A Careful Strike*

17.9.2020–21.2.2021 Programme
7.10.2021–11.12.2021 Exhibition

Recorded talks from the programme can be found here

Opening hours:
Wednesdays and Thursdays 13–18
Saturdays 12–16

Artists: Bini Adamczak, Diana Agunbiade-Kolawole, Black Audio Film Collective (John Akomfrah), Henrik Andersson, Problem Collective, Chto Delat, Harun Farocki, Dora García, Benj Gerdes, Salad Hilowle, Sam Hultin, Ingela Johansson, Hanni Kamaly, Patrick Kretschek, Mattin, Minus Miele, Ruben Nilson, Behzad Khosravi Noori, Gudrun Olsson, Oliver Ressler, Bella Rune, Katarina Pirak Sikku, Iris Smeds, Hito Steyerl, Margareta Ståhl, Hannah Wiker Wikström.

Mint presents A Careful Strike*; a group show that departs from the monumental painting The History of the Workers Movement by the sheet metal worker, musician and artist Ruben Nilson (1893–1971), permanently installed at ABF Stockholm. Painted during a ten year period around 1940. Following a tradition of workers’ art, the collective struggle for emancipation is at the centre of Nilson’s painting. 

The exhibition follows Nilson’s artwork both in its ambition and challenge: What does the reproduction of a movement’s history entail? What different roles can art play in social movements and through which expressions? How is art engaged in today’s movements? A dialogue with the specific struggles and the histories that inform Nilson’s composition of intertwined visual narratives, structured through visible conjoined cuts form the curatorial framework of the exhibition. The works historical connections to contemporary situations are put in relation to what is missing within the frame – the histories and experiences that are left out while establishing a prevalent worker’s history.

A Careful Strike* is an exhibition and a public program (that preceded the exhibition during the fall of 2020), where workers’ art is confronted with Swedish and international contemporary works. The form and history of social movements are reflected through situated experiences of migration, care, exploitation and struggle. Through songs, poetry, talks, and artworks historical events and issues are made visible in a conversation on our current condition. What do we need to remember and what is to be done to win back the future?

*The exhibition borrows its title from the militant feminist collective Precarias a la deriva (Precarious women adrift) 2004. The collective was formed in Madrid in 2002 in reaction to the male-dominated unions that were organising a general strike in reaction to labour law reforms in Spain. Precarias a la deriva wanted to highlight the challenges many face in participating in strikes, due to a reality of precarious employment and a higher burden of reproductive work. They wanted to create a collective situated narrative on the general tendency toward the precarization of life they were experiencing and the ways to revolt and resist in our everyday lives. – Precarias a la deriva, Una huelga de mucho cuidado (Cuatro hipótesis), 2004. 

Curator: Michele Masucci

The exhibition is produced with generous support from The Worker Movement’s Culture Fund, The Swedish Arts Council and The City of Stockholm.

Wael Shawky – Cabaret Crusades

For the first time in Sweden, Wael Shawky’s epic video trilogy Cabaret Crusades is presented, which includes The Horror Show Files (2010); The Path to Cairo (2012) and The Secrets of Karbala (2015). Using 200-year-old puppets and custom-made ceramic figures, a suggestive drama is created that recounts the history of The Crusades from an Arab perspective. The trilogy is inspired by the Lebanese historian Amin Maalouf’s Crusades Through Arab Eyes (1983). The exhibition takes place in a former shop in the centre of Skärholmen, at the invitation of the cultural association Folk.

Thanks to Sfeir-Semler Gallery

A special thanks to Konsthall C for supporting the production

Opening hours:
Mon–wed 12–17
Thurs 12–19
Fri-sat 12–17

Address: Ateljé SKHLM in Skärholmens Galleria, Bredholmsgatan 4 (Next to Kjell & Company)

Image 1: Wael Shawky, Cabaret Crusades: The Secrets of Karbala, 2015.
Video, color, sound, 120 minutes. Courtesy the artist and Sfeir-Semler Gallery, Beirut / Hamburg

Image 2: Wael Shawky, Cabaret Crusades: The Path to Kairo, 2012.
Video, color, sound. 60:53 minutes. Courtesy the artist and Sfeir-Semler Gallery, Beirut / Hamburg

Image 3: Wael Shawky, Cabaret Crusades: The Horror Show File, 2010. Video, color, sound, 31:10 minutes. Courtesy the artist and Sfeir-Semler Gallery, Beirut / Hamburg

Emanuel Almborg – Bildningar

Opening hours:
Wednesdays and Thursdays 13–18
Saturdays 12–16

Later this year, the artist Emanuel Almborg will defend his PhD dissertation at the Royal Institute of Art in Stockholm with the artistic research project Toward a Pedagogy of the Utopian Image. The main part of the project are the three film works Acorn, The Nth Degree and Talking Hands, which are shown together for the first time at Mint.

Almborg is interested in communist pedagogy, revolutionary psychology, fiction and theatre, to speculate on lost futures and potentials; subjects and methods that are treated in differently in the three works. If we assume that there is a need for new “utopian” political and collective visions, then what role can art play in sketching them? With the help of psychologist Lev Vygotsky, philosopher Evald Ilyenkov, theatre director Konstantin Stanislavski, revolutionary psychiatrist Franz Fanon and science fiction writer Octavia Butler, these works explore artist film’s potential for education, resistance and equality.

Curator: Karin Bähler Lavér.

The films Talking hands and The Nth Degree starts over every full hour, Acorn every 45 minutes.

Nadia Hebson – Scène d’Amour

Exhibition period: March 17–May 29
Opening March 17, 13–18

Opening Hours
Wednesdays and Thursdays 13–18
Saturdays 12–16

In Scène d’Amour, Nadia Hebson presents a multidisciplinary work which continues her exploration of artistic recuperation through intuitive forms. Issuing from the desire to consider alternate Painting histories in the present, over the last decade Hebson has evolved a distinct and idiosyncratic mode of working that merges the role of artist, scholar and curator to realise constellations of objects, apparel, paintings, prints and text that think through the legacies of older peers, whilst making Hebson’s own subjective expression visible. 

In Scène d’Amour the work of Swedish painter, writer, radical anarcho-eco-feminist Monica Sjöö (b.1931 Härnösand d.2005 Bristol) is presented alongside Hebson’s own. In response to the conditions of this current moment and Hebson’s own circumstance as a new mother, the exhibition, rather than offering conclusions, seeks instead to initiate dialogue around Sjöö’s expanded legacy and the intimate relationship between her painting, graphic design, activism and matriarchal scholarship as well as her role as an early exponent of the Goddess movement. Scène d’Amour is intended as both an introduction and an opportunity to pay close attention: where Hebson’s private comprehension of Sjöö’s work can form.

In parallel with the exhibition, Hebson has invited artists, art historians, curators and colleagues/friends to share in company their consideration and responses to Sjöö’s practice through public discussion and a screening. Over the course of the exhibition Hebson will realise new work and text in response to this concentrated period of exchange and contemplation, which will be installed sporadically throughout its duration. 

Nadia Hebson is a British artist and educator based in Sweden. She uses painting, objects, large scale prints, apparel and text, to explore the work and biographies of older colleagues, including: American painter Christina Ramberg, British painters Winifred Knights and Marion Adnams  and most recently, Dora Gordine as part of the Dorich House Museum Studio Residency, Kingston University, London. 

Exhibitions and commissions include Gravidty & Parity &, Hatton Gallery, Newcastle upon Tyne; one on one: on skills, The Contemporary Art Museum of Estonia, EKKM, Tallinn; I See You Man, Gallery Celine, Glasgow; Alpha Adieu, Museum of Contemporary Art Antwerp and Choreography, Arcade, London. In 2014 with AND Public she published MODA WK: Work in response to the paintings, drawings, correspondence, clothing and interior design of Winifred Knights (an expanded legacy). In 2017, with Hana Leaper she co-convened the conference, Making Women’s Art Matter, at the Paul Mellon Centre, London. Nadia Hebson teaches at the Royal Institute of Art Stockholm.

In order to provide for a safe experience of the exhibition in line with the current situation’s social recommendations, we have limited the number of visitors to eight people at a time. Our staff ensures that this is maintained and that visitors keep their distance. Please contact info@m-i-n-t.se to pre-book larger companies.

Thank you Museum Anna Nordlander and the Swedish Labour Movement’s Archives and Library