The exhibition Conceptions of Nature follows the Western world’s view of nature through art from the beginning of the 19th century until today.
During this time, some of the biggest technological and societal changes in the history of the Western world are taking place, resulting in a large shift from land to city and from the use of the land to work in factories. In the modern city as a culture-bearing environment, a new interest is emerging for nature depictions in text, music and painting. An entry to the works shown in the exhibition is that man’s discovery of nature occurs only when she is no longer an obvious part of it. Historian Peter Englund writes in The Landscape of the Past: ”It is only when man is different from nature that she can discover it, embrace it and turn it into poetry.” Today, when we have long mastered nature, art questions the separation from it instead. Perhaps the modern man must completely change his or her view of nature as a resource and again be in a closer relationship with nature?
The exhibition shows a number of landscape paintings from 1800-1900, the majority of which are in the Västerås Art Museum’s collection. Here are paintings by C J Fahlcrantz, Marcus Larsson, Arvid Mauritz Lindström and Bruno Liljefors. In dialogue with classical painting, contemporary works of art are displayed by artists who all work with different approaches to nature and the concept of nature.
Participants include Björn Larsson, IC-98, My Lindh, Patrik Karlström, Ingela Ihrman, Richard Johansson, Rebecca Farrensteiner and Stefan Klys, Nayab Ikram and Sara-Vide Ericson.
Inauguration January 25 at 2pm.
Mikael Ahlund, art historian and museum director Gustavianum, Uppsala opens the exhibition.
The exhibition was created in good collaboration with Art Lab Gnesta, Uppsala Art Museum, Gothenburg Art Museum, Gustavianum; Uppsala and private lenders. Thanks to Nordic Culture Contact.
As part of Conceptions of Nature, art historian Mikael Ahlund and journalist and author Therese Uddenfeldt have written personal reflections on the art and view of nature – from a historical and contemporary perspective.
The short video Nordic Panoramas, Landscape No. 3 is officially selected for the film festival 37. Kasseler Dokfest 2020.
Outdoor video group exhibition.
Curator: Jakob Anckarsvärd. Participating artists: Jakob Anckarsvärd, Malin Arnedotter Bengtsson, Hans-Hannah & Sara Bo, Bengt Carling, Rebecca Digby, Karin Domeij, Jessica Faiss, Helena Johard, Wolfgang Lehmann, Izabel Lïnd Färnstrand, Ann Frössén, My Lindh, James Ramsay, Anna-Karin Rasmusson, Anthony Schrag, Sigga Björg Sigurdardottir, Marja-Leena Sillanpää, Alexandra Spaulding, Harald Turek, Tora Wallander.
Exhibition in the forests next to Kaknästornet, Stockholm, in effect of the restrictions of the Corona-pandemic.
Participating artists: Lars Arrhenius and Eric Ericsson, Anastasia Ax and Lars Siltberg, Mats Bigert and Lars Bergström, Sara Nielsen Bonde, Marie-Louise Ekman, August Eriksson, Fredrik Eriksson, Carl Michael von Hausswolff, Ida Idaida, Mathias Johansson, Arijana Kajfes, My Lindh, Hanna Ljungh, Lars Kleen, Katja Pettersson, Patrik Qvist, Helene Schmitz, Ulrika Sparre, Emma Warg and Olav Westphalen.
Based on the exhibition Nordic Panoramas, Landscape No. 1-3, My Lindh, Victoria Brännström and Malin Zimm discuss notions of the Nordic landscape. A view in transformation, which behind the tranquil scenography contains questions of exploitation, movement and territorial claims. A conversation about body in relation to landscape and a state of not finding solid ground.
Welcome to a conversation between My Lindh, Victoria Brännström and Malin Zimm.
March 7, 2020, 12.30–1.30pm
Lilla galleriet, Konstnärshuset
My Lindh has been working on the ongoing Nordic panorama video series since 2014. Lindh’s work explores stories in the common, in the public space, the landscape and nature. The works ask us questions about one’s own position and room for manoeuvre in relation to time, place, history and ecosystems. Lindh’s works have previously been shown at the Moderna museet, Gothenburg Art Hall, Gallery Sister, Iaspis, Färgfabriken, Kunstverein Munich, The International Short Film Festival Oberhausen and the Finnish Institute in Paris among other places. She has finalised several public commissions and is represented on the Swedish Arts Council, Stockholm Art, Västerås Art Museum and others. In addition to the ongoing solo show at Konstnärshuset, her work is currently presented in a solo show at the Ebeling Museum in Eskilstuna and in a group show at the Västerås Art Museum.
Victoria Brännström is an artist, art educator, building conservator and forest owner in Västerbotten inland and has Sami roots. Her work takes place in collaboration and dialogue, often in relation to a traditional female craft tradition. Brännström is part of Fiber Art Sweden and in 2016 she took the initiative for the project Möta Nöta Stöta / Råka Ömsa Speja (2016-17), where a forestry caravan constitutes a mobile art space. Five artists traveled around the inland and mountain regions of Västerbotten and created artistic and cultural encounters with residents, newly arrived and traveling people. Brännström was the 2008 Iaspis studio fellow in Stockholm and her work has been shown at the Alma Löv Art Biennale, Grieghallen in Bergen, the Liverpool Biennale, Västerås Art Hall and Fylkingen.
Malin Zimm is a Phd architect, writer, curator and editor-in-chief of the journal Architecture. She has previously worked as a world analyst at White Architects, as an expert in architecture at ArkDes, and as editor-in-chief of the architectural magazine Rum. In her dissertation Losing the Plot – Architecture and Narrativity in Fin-de-Siècle Media Cultures (2005), she examines pre-digital virtual architecture in late 19th century culture. Together with Mattias Bäcklin, she runs Zimm Hall, a nomadic exhibition space for art and architecture.
In the exhibition Nordic Panoramas, Landscape No. 1-3, My Lindh shows several works from an ongoing video series of the same name. The works deal with the image of the Nordic landscape. The tranquil depiction puts the landscape in a barely noticeable but brutal movement.
As the writer J.B. Jackson articulates, the view of the landscape contains questions about organization of space: who owns or uses the sites, how they were created and how they are changed. Lindh’s investigation is about the landscape’s politics, ideas, movement and identity.
The word landscape originates in the German 15th century term landschaft – a created land, and denotes what our gaze can capture in one piece. The word panorama comes from the Greek word pan, whole, all, everything and ho’rama, sight, view. The panorama is used in both a painting and photographic tradition as a long and narrow image that reflects a wide view, often of a landscape.
Inauguration February 13, 5–8pm.
Opening hours: February 14–27, Wed–Thu 12–5pm, Fri–Sun 12–4pm
The exhibition What my gaze did to the birds is site specific and directs itself straight to the visitor. The works deal with a state of instability and approaching change in relation to nature, animals and ecosystems. Not finding solid ground under the feet, in a present moment that is being reshaped.
The works are at once meditative and disturbing. The exhibition consists of video, site-specific texts, sounds and sculpture.
Vernissage Saturday, January 18 at 12–4pm
Inauguration at 1pm
The CIK (Center for Sports and Culture in Knivsta) was inaugurated with public art commissions as well as the art collection.
The art collection consists of works by My Lindh, Éva Mag, Ludvig Helin, Katja Larsson, Tobias Sjöberg, Gfeller/Hellsgård, Linnea Rygaard, Camilla Iliefski, Ylva Carlgren, Ylva Ceder, Lisa Jonason, Alexander Skats, David von Bahr, Ulrika Sparre, Jon Kvie, Ivar Lövheim, Anette Wixner and Bård Breivik. The public art works are made by Juri Markkula, Liva Isakson Lundin, Cecilia Ömalm and Susanne Vollmer.