday 4 October 2019

The Ruling Citizen
Inauguration of The Kitchen Square

1pm–2pm COMPLIMENTARY LUNCH served by The Kitchen Square
2pm–5pm PUBLIC DISCUSSION The Ruling Citizen
5pm INAUGURATION of The Kitchen Square
Moderators: Rise, Urban Design, Karios Future, and Peoples Academy.

Conversation about the gallery Färg och Form

Saturday 24/8-19 at 2pm
The conversation will be held in Swedish
Entry 70 SEK (Conversation and exhibition)

During the summer Marabouparken hosts the exhibitions Jag lefver i två världar. Ester Almqvist 1869-1934 and Hilding Linnqvist, Stadseremit och Kosmopolit [City-hermit and Cosmopolitan]. Both these artists have a connection to the gallery Färg och Form [Color and Form], which was located in Stockholm and was active between the years of 1932 and 2002. Hilding Linnqvist was part of the group of artists that founded the gallery and a member of the gallery from 1934 to his death in 1984. Vera Nilsson, one of the founding artists, together with some colleagues, among them Siri Derkert and Ninnan Santesson, arranged an exhibition in 1934 with Almqvist’s work at Färg och Form. This exhibition came to be the last with Almqvist’s work while she was still alive.

With these two artists as a starting-point, Marabouparken invites you to a public conversation where art historian Erik Sandberg converses with Madeleine Odelstierna, who was in charge of Färg och Form, together with her colleague Inger Lindell, from 1980 until its closing in 2002.

I Live in Two Worlds. Ester Almqvist, 1869–1934
Hilding Linnqvist – City-hermit and Cosmopolitan

Teddy The Clown has Butterflies in His Stomach

Children’s performance in the park!

Saturday 13, 20 and 27 July, 2pm

Humor, warmth and a clown’s classical trunk full of wonder och clownens klassiska väska fylld med förundran.
Come along on Teddy The Clown’s expedition where butterflies and other magical things can be found. Teddy The Clown’s show uses no words and is suitable for all ages. Bring something to sit on. Free for all!

Marabouparken, Löfströmsvägen 8, Sundbyberg
Arr: Marabouparkens konsthall och Kultur Sundbyberg 

Foto: Martin Lundström

Liv Bugge, PLAY (2019) Photo: Liv Bugge

Let the Tail Talk

Liv Bugge

Marabouparken konsthall opens the autumn season with an exhibition by Norwegian artist Liv Bugge.
The exhibition, which is the first larger presentation of Liv Bugge in Sweden, is built around two video works from 2018, The Other Wild and To accept theirs, to make it mine, to wish it for myself, a sound installation, Instructions to make use of an already present itch (2017), installed objects and a new video work/installation, Play (2019).

In a text accompanying the exhibition that was part of her recently finished PhD at Academy of Fine Art, Oslo, Liv Bugge describes how she connects two magic disappearances: the disappearance of the fossil into the museum structure and into history, and the inmate’s disappearance into the prison structure – away from society. Societal structures here work as magic apparatuses for history writing and perpetuation of the norm, at the same time as those/that which are deemed to belong to these structures disappear from the now, nature/society and normalcy. But the structures’ forced assimilation on bodies is not the only communication that takes place here. The bodies, the living and the non-living, leave traces and imprints behind. In the prison the walls have damages and inscriptions, cavities resulting from aggressions, carved names of people and places. The fossilised trilobite is an image of stone, a hundreds of millions years old imprint of what was once one of the world’s most common animals. Alongside other carbon-based life forms of its time, it forms the base for the fossil fuels of which the Norwegian economy is currently dependent, but is trying to leave behind.

Do they have something to tell, the inscriptions on the prison walls, the fossilised trilobite? Liv Bugge’s works all build on conversations with people, objects, animals and nature. In listening to the other, the own body is opened up to images – she speaks of the body as an image creating apparatus – or words, maybe a scent or a thought appears. Her method entails considering even the image of an object with which she whishes to engage to be the potential counterpart of a conversation – something that can indeed be said about the encounter with a work of art. This particular listening can allow for an exchange between viewer and artwork.

In the new work that Liv Bugge has made for the exhibition, the video is divided into several projections. The protagonists of the work are huskies, dogs used for sled-pulling. They are filmed at the big dog yard at her family home. She speaks about her extended family – sometimes up to 60 individuals – that together made up her everyday. They appear here and there throughout the exhibition. Showing themselves or not. Also here one has to wait, give the dog time to approach – a reversed act of disappearing/appearing.

The tactile plays an important role in Liv Bugge’s works; it is through the body that we communicate and make ourselves an image of the world. The hands sorting stones at the museum, the backs and legs carrying off all that cannot remain, the surfaces of materials, the finger tracing the inscriptions in the prison corridors.

It is a tangible world of bodies and other matter. Many of the works that stem from her work in prisons share the inmates’ situation of being in a closed off environment, invisible to larger society. They have been installed as public works in the (non public) places from where they originate, and are not possible to view other than as images. That is the case for the concrete wall the artist has had installed in the prison yard: the surface keeps a constant 34 degrees Celsius, the same temperature as human skin. Here one can stand at the wall and experience the warmth, each one on their own, but together.

Liv Bugge (b. 1974 in Oslo) lives and works in Oslo. She was educated at the Academy of Fine Art, Oslo and HISK (Higher Institute for Fine Art) in Belgium. She has undertaken a practical PhD, The Other Wild, finished in 2019 at the Academy of Fine Art, Oslo. Her research seeks to address systems of control and internalised normative structures that harness and govern dualisms like life and non-life, humanness and wildness, by taking conversation and touch as a starting point in the making of artworks.

Liv Bugge has had solo presentations at Interkulturelt Museum, Olso, Sørlandets Kunstmuseum, Kristianstad and Kunstnernes Hus, Oslo, amongst others. Her work has been shown in group exhibitions including Kunsthall Trondheim, Melahuset, Oslo and Malmö Konsthall. This autumn she parti-cipates in the Gothenburg International Biennial for Contemporary Art. Liv Bugge is currently associated professor at the Academy of Fine Art, Oslo.

Thanks to Norwegian Visual Artists Fund (BKV), KORO – Public Art Norway and OCA – Office for Contemporary Art Norway. Marabouparken konsthall is supported by the City of Sundbyberg, Region Stockholm and the Swedish Arts Council.

Liv Bugge, PLAY (2019) Photo: Liv Bugge
Livstill1
Liv Bugge, PLAY (2019) Photo: Liv Bugge
Liv Bugge, To accept theirs, to make it mine, to wish it for myself (2018) Photo: Marte Vold
Liv Bugge, To accept theirs, to make it mine, to wish it for myself (2018) Photo: Marte Vold
Liv Bugge, To accept theirs, to make it mine, to wish it for myself (2018) Photo: Marte Vold
Liv Bugge, The Other Wild (2018) Photo: Liv Bugge, Hannah Wiker Wikström
Liv Bugge, The Other Wild (2018) Photo: Liv Bugge, Hannah Wiker Wikström

Hilding Linnqvist
City-hermit and Cosmopolitan

Curator: Erik Sandberg

Opening 15 juni, 12 noon–5pm
Inaugural speech by curator Erik Sandberg, 2pm

In the exhibition City-hermit and Cosmopolitan new inquiries into artistic conditions and prerequisites are awoken. The later painting style of Hilding Linnqvist that has often been seen as an abandonment of the naive radicality, is now faced with reinterpretation. City-hermit and Cosmopolitan is a move away from questions of aesthetics and stylistics, towards an examination of the works’ motifs and their meaning.

As a man during the beginning of the 20th century, Hilding Linnqvist had greater access than his female colleagues to the public sphere and had the opportunity to travel, both within Sweden and in other countries. This is visible in his art. However, what is missing is a closeness to what is being depicted, which can be due to the fact Linnqvist often finalised his works at home in his artist studio, and not in-situ. There is a distance to the public life and to nature in his painting, a certain feeling of standing outside the unraveling scene as though one is looking through a window.

When the gaze instead is turned towards the own home a greater sense of intimacy emerges. The home, which traditionally has been viewed as a space denoted by femininity, appears as a more comfortable milieu for Linnqvist to create within. Here we are let in on the inside, and are put in close contact with the motifs.

I Live in Two Worlds. Ester Almqvist, 1869–1934
Curators: Martin Sundberg and Cecilia Widenheim

”Can you see that I live as though in two worlds: one is with my dear friends, artists and sun people. […] And the other life: it is heavy and prehistoric, I would say, Swedish and rustic. […] It is my old life, as a vicar’s daughter in Småland, which can never be erased.”

So writes Ester Almqvist in a letter addressed to her friend Helga Westerberg in 1896. The feeling of living in two worlds marked her entire life and oeuvre; the quiet life in the Småland countryside stood in stark contrast to the existence she shared with her artist colleagues in Stockholm, where she came to be a prominent figure for the breakthrough of modernism.

Ester Almqvist was born in 1869 and was active as an artist from when her studies at Valand in Gothenburg and Konstnärsförbundets free school in Stockholm, up until her death in 1934. Her works depict the quotidian and the simple life, to a great extent, and is throughout characterised by an existential tone concerning what it means to be a human being in a various contexts and roles; in the family, in society, as a worker, as daughter and as artist. The surroundings and scenery of her childhood home Fogdeholm are frequently depicted, as is her family, which consisted of her mother, sister and aunt.

Almqvist’s female relations were of great importance during her whole life, both privately and professionally. Thanks to her colleagues she was able to set out to parts of Europe, during the 1920’s, and paint in countries like France and Italy with Tora Vega Holmström, amongst others.

The exhibition came about through a close collaboration between Norrköping Museum of Art and Malmö Museum of Art and was last shown in Malmö between December 2018 and April 2019. This summer the exhibitions will be shown in a new guise at Marabouparken konsthall.

Selected works

Ester Almqvist, Familjegrupp, 1909, olja, Jönköpings läns museum
Ester Almqvist, Systrar,1907. Malmö Konstmuseum. Foto Mats Arvidsson
Ester Almqvist, Hängbjörken, 1901
Ester Almqvist, Sågverk i decembersol,1914Malmö Konstmuseum. Foto Roza Czulowska
Ester Almqvist, utan titel, uå, akvarell, Malmö Konstmuseum
Ester Almqvist, utan titel (mansfigurer i båt), akvarell, u.å. Malmö Konstmuseum. Foto Mats Arvidsson
Ester Almqvist, Självporträtt, 1901, olja, Jönköpings läns museum

New selection from the Hilding Linnqvist Archive

From 16 June 2019

More information will follow

KKH Degree Show 2019
Opening 23/5, 17–20, Konstakademien and Marabouparken konsthall

This year’s edition of the Royal Institute of Art’s Degree Show will be in two places as last year; the MFA graduates are showing at the Royal Academy of Fine Arts, while the BFA students will be presented at Marabouparken konsthall. In addition to these two exhibitions, the park at Marabouparken konsthall is transformed into an active platform where works by the two graduate classes are exhibited.

The exhibition offers a unique insight into young artistic practices. Various of expressions interact to create a dynamic experience. In this year’s edition, performative elements are present among the exhibited works, which adds additional energy to an exhibit based in the ephemerality of an ending.

Installation views

Photo: Jean-Baptiste Béranger

Konstakademien/ MFA
Fredsgatan 12, Stockholm
Open: Tue-Fri 11-17 and Sat-Sun 12-16.
www.konstakademien.se

Catalina Aguilera, Jonas Bentzer, Frederik Egesborg, Guttorm Glomsås, Vida Lavén, Christopher Long, Maia Lundblom, Lisa Lundgren, Ivar Lövheim, Sara Nielsen Bonde, Elin Odentia, Malin Petersson, Natália Rebelo, Samuel Richter, Linda Sestrajcic, Vasilis Marcus Sjögren Tzanetopoulos, Aron Skoog, Joline Uvman, Sophie Vuković, Aldo Zetterman, Hilde Retzlaff

Producer: Sara Rossling

Responsible: Asier Mendizabal, professor och Lina Bjerneld, vik. lektor, Kungl. Konsthögskolan

Marabouparken konsthall/ BFA
Löfströmsvägen 8, Sundbyberg
Öppettider: tis-fre 11-17, lör-sön 12-16 (6/6 12-16)
www.marabouparken.se

Maiken Buus Andersen, Christine Dahl Helweg-Larsen, Alice Håkansson, Kajsa Kiuttu, Emelie Markgren, Mari Mattsson, Malin Molin, Tove Möller, Karon Nilzén Jonsson, Malin Norberg, Kasper Nordenström Jung, Afrang Nordlöf Malekian, André Nordström, Jimmy Offesson, Emilie Palmelund, Cristian Quinteros Soto, Robin Rydenhov, Jessy-Lin Santana-Burgos, Edit Sihlberg, Ossian Söderqvist, Erik Thörnqvist, Sofia Zwahlen

Producer Meryem Saadi

Responsible: Nadia Hebson, lektor och Jenny Olsson, adjunkt, Kungl. Konsthögskolan

Marabouparken-Parken
MFA + BFA

IMG_8787

Tai Chi in the park
Wednesdays 6-6.45pm

21 and 28 August
4 and 11 September

We gather at 5.55pm outside the café. Address Löfströms Allé 7–9. The tai chi takes place on the terrace next to the gallery.

SEK 30/session, no booking required – pay with cash or Swish. The session will take place even if there is a bit of rain, but cancelled if it pours.

For more info: merchi.nu/tai-chi

Artist Meets Artist 3: take-down

A de-installation of Lisa Torell’s exhibition together with Johanna Gustafsson Fürst
Sunday 28 April, 3–4pm

please note that it is only possible to view the exhibition The Pavement, A Masterpiece. in full until 4pm this day

In connection with the final day of Lisa Torell’s exhibition The Pavement, A Masterpiece. we invite you to the third and concluding part of the programme series Artist Meets Artist. 

The take-down (de-installation) is a method that was executed for the first time at Consonni in Bilbao in 2012; Lisa Torell and Johanna Gustafsson Fürst wanted to find a way to attentively take care of the knowledge that an exhibition generates, both of the specific works and of the artistic practice in general. Instead of hastily tearing down an entire exhibition, the take-down is done through a dialogue where thoughts about the work are talked through methodically.

In the programme series Artist Meets Artist, which has been running during the course of the exhibition, Lisa Torell has entered into dialogue with other artists to expand on their practices. In the take-down it will be the other  way around: instead it is Lisa Torell’s exhibition and practice that will be in the centre, and in dialogue with Johanna Gustafsson Fürst. Together the two of them, along with the audience, will move through the exhibition and discuss each work methodically, at the same time as the works is de-mounted or turned off. How come you placed this work here? What were your thoughts beforehand and how do you think it turned out?

Lisa Torell and Johanna Gustafsson Fürst have had -for several years and each of them separately- a great interest in method and material. Together they have taught, written texts and made performative works based on these investigations. Here in the exhibition The Pavement, A Masterpiece. the audience can take part of the work Highway 25, Shared society Means a Common Debt.

Johanna Gustafsson Fürst lives and works in Stockholm and holds an MFA from the Royal Institute of Art (2003). She is a lecturer at Konstfack in Stockholm and rerpresented by Gallery Belenius. In 2017 she received the Friends of Moderna Museet Sculpture Prize. Previous exhibitions include Expand Stretch Distribute at Gallery Belenius, Not That Cloud [Inte det molnet] at the Modern Museum, The Week Has Eight Days [Veckan har åtta dagar], RIBOCA, Riga Biennial 1.

Hydrofeminism in the wake of the climate crisis, conversation with Elena Lundqvist Ortìz
Spring premiere for the guided park tours, with pedagogue Fredrik Bergström
Monsterklubben Frottage with Fanny Listherby

Hydrofeminism in the wake of the climate crisis

Conversation with Elena Lundqvist Ortìz from Laboratory for Aesthetics and Ecology
28 April 4–5pm
The talk is in English

On the occasion of the final day of Marika Troili’s exhibition Waterside Recreation, we have invited Elena Lundqvist Ortíz, curator and researcher based in Helsingør, Denmark, to speak about questions of hydrofeminism in the wake of global ecological crisis and the transatlantic slave trade, and how this wake perpetually condition which lives matter and how.

The talk is an exploration of water, both as material and as metaphor. Ortiz investigates how seas, oceans and other bodies of water are oceanic archives that hold histories about past, present and future ways of being, caring, mourning and regenerating together.

Echoing Astrida Neimanis’ statement that ”we are all bodies of water” and expanding on Karen Barad’s notion of intra-action, she on the one hand points to how this wake (referencing Christina Sharpe’s In the Wake: On Blackness and Being) of planetary destruction, colonialism and enslavement are not separate, but intrinsically entangled in the Anthropocene. On the other han Lundqvist Ortiz shows us the importance of decolonizing and unsettling the narrative of the (supreme) human. Being a body of water, turns our attention towards our responsibility and mutual implication in the world.

Elena Lundqvist Ortíz is behind the project Hydra, a water polyp to the Laboratory for Aesthetics and Ecology and a curatorial research project on watery worlding, transcorporeality and oceanic healing.

Waters on the planet are running through deep challenges. As the warming climate melts the Arctic ice, oceans acidify and planetary currents are destabilized, we become aware of just how intricately we are intra-acting with the watery world; whether it meets us as storms, floods or droughts. Meanwhile, the contamination of the waters is ongoing, in the form of oil spills, chemical toxins, heavy metals, radioactive waste and plastic. All bodies depend on these waters, including our human ones. We all have water streaming through us, not unlike any other reservoir, river or lake. Boundaries between human and more-than-human bodies blur as we follow the streams of water.

Hydra is anchored in Snekkersten, on the coast of Øresund, and travels with water wherever it may flow.

Laboratory for Aesthetics and Ecology is a multidisciplinary platform for planetary becoming. Concerned with questions of global multispecies sufferings and environmental distress, the laboratory works with experimental exhibition formats and knowledge productions in the knotty entanglements between the human and the non-human, between the arts and the sciences, guided by feminist and posthuman(istic) strategies – be they artistic, theoretical, scientific, or everything at once. Laboratory for Aesthetics and Ecology was founded in 2014 by Dea Antonsen and Ida Bencke. The Laboratory has since expanded to also include Elena Lundqvist Ortíz, Andrea Fjordside Pontoppidan and Miriam Wistreich.

Spring premiere for the guided park tours, with pedagogue Fredrik Bergström
Monsterklubben Frottage with Fanny Listherby

Finissage 28 April!

Welcome to the last day of Marabouparken’s current exhibitions. The day offers a number of exiting activities that will both round off the period that has passed and look forward to coming times.

The Monster Club costs 50 kr/participating child, otherwise it’s free entrance!
The art gallery is open between 12-5 pm.

PROGRAMME

1–4pm (drop-in) The Monster Club
Frottage with arts educator Fanny Listherby. We explore how to make rubbed images of things we can see and find in our every day lives! For children 6 years and up.
More info: http://marabouparken.se/monsterklubben/

2-3pm Guided tour of the sculpture park
Guided tour of the sculpture park: From classicism to cubism
The sculpture collection of Marabouparken consists of 16 sculptures by Swedish and foreign artists, made between 480 BC and 1973. In the park classical greek sculpture live side by side with both abstract sculpture and ones representing various styles such as naturalism, concrete art and cubism. Head of Education Fredrik Bergström guides you through Marabouparken’s sculpture collection and history.

3–4pm Artist Meets Artist 3
The third and final installment of Lisa Torell’s series Artist meets artist takes place along with a performative dismantling of her exhibition The Pavement, A Masterpiece. Together with the audience and in dialogue with Johanna Gustafsson Fürst, Torell moves through the exhibition while she talks about the works that are mounted down. Thoughts about the work methodically unfold to display the knowledge that the exhibition has generated.

please note that it is only possible to view the exhibition The Pavement, A Masterpiece. in full until 4pm this day

4–5pm Conversation with Elena Lundqvist Ortíz
A conversation with Elena Lundqvist Ortíz, curator and researcher, about hydrofeminism and watery bodies and worlds in relation to Marika Troili’s exhibition Vattennära rekreation. Lundqvist Ortíz will speak about hydrofeminism in the wake of global ecological crisis and the transatlantic slave trade, and how this wake perpetually conditions which lives matter and how. The talk is in English.

Spring premiere for the guided park tours, with pedagogue Fredrik Bergström
Monsterklubben Frottage with Fanny Listherby

Spring premiere for the guided park tours!

From classicism to cubism
28 April 2–3pm

Marabouparken’s sculpture collection consists of 16 sculptures by Swedish and international artists performed between 480 BC and 1973. In the park, classical Greek sculpture co-exists with both abstract sculpture and sculptures is executed in widely different artistic styles such as naturalism, concretism and cubism.

Pedagogue Fredrik Bergström guides us through the park’s sculpture collection and history.

Monsterklubben Frottage with Fanny Listherby

Monsterklubben Frottage

28 April kl 13–16
Pedagogue: Fanny Listherby

We experiment with different ways to make rubble images from things that we can see and find in our everyday lives.

The Monster Club is a weekly activity where children and young adults interested in participating in workshops of all kinds, led by experienced art educators and artists, are welcome to join. Open every Sunday, drop in between 1 pm and 4 pm during exhibition periods and school holidays. Price: 50 SEK per workshop, or buy a seasonal membership card for 150 SEK.

9⁰ = 1

Saturday 4 May, 2–3pm

Innan Förskap
What happens when 9 artistic practices combine to become one? Come find out.

Ingredients may include traces of: Dancing whales, Infinity, New Materialism, Rope, Non-human people, Kul, Organs without bodies, Game Play, “O.O.O.”, Handstand bodies, Paper and the love hormone: Oxytocin.

SPRING CLEAN 3

Spring Clean (3–4 May 2019) is Marabouparken Konsthall’s annual event weekend where we open up the doors of the Konsthall for a series of performances and live events. It is a platform for sharing the experience of various artistic works communally.

Just like last year we are collaborating with Aggregat, Sundbyberg’s youth centre and Fylkingen – New Music and Intermedia Art, who each will be curating a section of the weekend’s events.

During the Saturday evening there will be three performances, which have been selected through an open call by Elin Magnusson and Karin Bähler Lavér, producers at Marabouparken, together with Tove Salmgren from School of Dance and Circus (DOCH).

Free entry to the entire programme!

Friday 3 May

1–2 Tai-chi
2–6 Fylkingen PPOD
2–6 Josefin Lindebrink, Habitat
6–10 Marabou Dance Jam:
6.30 Rookie Battle
7 Dansstudion
7.10 Try outs/pre-selection for battle
7.30 Live acts, poetry and music
7.45 All style battle
9.45 Open stage

Saturday 4 May

1–2 Tai-chi
1–6 Fylkingen PPOD
1–6 Josefin Lindebrink, Habitat
1–6 Janna Holmstedt & Jacek Smolicki, Sonic Sensibilities
6–8 3 x Performance:
My Lindh, You Are Here Now [Du är här nu]
Ami Kohara, Lambrusco
Shiraz Amar, Breath of The Wild

9⁰ = 1
Saturday 4 May, 2–3pm
Innan Förskap

Fylkingen at Spring Clean
Friday 3 and Saturday 4 May
Josefin Lindebrink – HABITAT
Janna Holmstedt & Jacek Smolicki – Sonic Sensibilities
Fylkingen PPPOD

3 x Performance
Saturday 4 May, 6–8pm
My Lindh – You Are Here Now [Du är här nu]
Ami Kohara – Lambrusco
Shiraz Amar – Breath of The Wild

Tai-Chi with Anna Holtenstam
Friday 3 & Saturday 4 May, 1–2pm
No previous experience required
The tai-chi will take place even if it’s raining a little, but not if it’s pouring down.

Marabou Jam Dancebattle!
Aggregat and kulturskolan Sundbyberg
Friday 3 May, 6–10pm
All Style Battle 1 vs. 1
Rookie Battle 1 vs. 1
Open stage
Music and poetry performances

Fylkingen at Spring Clean:

Josefin Lindebrink, Janna Holmstedt and Jacek Smolicki, Fylkingen PPPOD

Friday 3 and Saturday 4 May, 1–6pm

In collaboration with Marabouparken konsthall, Fylkingen presents two acts, which in different ways activate the audience’s listening. In the installation Habitat, by Josefin Lindebrink the audience are invited to place themselves on oscillating surfaces. Between the installation and the visitor’s own body a circuit of sounds is formed that challenges the skin as the border between biology and technology.

In Sonic Sensibilities, Janna Holmstedt and Jacek Smolicki invite you to a series of activities -a silent walk, a concert and a performance- in the park and inside the gallery’s main hall. The acts begin with a silent walk outdoors in which existing sounds are observed and woven together with   smaller sound installations by Smolicki. The sound walk is followed by a concert where Smolicki creates fascinating soundscapes with the help of everyday objects, prerecorded sonds and live recordings. Following this, Janna Holmstedt moves between the human, the synthetic and the beastly in her performance. Her piece builds upon archival material and sound recordings from a scientific experiment where dolphins were suppose to learn to speak english through their blowhole.

In the Konsthall’s library some of the teeming activities and the genre transcending art and musik being created at Fylkingen will be presented through a listening station for the Fylkingen pod cast: Fylkingen PPPOD.

Fylkigen is an artist run stage and association for experimental music and art. The association was founded in 1933 och has ever since supported and presented a wide offer of the most prominent composers, musicians and artist in the field of radical electronic, contemporary music, performing arts and multimedia. In 2019 Fylkingen turns 86 years old, which makes the association the oldest forum of its kind.

Fylkingen PPPOD

Listening station in the library
Friday 3 and Saturday 4 May, 1–6pm

A pod is a capsule. It can carry a seed or function as a time capsule. Fylkingen PPPOD is at once a container and a flight recorder, an attempt to capture if only a fraction of all the magic moments, teeming activities and genre transcending art and music that have occurred at Fylkingen. In the episodes that were released during the autumn of 2018, Elisabeth Hedström let’s oss take part of known and lesser known parts of Fylkingen – in the shape of an experimemtal stage, meeting place and artistic free zone. The episodes are available at Fylkingen’s website and Soundcloud .

Interviews, sound and edit: Elisabeth Hedström
Soundmix: Emil Olsson
Jingle: Johannes Bergmark
Editor: Janna Holmstedt

Josefin Lindebrink
HABITAT

Machine learning, sound, transducers, haptic perception, bio sensors

Installation in BOX
Friday 3 and Saturday 4 May, 1–6pm

HABITAT explores themes of development as both a solitary and communal process. The project aims to problematise existence alongside an intelligent technology that continuously challenges the skin as a boundary for identity or the autonomous human body. The visitors can position themselves on surfaces that oscillates in response to biophysiological feedback from it’s occupant. As others occupy their own structures, they are added to the other’s feedback loop. The oscillations are controlled by a machine that through machine learning continuously tries to keep in balance with its occupant(s).


Josefin Lindebrink is an artist and educator active in the intersection between art and science. With a background in music and applied physics her work explores and critically examines the role of emerging technologies in relation to body and matter. She is the acting chair of Fylkingen New Music and Intermedia Art.

Janna Holmstedt & Jacek Smolicki
Sonic Sensibilities

A sound walk in the park an two performances in the gallery with sounds, objects, video and voices
Saturday 4 May, 4–6pm

In Sonic Sensibilities, the artistry of Janna Holmstedt and Jacek Smolicki and their respective interest for different forms of listening practices and sound technologies meet.  Through active listening other aspects of our surroundings than those we usually notice in a visually oriented culture emerge. How do I perceive my surroundings and my own presence in these if I silently listen, instead of looking at or speaking about it? How do the surroundings and the objects sound? How does language really sound? What does technology do with our listening and our bodies? In Sonic Sensibilities, which can be said to consist of three acts, we ar led from already existing soundscapes and ways of listening outdoors, to augmented, distorted and recorded sounds in Smolicki’s performative sound collage where everyday objects are used in unexpected and poetic ways, over to historical sound archives, animal voices and storytelling in Holmstedts lecture-performance. The latter takes its starting point in sound recordings of communicational experiments performed on dolphins in the 1950’s and 60’s in the USA, where the dolphins were supposed to learn to speak english with their low holes. At the centre of it all was a women called Margaret Howe, whom, during 75 days, tried to live under equal conditions with the dolphin Peter in a house filled with water.

Janna Holmstedt works with situated practices and different forms of expanded story telling in the border lands between sound- stage- and contemporary art. In 2017 she presented her doctoral thesis in fine arts, ”Are You Ready for a Wet Live-In? Explorations into Listening”. Besides being a member of, and active in the production group of Fylkingen she is an affiliated researcher at the transdisciplinary feminist platform The Posthumanities Hub at KTH and Linköping University.


Jacek Smolicki works in the intersection between aesthetics, technology, archiving and the every day. His work manifests itself through performative landscape compositions, sound walks, experimental archives and installations. During the past few years he has also experimented with different recording techniques, in a systematic way, in order to document the human and more-than-human everyday life. In 2017 he received a PhD from School of Arts and Communication, Malmö Univsersity.

3 x Performance

Saturday 4 May, 6–8pm

My Lindh
You Are Here Now [Du är här nu]

15 min

A reading and a performance that takes place in the relation between three subjects: a text, an I, whom has written the text and the you, whom is reading the text.

Alternately the text addresses the You, in a figuration of the work’s extension in the time-space, and alternately it takes shape as an inner monologue through personal account of the doubts, hopes and efforts in shaping the work of the I.

The questions of the performance spans across subjects of play, power, responsibility, position, presence, materiality, resistance and crisis.

Ami Kohara
Lambrusco

ca 15 min

With rhythm, a swimmer controls its own body. Sometimes beyond it, the rhythm lifts the swimmer together with the stream of the water. What forms a swimmer’s mindset?

In the performance Lambrusco, it moves in different rhythms reflecting internal and external forces that lead it to take control.

Shiraz Amar
Breath of The Wild

Ca 40 minutes

Breath of The Wild is a contemporary dance beast, which invites the spectators on a journey of transformation.

Through popular culture, abstraction and comedy the piece plays with the spectators’ perception of objects and challenges ideas around representation and dancing bodies.

Concept: Shiraz Amar
With and by: Morgane Nicol, Love Andersson, and Shiraz Amar.
In collaboration with: Yari Stilo, Aurore d’Audiffret, Hannah Krebs, Miranda Wallmon and Alexander Talts.
Music: C+C Music factory ft. Freedom Williams, Bee Gees, Calvin Harris & Disciples
A special thanks to Björn Säfsten for mentoring this project.

Tai-chi with Anna Holtenstam

Friday 3 & Saturday 4 May, 1–2pm

No previous experience required
The tai-chi will take place even if it’s raining a little, but not if it’s pouring down. 

Tai Chi is performed a series of movements. The origins of these movement come from self-defense but in this form (”The 24 Form”) they are performed in soft, slow flow. The exercises consist of a lot of coordination and balance, which in a way ”forces” the practitioner to be deeply present in their own body and what takes place in the moment.

The exercises will be adapted so that also those who don not have any previous experience of Tai Chi can partake. We will run through some of the movements in more detail.

Welcome!

www.merchi.nu

Marabou Jam Dancebattle!

It’s time for another maxed out Dance Jam at Marabouparken Konsthall. There will be live poetry, music and dance acts from Aggregat and Sundbyberg’s Dance Studio.

Battles in the different categories (see below) and open stage!
First prize in the All Style battle is a gift voucher worth 2000 sek (Paygoo)

All Style Battle 1 vs 1 
Rookie Battle 1 vs 1

Programme and schedule:

Sign-in to the Rookie and All Style battles open at 6pm
6 Opening act: Live music from Aggregat
6.30 Rookie Battle 
7 Dance troupe from the Dance Studio performs
7.05 Break 
7.10 Try-outs/pre-selection to the All Style Battle 
7.30 Live performances, poetry and music
7.45 All Style Battle starts
Quarter final
Semi final
Final
9.45 Open Stage
10 -the end-

The Battle takes places as follows: 

During the Try-Outs the dancers get 1 minute to do their thing! 
The Hosts will select 8 dancers who will get to continue to dance. 

Hosts: AK, Mario P Amigo & Isse Omari
DJ Maele Cheza

DJ Maele Cheza
CHEZA, also know as a dancer, has since 2014 played at various Jams and Battles around the country, Urban North (Umeå), Hiphop Recolution (Gothenburg), Summer Session, Street Star amongst others. They have also played internationally at clubs and festival. Previously resident DJ and organizer of BUMBUM at club WKND in Stockholm- an event that gathers dancers, DJs and live acts.

Accessibility
The gallery’s exhibitions, conference spaces and restaurant are fully accessible for wheelchair and stroller. The residency space ”Guest Room” can currently only be accessed via stairs. Folding chairs can be borrowed. Not all emergency exits are wheelchair accessible. Hearing loops are available for lectures in the gallery. Parts of the park can only be reached via stairs. Disabled toilets and changing table can be found at the entrance. There is parking for visitors with disabilities on Löfströms allé, ca 100 meters from the gallery. If you require more information before your visit, please contact us: 08- 29 45 90

To accept theirs, to make it mine, to wish it for myself (2016-2018)
Fotograf Istvan Virág
To accept theirs, to make it mine, to wish it for myself (2016-2018)
Fotograf Istvan Virág
Image: Liv Bugge, To accept theirs, to make it mine, to wish it for myself (2016-2018). Photographer Istvan Virág
Artist Meets Artist – A conversation between Lisa Torell and Liv Bugge
Thursday 21 March, 6–7pm

During the exhibition The Pavement, A Masterpiece. Lisa Torell conducts a parallell programme and project, which was initiated in connection to her artistic research and through the book Place to Place, 9 Artists Reflection about Site-specificity And Place-related Processes (2016-2017), where she enters into dialogue with other artists on practice and working methods. The first conversation took place between the current exhibitors at Marabouparken konsthall: Marika Troili, Mapping the Unjust City and Lisa Torell herself.

Thursday 21 March, 6–7pm, she has invited the Norwegian artist Liv Bugge to unfold the process of the piece To accept theirs, to make it mine, to wish it for myself (2016-2018). Bugge’s work was developed through a commission from KORO and took place in two high security prisons outside Oslo. Together with a group of inmates, Bugge has traced the architecture of the prison and has cast ca 80 marks of aggression and wear in bronze, and places them back onto the prison walls, unavailable for the general public.

Liv Bugge (b. 1974) is an artist living and working in Oslo, Norway. Through her work she aims to dissolve common narratives on past and present, fact and fiction. Currently she is a researcher at the Oslo Art Academy with the project The Other Wild. She studied at the Oslo Art Academy and HISK (Higher Institute of Art) in Belgium. www.livbugge.com

She also runs the Oslo-based platform FRANK together with Sille Storable. FRANK was started as a way to raise art and critical discussion that centres around gender, desire and sexuality.

SPRING CLEAN 2019

Open call to participate in the performance programme

Spring Clean (3–4 May 2019) is Marabouparken Konsthall’s annual event weekend where we open up the doors of the Konsthall for a series of performances and live events. It is a platform for sharing work together.

If you would like to present a performance piece, share a work in progress and be part of our Spring Clean Event weekend you now have the opportunity to apply to participate. This year we have 3 Open slots for performances between 10 – 40 minutes long.

Tove Salmgren works in the field of the performing arts as an educator, dancer, choreographer and curator and has an MA from New Performing Practices at DOCH, Stockholm. Together with Kajsa Wadhia, Tove leads Köttinspektionen Dans, a platform for experimental dance and choreography in Uppsala.  Her own performances can be described as a feminist and philosophical laboratory.

Please send a short text of maximum 300 words including your name, contact, title and duration of performance and technical details to opencall@marabouparken.se before Friday 1 March, 5pm.

For each performance there is a bursary of 3000SEK. Please bear in mind we have limited technical possibilities and there is no travel budget attached.

Participants in the open performance programme will be selected by Elin Magnusson and Karin Bähler Lavér, producers at Marabouparken, together with Tove Salmgren from School of Dance and Circus (DOCH).

Artist Meets Artist

A conversation between this spring’s exhibitors at Marabouparken Konsthall; Lisa Torell, Marika Troili och Mapping The Unjust City/Vem äger staden? with its starting point in the different practices and their working methods.

Wednesday 13 February, 6–7pm
The conversation will be held in Swedish 

Lisa Torell’s exhibition The Pavement, A Masterpiece. scrutinises components of the welfare state. The works reveal how care and attention, indifference and neglect are manifested materially in and through our urban and public spaces. In Waterside Recreation Marika Troili presents new work taking foundation in the Bällsta Stream. The exhibitions touches upon questions of the relationship between recreation and productivity, between planned environments and spontaneous chains of events. In Marabouparken’s Guestroom the research collective Mapping The Unjust City/Vem äger staden? will reside during the spring. The project focuses on mapping, counter-narratives and the visualisation of ownership in relation to the built environment. By exploring hidden layers of the city, such as financial flows and the relationship between public and private, they spark conversations about whom the city is for and what it could become.

The conversation will be moderated by Lisa Torell and is the first event during the spring, which takes further the parallel programme that Lisa Torell begun with the project and the book Place to Place, 9 artists reflection about site-specificity and place-related processes (2016) where she enters into dialogue with other artists about practice and method.

Lisa Torell – The Pavement, a Masterpiece.
Marika Troili – Waterside Recreation
Mapping the Unjust City / Vem äger staden?

Free Tours for SFI Students

We offer free guided tours for SFI (Swedish for Immigrants) classes of the current exhibitions. A guided tour is approximately 45–60 minutes long.

For additional information or booking, please email Fredrik Bergström: fredrik.bergstrom@marabouparken.se or call:  +46 (0)8-29 45 90

Marika Troili
Waterside Recreation

In Waterside Recreation, Marika Troili builds upon her interest in words’ capacity to establish their own systems of value. In previous bodies of work she has examined how a number of large companies officially communicate, now she has turned toward the voice of ‘the public’.

The source of the exhibition is in a number of documents from the City of Sundbyberg (in which Marabouparken konsthall is located.), concerning the city’s future development: Sundbyberg 2030 – Urban and Sustainable and Sundbyberg’s New City Centre, amongst others. In these documents the reader will encounter formulations like: “The beach promenade along the Bällsta Stream and Bällsta Bay will be developed into an attractive area, offering waterside recreation and a range of activities”. Hence the title and subject matter of Troili’s exhibition.

Marika Troili, Blåstruktur, 2019
Marika Troili, utan titel (bollar från Bällstaån), 2019

The speculative tone of the documents projects a stylised image of the future city, where the water in general, and the Bällsta Stream in particular, plays a significant role as driving force and as social and economical value. Through both studious readings of these documents, as well as methodical wandering and boat rides up the stream, Marika Troili has probed the flow of activity that both circumscribes the water and that the water gives rise to. This is interpreted and mirrored in the exhibition in a way that provides us with new perspectives on the processes that take place in and along the stream. In the gallery a spatial figuration takes form in which the water is both material and meaning.

The stream is also the homestead of beings with other, ulterior motives than those postulated by the city, for example the beaver and the nettle. In a glass display case in the exhibition lays the piece General Plan of The Nettle 2030. Gathered here are general plans from the four municipalities, through which the Bällsta Stream flows, covered beneath a fine powder of ground nettle. The nettle, which on the one hand is considered as an unwanted weed and on the other as a sought after herbal remedy, also becomes a symbol in the tale of the town. A pervading feature in Troili’s body of work is that it at once puts into play an unveiling and obscuring of in the impact the reports have on, and our image of, the future city.

Marika Troili, Barkarbystaden II, 2019
Marika Troili, Vattennära rekreation, 2019

Yet another dimension in Waterside Recreation is the link to the history of Marabouparken and the former chocolate factory (which now houses the gallery), where ideas of the causal relationship between decorative, beautiful environments and good health and morals form the basis of the park’s and factory’s design – ideas that recur in contemporary urban planning.

Marika Troili sharpens our gaze beyond what can be seen by the bare eye. With the help of found materials and objects; through installation, video, photography and text, Troili poetically and tactfully portrays questions of urban regeneration, cultural and natural environments, economies and ecologies (recognised and not), recreation and productivity. In a continuous movement from surface to depth and back, she constructs new systems of linguistics, concepts and perceptions.

Curator: Karin Bähler Lavér

Marika Troili (b. 1984, Norrköping, Sweden) has participated in exhibitions at Skåne Art Association, Malmö; Nida Art Colony, Lihuania; BAK, the Netherlands; Bâtiment d’art contemporain, Switzerland; Maskinhuset in Grängesberg, and at the Museum of Work in Norrköping, Sweden, among others. Her artist’s book No love letters today, either – continued successful cost adjustment and continuous efficiency improvement was published by Konstfrämjandet, [People’s Movements for Art Promotion], in 2015. Waterside Recreation is Troili’s first institutional solo presentation.

Elof Hellström, Maryam Fanni, Åsa Johansson, Sarah Kim, Paula Urbano

Mapping the Unjust City / Vem äger staden is a collective work that deals with mapping, counter-narratives and visualization of ownership in relation to the built environment. By exploring hidden layers of the city, such as financial flows and the relationship between public and private, they spark conversations about whom the city is for and what it could become. The process explores the aesthetic strategies for sharing knowledge about ownership, thus encouraging the democratization of the city’s public spaces.

The group has previously done a mapping of the local centers along Stockholm’s subway lines, which has been exhibited at institutions, art galleries and -occupied spaces. As a complement, the group has also worked with peripheral stories, investigated zoning plans, ownership his-tory timelines and tested the center property owners’ knowledge of the right to demonstration. Key issues for the research are: How can mapping function as a tool for analysis? How can it provide an understanding of the consequences of changes in ownership and the impact of financialization on the built environment? How can an image become a mobilizing tool and inspire collective action?

In the guestroom at Marabouparken, Mapping the Unjust City / Vem äger staden will work to transform past mappings into a user-friendly digital tool to visualize hidden dimensions of the city. In collaboration with hackers and other interested participants, the digital tool will take shape and be filled with new data. In 2019, talks and workshops will also be held on the potentials of mapping and what counter–narratives can serve as a starting point for understanding the changes Stockholm is undergoing today. Here, the focus is especially on stories about the local centers in Sundbyberg which the city has recently sold off to private companies.

The group’s members are Elof Hellström, graphic design Maryam Fanni, landscape architect Åsa Johansson, curator Sarah Kim and artist Paula Urbano

Marabouparken’s Guestroom is an evolving programme strand and a space for research and reflection. Collectives and artist groups are invited to deepen and develop their practice. The Guestroom stems from the ongoing research project Acts of Self Ruin that looks into how solidarity and equality is built in an age of individualism.

Lisa Torell’s exhibition scrutinises components of the welfare state. The works reveal how care and attention, indifference and neglect are manifested materially in and through our urban and public spaces. It is as if she is asking herself: What is it that makes a society a shared space and a society a society?

With a close examination on site, working day and night, Lisa Torell discovers signs of care and consideration, and a lack of the same. She is the body and the eye, making her discoveries simultaneously with the viewer. Bit by bit, society and systems are laid bare, in paving stones, detritus and imprints.

For more than a decade, the artist Lisa Torell has focused her artistic practice on public and semi-public spaces. She uses a site-specific approach to enter into close dialogue with chosen places and situations, individuals, population and society. At Marabouparken works made between 2015 and 2019, for places in Istanbul, Norrköping, Småland, Gdansk, Sundbyberg, Tromsø och Venice, are shown in a large-scale spatial installation.

Human Population_Sundbyberg_Lisa Torell
Human Population_Sundbyberg_Lisa Torell

Lisa Torell works with performance, installation, video, and text. Several of the works shown at Marabouparken were produced within the framework of the Norwegian Artistic Research Programme, for which she presented her thesis Potential of the Gap, in spring 2018. Her practice explores issues related to the public sphere, focusing on relations between place, language and identity in relation to perception, convention, system and logic.

During the exhibition, Lisa Torell will be conducting a parallel programme, which began with the project and book Place to Place, 9 artists reflection about site-specificity and place-related processes (2016-2017), in which she discusses practices and methods with other artists.

Curator: Maria Andersson

Figure 3582, Pleasure Culture_Lisa Torell_Phot_Viktor Pedersen
Take Care of the Garbage_Lisa Torell-photo_Ingvild Holm
That was seen, could be seen_Lisa Torell_foto_Michael Törnkvist_
The Pavement, a Masterpiece_Lisa Torell-photo-Humle Rosenkvist

Lisa Torell (Gothenburg, 1972) is a senior lecturer at Tromsø Academy of Contemporary Art and Creative Writing. She has exhibited widely in group shows and solo shows, at venues that include Nordnorsk Kunstmuseum in Tromsø, 0047 in Oslo, TSSK, Trondheim, Research Pavillion, Venedig, Bonniers konsthall, Stockholm, Index, Stockholm, Göteborgs konsthall, Gallery Depo, Istanbul and Consonni, Bilbao. Torell has also written for various publications such as Contemporary Urban Structures, Oslo Pilot (2015-17) – a project investing the role of art in public space (Mousse Publishing), Paletten and A-Prior Magazine.

The Monster Club is a weekly activity where children and young adults are welcome to join in workshops of all kinds, led by experienced art educators and artists. Open every other Sunday between 1 pm and 4 pm and school holidays. 6 years and up. 

Due to current circumstances we have decided to pause the Monster Club activities for the time being. We very much hope to offer pedagogic activities again as soon as possible, please check here for more information!

In collaboration with

Design Christmas Market 2018

8 & 9 december, 11am–5pm
50 sek entry, proceeds go to Save the Children and their work for migrant families
(free admission for all kids, The Monster Club included)

The weekend of the 8th and 9th of December we open our doors to the much appreciated and longed-for design christmas market!

Find the best, most personal and sustainable christmas gifts from both well known artisans and newcomers in handicrafts and design.

A lot of this year’s exhibitors accept credit cards and swish but we recommend also bringing some cash to be on the safe side.

For all the kids The Monster Club is hosting a christmas workshop where you can make your own unique christmas cards and design wrapping paper for all your christmas gifts.

There will be music and dance performances, the chocolate wheel of fortune will be spinning and Parkliv restaurant will be serving delicious baked goods and lunch.

Warmly welcome!

Programme

8/12 at 12noon–4pm. FREE! The Monster Club’s Christmas Workshop. Pedagogues: Jessica Overgaard and Maia Lundblom
We make our own christmas postcards and design wrapping papers for all christmas presents.

9/12 at 12noon–4pm. FREE! The Monster Club’s Christmas Workshop. Pedagogues: Jessica Overgaard and Maia Lundblom
We make our own christmas postcards and design wrapping papers for all christmas presents.

Animation against Despotism

A seminar with Midhat Ajanovic, Nikica Gilić and Behzad Khosravi Noori
Friday 23 November, 5.30–8pm

What are the imaginable alternative futures for the past? What method of investigation or even interrogation could be used to destabilize the given narrative of the past? The image of the past perhaps demands reinvention to confirm the possibility to think about social transformation, emancipation and solidarity.

This seminar explores the relationship between world politics and animation production with Zagreb Film at the centre. It brings forth the question of how the macro politics during the cold war affected the specificities of means of production within Zagreb Film given its modernistic tendency.

Placing the idea of the third road, Non-aligned movement and cold war dichotomy on one hand and postcolonial, antifascism and solidarity in the global south on the other could elaborate on the tangible intercultural links that charts a contemporaneity of events under certain geopolitical conditions.

Midhat Ajanovic
Titoism and the idea of ‘the third road’ as ideological foundation of Zagreb School for animated film

Geographically, and ideologically, Yugoslavia stood on the border between two confronted blocks during the Cold War, but belonged to neither. The idea of ‘the third road’ was extremely popular; people really saw their country as an alternative to imperialist West and bureaucratic East.

Yugoslav regime was rarely criticized for lack of democracy; it was more fiercely attacked by the nationalist right wing, which sheds much light on the catastrophe that happened after Tito’s death. Yugoslav filmmakers rarely confronted the system; they were mostly its ardent propagators. The ‘third road’ idea was popular even among the creators of Yugoslav’s best films – members of the Zagreb School of Animated film. Still, satire was an important element of Zagreb films, but the satirical razor was directed towards actual global problems, racism, colonialism, pollution, hunger, poverty, fear of the A-bomb, war, etc. Criticism was present, but it did not include social criticism. Yugoslav system was not only spared of criticism, it was, indirectly but indisputably, celebrated. The idea of a small, spiteful country existing on the borderline between two gigantic and hostile worlds was interwoven in many films made in the Zagreb studio. A small freedom oasis, surrounded by pressures, terror and danger, was an all-present motif in animated anecdotes of the leading school’s masters. A small man abused by his surrounding, who, despite the troubles, kept fighting for his way of life, his independence and neutrality was a common denominator of the authors of the Zagreb school, regardless of their artistic profile and their filmic and visual expression.

Soon after Tito’s death in 1980, the idea of the ‘third road’ turned out to be completely ‘unrealistic reality’, just like La Grande Illusion. After Gorbachov, perestroika, the fall of the Berlin wall, and the end of the cold war, the idea of the ‘third road’ and a country in between lost its initial meaning. Yugoslavia lost its international position, and moreover, dissolved in a bloody war.

Nikica Gilić
Zagreb School and its authors in context

Zagreb School of Animated Film, representative of the tendencies towards modernist and auteurist cinema, has appeared in the context significantly different from that of Eastern and Western Block countries. Additionally, the artists of this “school” have never shared a common style; they were strongly individual, creating quite different animated films. It is therefore interesting to analyse The Zagreb School in the context of the collectivist tendencies typical for all producer-based cinema productions (both market-oriented and “socialist” ones), as well as those typical for animated film production and those typical for the socialist Yugoslavia. In order to develop in its full diversity, The Zagreb School had to overcome the organisational growth typical for producer based productions, influence of classical style typical for animation in general and the drive towards socialist collectivism (the latter being less strong than in other European socialist countries but significant nevertheless). Zagreb School, many may argue, is so great because the individualism was allowed to flourish. But would it be possible and would it be equally influential in a country of different social and geopolitical features than Yugoslavia?

Midhat Ajanović (born in Sarajevo 1959) is a theoretician of animation, author and film maker born in Sarajevo (Bosnia) in 1959. He studied journalism in Sarajevo and practiced film animation in Zagreb film Studio of Animation (Croatia). Between 1984 and 1992 he directed seven animated short films and published a number of essays and reviews on cinema and animation. Since 1994 he is living in Gothenburg (Sweden) where he obtained a degree of Doctor of Philosophy in Film Studies. He teaches history and theory of animation at various Swedish film schools (currently at University West in Trollhättan) and writes regularly about film and animation. He is an author of numerous publications published in several languages, among them The Man and the Line (2013), Den rörliga skämtteckningen (2009), Karikatura i pokret (2008) and Animacija i realizam/ Animation and Realism (2004), Animazione e relismo (2006). He worked as the organizer and artistic director of the festivals in Podgorica (Montenegro), Zagreb (Croatia) and Eksjö (Sweden) and was the member of many international juries. For his work, he got various rewards, among them 20th World Festival of Animated Film special award for contribution to animation studies.

Nikica Gilić (born in Split, 1973) got his PhD in film studies in Zagreb, in 2005. He works as associate professor at the Faculty of Humanities and Social Sciences in Zagreb, where he teaches history and theory of cinema. He also teaches film theory at Academy of Drama Art and has given guest lectures in cinema studies at universities in Berlin, Konstanz, Regensburg, Graz and Brno. He is editor in chief of Hrvatski filmski ljetopis film journal and a member of the editorial board of online journal Apparatus (Germany). He wrote books Uvod u povijest hrvatskog igranog filma (Introduction to the History of Croatian Film, 2010 and 2011), Uvod u teoriju filmske priče (Introduction to Theory of Narration in Cinema, Zagreb, 2007) and Filmske vrste i rodovi (Film Genres and Types, 2007 and 2013). In 2015 he became an Associate Research Fellow at the Graduate School for East and Southeast European Studies in Munich and Regensburg. Formerly president of the administrative council of Zagreb film, he is a member of Animafest Zagreb Festival Council and served in the selection comittee for the festival in 2015 and 2016. He is one of the editors of the soon forthcoming book Global Animation Theory for Bloomsbury (2018).

In collaboration with Konstfack and ABF

Sundbyberg’s Bio

Welcome to Sundbyberg’s Bio for a series of free public film screenings developed together between Marabouparken Konsthall and students and staff at Långholmens folkhögskola!

Begun as a conversation concerning the lack of a cinema in Sundbyberg, we have invited artists and experts working with film to collaborate with students studying social and societal studies to co-create and lead public film screenings.

Films shared together connect to questions within the students’ course concerning identity and historic and current discourses focused on colonialism and nationalism. The films shown offer questions and practices that critique and resist dominant Eurocentric narratives and their norms. Each screening is followed by a discussion.

During the autumn the students have been working with the artists Behzad Khosravi Noori and Rudy Loewe.

Wednesday 24 October, 6pm
Film screening with artist Behzad Khosravi Noori showing animated films from the 60’s–80’s.

At Marabouparken konsthall

Wednesday 21 November, 6pm
Film Screening with artist Rudy Loewe showing films from London Community Video Archive.

In the assembly hall at Långholmens folkhögskola

Sundbyberg’s Bio is supported by Långholmens folkhögskola and ABF.

Film Screening

28 October 3–5pm

Join us for a film screening and dinner. Rudy Loewe will screen two films from the London Community Video Archive that preserves, archives and shares community videos made in the 1970s/80s in London and the South East of England. The screening will be followed by food and a discussion together.

http://www.the-lcva.co.uk

Stop Motion Workshop

27 + 28 October 2018, noon–4pm
Arts educator: Antonija Veljačić

We watch films about Professor Balthazar and make our own stop motion animations.

For children aged 8-12. 100sek for the two-day workshop. The workshop will be held by an English speaking educator with the assistance of a Swedish speaking educator.

 N.B. no drop in! The workshop takes place over Saturday and Sunday. Limited number of places, registration is required. Please register with Fredrik Bergström: fredrik.bergstrom@marabouparken.se

Saturday we will be watching the films about Professor Balthazar that feature in the current exhibition. We will let ourselves be inspired by these animations and then develop a manuscript for our own film. We will develop characters, environments and storylines. Sunday we will animate and make the actual film. The finished stop motion animation will be shown in connection to Behzad Khosravi Noori’s exhibition Professor Balthazar and a Monument to The Unknown Citizen.

Antonija Veljačić

is an Croatian animator. She finished Academy of Fine Arts- Animation department in 2014,  and is working on short animated films in Zagreb film production since then. Since 2017. she is running a Little School of Animated Film and also does animation workshops for children and youth all around Croatia in a collaboration with Animafest, 7th continent and various culture centers.