Third Eye Butterfly

Storm de Hirsch
Nat Marcus
Luzie Meyer
Sofia Restorp
P Staff

1.12 2022 – 18.02 2023

Mint, ABF Stockholm, Sveavägen 41, Stockholm


The exhibition Third Eye Butterfly brings together an extraordinary range of artistic voices working at the intersection of language, music and film including Nat Marcus, Luzie Meyer, Sofia Restorp and P Staff, to expand on the work of American filmmaker Storm de Hirsch (1912–2000), who is considered one of the key figures of the 1960s New York avant-garde scene. De Hirsch, who’s artistic contribution remains largely overlooked within an institutional context, began her artistic career as a poet, and developed her film based practice through her understanding of language. Her work is strongly influenced by an interest in mysticism and occult practices, which is reflected in her exploration of analogue effects. Distinctive to her work is also the rhythmic interplay between image and sound. 

Storm de Hirsch, Third Eye Butterfly (still), 1968

The film Third Eye Butterfly (1968) which lends the exhibition its title, is a result of multiple visual experiments inspired by the diverse range of colorful and abstract butterfly wing patterns. Kaleidoscopic shots and superimpositions come and go in the image, in tune with the soundtrack’s repetitive scheme, it appears as an attempt to translate the multi-color effect of butterfly wings into an expanded film experience. Intended to be projected on a double screen using two synchronized projectors, the film creates the illusion of seeing two butterfly wings animated by the flicker of the projected images. An eye, “the great Eye,” appears several times in the center of an endless spiral framed by the words “Third Eye Butterfly.” On this matter, the American theorist Casey Chanress explains that “the 70mm like effect of Third Eye Butterfly encourages the mind to work as a third eye by fusing the two side-by-side screens into a third meaning, just as Eisenstein caused the meaning of two juxtaposed shots to result in a third implied meaning.”

By using rhythmized imagery that incorporates colors, stenciled shapes, and sound into an audiovisual continuum, de Hirsch evokes an experience which relies on the interrelationship of sensory modalities. Following this idea of a multilayered perception of the world and tracing the interconnectedness of language, music and film young international artists Nat Marcus (lives and works in Berlin), Luzie Meyer (1990, lives and works in Berlin), Sofia Restorp (1986, lives and works in Berlin) and P Staff (1987, lives and work in Los Angeles and London) were invited.

The idea of being transported into other states of reality emphasized by the pieces present in the show continues in the design of the conventional exhibition space of Mint and is characterized by the work of lighting designer Ines Bartl. Together with the curator, she came up with a concept for the corridors and places of transition for the light situations inspired by the color spectrum from Third Eye Butterfly.

In the exhibition, not only light is used to mark the places of transition, but also the medium of language emerges through various works to describe transformative processes: the audio work Period Piece (2021) by Luzie Meyer for example playfully explores the manifold meaning of the word period that is used to describe how bodies, language and time are regulated. Similar to Meyer’s work, Nat Marcus who produced two new fabric pieces The Velvet Sound (I) and The Velvet Sound (II) (2022) which on their surface are layering graphics, paint and text as well as P. Staff’s poems displayed on hologram fans, engage the idea of multiple, fluid meanings of words to talk about bodies that encounter themselves in transitory states. Sofia Restorp’s newly created drawings, on the other hand, return to a purely visual world, but are thoroughly poetic due to the ambiguous surrealistic interiors that are depicted. Rather than dwelling on the surface her pieces can be characterized by the idea of a reflective looking inward.

Third Eye Butterfly can be seen as an attempt to reflect on Storm de Hirsch’s psychedelic view of the world and how surpassing common notions of what reality is, is more relevant than ever to artists working in the here and now.

Curator: Cathrin Mayer

Cathrin Mayer (b. 1988 Vienna) is currently the associate curator at HALLE FÜR KUNST Steiermark (Graz, AT). Until 2020, she was curator at KW Institute for Contemporary Art in Berlin. In addition to her curatorial work, she teaches regularly and is holding a guest professorship for curatorial studies at The University of Art and Design Linz (AT).

Anything happens here

Beatrice Gibson
Britt-Ingrid Persson (BIP)

9.9 – 8.10 2022

Mint, ABF Stockholm, Sveavägen 41, Stockholm


In the room, two eggs are resting in a nest. In the same place, a drama unfolds. It is told through a dreamlike montage with a poodle, a beauty queen and two sisters who are not sisters in the roles. Here in this place, which is the exhibition, experiences and things are duplicated. Pregnant events without redemption. Anything could happen here. There is both anticipation and anxiety in the air.

The exhibition Anything happens here includes the acclaimed film Deux sœurs qui ne sont pas sœurs (Two Sisters Who Are Not Sisters), 2019, by British artist Beatrice Gibson (b. 1978 London) and sculptures by Britt-Ingrid Persson BIP (b. 1938 Stensele).

Britt-Ingrid Persson (BIP), Äggets och stråets minne (The Memory of the Egg and the Straw)
Britt-Ingrid Persson (BIP), Äggets och stråets minne (The Memory of the Egg and the Straw), 1991. Photo by Johan Österholm.
Britt-Ingrid Persson (BIP) Äggets och stråets minne (The Memory of the Egg and the Straw)
Britt-Ingrid Persson (BIP), Äggets och stråets minne (The Memory of the Egg and the Straw), 1991. Photo by Johan Österholm.
Britt-Ingrid Persson (BIP) Den begränsade ljusskretsen (The Limited Circle of Light),
Britt-Ingrid Persson (BIP), Den begränsade ljusskretsen (The Limited Circle of Light), 1991. Photo by Johan Österholm.
Beatrice Gibson, Deux sœurs qui ne sont pas sœurs, 2019. Installation image. Photo by Johan Österholm.
Anything Happens Here, installation shot. Photo by Johan Österholm.

Movement Patterns

Chiara Bugatti

9.6 – 18.6 2022

Mint, ABF Stockholm, Sveavägen 41, Stockholm


Curator: Ingrid Svahn (International master’s program in Curating Art, Stockholm University)

The exhibition Movement Patterns explores the meeting between the body and the monument, the fragile and the eternal, movement and stillness, history and memory. 

Movement patterns can be something deeply personal, unique to each person. They can be seen from a distance – human activity as dots on a satellite image from above. They can be discerned throughout history – how the pendulum swings back and forth. They are found in materials – through sedimentation processes, marble can tell us what has slowly been created over time.

Photo by Johan Österholm
Photo by Johan Österholm
Photo by Johan Österholm
Photo by Johan Österholm
Photo by Johan Österholm
Photo by Johan Österholm
Photo by Johan Österholm
Photo by Johan Österholm

In her artistic practice, Chiara Bugatti examines materials that seems to have lost their main function. Through three works of sculpture, installation and video, she explores the memory of materials, their historical associations and narrative possibilities, such as allowing marble to break down to then re-emerge in perishable room installations, or possibly eternal forms. Sudden external influence, or slow decomposition processes, make visible the fragile and temporary in the constant and solid, when human movement is put in relation to a monumental stillness. One of the works in the exhibition is made in collaboration with artist Sebastian Moske and choreographer Alessandro Giaquinto.

Chiara Bugatti (Lecco, Italy) is a visual artist based in Stockholm. Bugatti holds a BFA from the Accademia di Belle Arti di Venezia (IT, 2014), an MFA from Umeå Academy of Fine Arts (SE, 2016) and a Postmaster from the Royal Institute of Art in Stockholm (SE, 2021). She was recently a grant holder at IASPIS (SE) and fellow at Akademie Schloss Solitude in Stuttgart (DE). She is part of the current exhibition Släpljus at the Carl Eldh studio museum, as well as the 15th Trienniale Kleinplastik Fellbach in Germany and her work has been exhibited in institutions across Europe.

Sebastian Moske is an artist based in Berlin. After studying acting and working in the theatre, he studied art under Rosa Barba at HfK in Bremen and was part of IASPIS international residency program in Malmö (2021). Alessandro Giaquinto is a dancer and choreographer based in Stuttgart. In 2016 he joined the Stuttgart Ballet after completing his training at the John Cranko Schule.

Ingrid Svahn is a freelance curator and student in the international master’s program in Curating Art at Stockholm University. This exhibition is made as part of her graduation project and made possible with the support of Mint and Stockholm University. 

Lighting design by Seth Margolies, graphic design by Julian Redaelli.

Thank you to Studio Pica for the loan of installation material.

Image: Picture of Study for a Monument I, Jellified Carrara Marble, 2021. Photo: Chiara Bugatti.

Rymdrummet

Agnieszka Polska
Eddie Figge

21.4 – 18.6 2022

Mint, ABF Stockholm, Sveavägen 41, Stockholm


In Rymdrummet, two artists meet who get to grips with physics and the poetry of gravity. Through painting and animation, respectively, an aesthetic connected to the weightless state, movement and a transformative variability is examined.

Eddie Figge, Intelligent Life in the Universe, 1983. Photo by Johan Österholm.
Rymdrummet, installation shot. Photo by Johan Österholm.
Eddie Figge, Space Station, 2000. Photo by Johan Österholm.
Eddie Figge, Space Station, 2000. Photo by Johan Österholm.
Eddie Figge, Rymden, 1980 & Agnieszka Polska, The Happiest Thought, 2019. Photo by Johan Österholm.
Eddie Figge, Rymdsyner, 1972 & Agnieszka Polska, The Happiest Thought, 2019. Photo by Johan Österholm.
Eddie Figge, Farväl Voyager II, 1989. Photo by Johan Österholm.
Eddie Figge, Rymdsyner, 1972. Photo by Johan Österholm.

Eddie Figge (1904–2003 Stockholm) was an artist and poet, an innovator in modern painting in Sweden. After working at the theater and ballet, she began her artistic career later in life. During the 1950s, she found her language through informal painting with a world of motifs that revolved around light, darkness and space. Her style was characterized by a strong sense of color, movement and rhythm. She found inspiration in space travel, quantum physics and the poetic dimensions of science. Eddie Figge had her breakthrough at Galerie Blanche in 1961, and during the 80s and 90s she had several large museum exhibitions in Sweden and abroad. In 1989, Figge participated in the Sao Paulo Biennale with a selection of her space paintings. The last major solo exhibition with Eddie Figge was shown at Liljevalch’s Art Gallery in Stockholm in 2003, curated by Olle Granath. Figge is represented at the Museum of Modern Art, the Musée d’Art Moderne in Paris and the Museum of Sketches in Lund.

Agnieszka Polska (b. 1985 in Lublin, Poland) creates videos, animations and photographs, often using archival or stock material, combining it with animation. There is a certain state of emergency present in her works. It derives from the political and social environment of our time. But rather than moralistically referencing specific matters like ecological issues, or the rise of nationalistic sentiments, the artist focuses on creating an immersive experience for the audience. As a distant but diligent observer, the viewer becomes a prisoner of the video footage and events unfolding before his eyes. It’s the immersion that charges Polska’s videos with political potential. She has presented her works at international venues, among them, the New Museum and the Museum of Modern Art in New York, the Centre Pompidou and Palais de Tokyo in Paris, Tate Modern in London, Hirshhorn Museum in Washington, DC, and Hamburger Bahnhof in Berlin. Polska also participated in the 57th Venice Biennale, 11th Gwangju Biennale, 19th Biennale of Sydney, and 13th Istanbul Biennial. 

The exhibition is supported by The Swedish Arts Council, the City of Stockholm and the Region of Stockholm

in front at below

Cecilia Edefalk
Flaka Haliti
Gordon Matta-Clark
Iris Smeds
Jörgen Gassilewski
Ksenia Pedan
Thea Ekström

9.6 – 18.6 2022

Varbergs konsthall, Engelbrektsgatan 7, Varberg


There was something uncanny about Thea Ekström’s studio on Brunnsgatan in Stockholm: one day a crack opened in the wall, causing the artist anxiety. But she found a solution to the problem by painting a crack of her own on a hardboard and hanging it in front of the actual one. Ekström’s own crack opened towards a blue sky – a painting created by the imagination worked as an antidote to reality, concealing it from view.

Ekström’s crack sets the tone for this group exhibition, in which the common factor is that the works make up a kind of stage design, exhibited in rooms where they both relate to and directly influence their surroundings. As physical objects or empty space, art can be situated under the sea, as a backdrop to the sky, in-between walls, and in the occupation of an abandoned shopping mall. To a certain extent, these artistic invasions change the character of the given environment. But the illusion is never complete, and the transformation never total; the meeting between two worlds always generates gaps.

framför vid under (in front at below), installation shot.
framför vid under (in front at below), installation shot.
framför vid under (in front at below), installation shot.
Cecilia Edefalk, Ultramarina (still), 1984
Gordon Matta Clark, Day’s End (still), 1975.
Iris Smeds, The Zombie Function, 2021.
Ksenia Pedan, Meditations on living in the present, 2022

The exhibition in front at below features artists from different generations and backgrounds, born between 1920 and 1986. In their works, the physical and the poetic constitute two parts of the same whole, as do the spatial and the human. Here we present the newly produced installation Meditations on living in the present (2022) by Ksenia Pedan, in which a claustrophobic drama takes place between raised walls. Jörgen Gassilewskj has written Ball One Ball Two Ball Three (2022), a poetic work in three parts, created specifically for the exhibition rooms. Iris Smed’s combined stage design and performance The Zombie Function (2021) takes place within the framework of an abandoned food court that has been occupied by actors in search of alternative family constellations, and Cecilia Edefalk’s film Ultramarina (1984) lowers us to the bottom of the sea along with paintings and other objects. Thea Ekström carves a rift towards the sky (1962), Flaka Haliti’s photo series I See a Face. Do You See a Face. (2014) sketches ten faces in the sky, and Gordon Matta-Clark’s Day’s End cuts an opening towards the heavens, so that the sun shines in through the façade of a dilapidated warehouse.

Cabaret Crusades

Wael Shawky

23.9 – 16.10 2021

Ateljé SKHLM, Bredholmsgatan 3, Skärholmen


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.

Wael Shawkey – Cabaret Crusades
Wael Shawkey, Cabaret Crusades, installation shot.
Wael Shawkey – Cabaret Crusades
Wael Shawkey, Cabaret Crusades, installation shot.
Wael Shawkey – Cabaret Crusades
Wael Shawkey, Cabaret Crusades, installation shot.
Wael Shawky, Secrets of Karbala (still), 2015
Wael Shawky, Secrets of Karbala (still), 2015
Wael Shawky, The Horror Show File (still), 2010
Wael Shawky, The Horror Show File (still), 2010
Wael Shawky, The Path to Cairo (still), 2012

Thanks to Sfeir-Semler Gallery

A special thanks to Konsthall C for supporting the production

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

Bildningar

Emanuel Almborg

2.9 – 25.9 2021

Mint, ABF Stockholm, Sveavägen 41, Stockholm


The exhibition was presented in conjunction with Emanuel Almborg’s defence of 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.

Switchers, Acorn, 2021. Installation shot. Scenography by Ksenia Pedan. Photo by Johan Österholm.
Switchers, Acorn, 2021. Installation shot. Scenography by Ksenia Pedan. Photo by Johan Österholm.
Emanuel Almborg, Talking Hands, 2016. Installation shot. Photo by Johan Österholm.
Emanuel Almborg, Talking Hands, 2016. Installation shot. Photo by Johan Österholm.
Emanuel Almborg, The Nth Degree, 2018. Installation shot. Photo by Johan Österholm.

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.

A Careful Strike*

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

Programme:
17.9 2020 – 21.2 2021
Exhibition:
7.10 2021 – 11.12 2021

Mint, ABF Stockholm, Sveavägen 41, Stockholm


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 work’s 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.

Bella Rune. Photo by Johan Österholm.
Behzad Khosravi Noori. Photo by Johan Österholm.
Behzad Khosravi Noori. Photo by Johan Österholm.
Diana Agunbiade-Kolawole & Iris Smeds. Photo by Johan Österholm.
Iris Smeds. Photo by Johan Österholm.
Diana Agunbiade-Kolawole. Photo by Johan Österholm.
Katarina Pirak Sikku. Photo by Johan Österholm.
Ingela Johansson & Gudrun Olsson. Photo by Johan Österholm.
Hanni Kamaly. Photo by Johan Österholm.
Patrick Kretchek. Photo by Johan Österholm.
Henrik Andersson. Photo by Johan Österholm.
Henrik Andersson. Photo by Johan Österholm.
Minus Miele. Photo by Johan Österholm.
Hito Steyerl & Problem Collective. Photo by Johan Österholm.
Salad Hilowle. Photo by Johan Österholm.
Ingela Johansson. Photo by Johan Österholm.
Dora García. Photo by Johan Österholm.
Harun Farocki. Photo by Johan Österholm.



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.

Scène d'Amour

Nadia Hebson
Monica Sjöö

17.03 – 29.05 2021

Mint, ABF Stockholm, Sveavägen 41, Stockholm


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.

Nadia Hebson, Joy, 2021 & Monica Sjö, God Giving Birth, 1968. Photo by Johan Österholm.
Monica Sjö, God Giving Birth, 1968. Photo by Johan Österholm.
Nadia Hebson, Joy, 2021. Photo by Johan Österholm.
Portrait, (Monica Sjöö), 1977, 12.06 min., dir. Jane Jackson & Nadia Hebson, Fertility Complex, 2021. Photo by Johan Österholm
Nadia Hebson, Fertility Complex, 2021. Photo by Johan Österholm
Nadia Hebson, The Conditions, 2019 & Monica Sjöö, Aspects of The Great Mother, 1971
Nadia Hebson, Scène d’Amour, installation shot.
Nadia Hebson, The Conditions (Yves Saint Laurent, 1976), 2019-20. & Joy, 2021. Photo by Johan Österholm.
Nadia Hebson, The Conditions (Yves Saint Laurent, 1976), 2019-20. Photo by Johan Österholm.
Nadia Hebson, Autoritratto, 2019. Photo by Johan Österholm.

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. 

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

Ett samtal med Dr Sue Tate och Mariana Vodovosoff, båda del av Monica Sjöö Curatorial Collective, och Jane Jackson, regissör av Portrait (Monica Sjöö), 1977, modererat av Nadia Hebson del av utställningen Scène d’Amour.

Detta var det första av tre diskursiva evenemang som kommer att utforska den svenska målaren, författaren och radikala ekofeministen Monica Sjöös liv och arbete, samt samtida konstnärer, curatorer och konsthistorikers pågående konstnärliga rekupereringsprojekt. Hur kan vi kritiskt utforska komplexiteten i historiska personers liv och arbete samtidigt som vi undviker hagiografiska läsningar? Dessa evenemang arrangeras av Mint och är en del av Hebsons pågående forskningsprojekt Destroy She Said och realiseras med stöd från Kungliga konsthögskolan i Stockholm.
Artists Lina Bjerneld, Helena Lund Ek, Alisa Margolis, Raksha Patel and Nadia Hebson, whose practices all centre around Painting, came together on May 1 for an informal discussion to consider in company the legacy of Monica Sjöö. The conversation ranged from shared experiences of their respective art educations in Scandinavia, the US and the U.K., personal readings of Monica Sjöö’s paintings, posters and manifestos and their current reception, archiving, misrepresentation, alternative Painting herstories and reflections on the ever expanding project of artistic recuperation.

This is the second conversation in the three part programme Thinking About Monica, which accompanies the exhibition Scène d’Amour at Mint and has been realised through the support of the Royal Institute of Art Stockholm’s artistic research fund as part of the research project Destroy She Said.

Luleåbiennalen 2020: Tiden på jorden

Dimen Abdulla, Linnea Axelsson, Chto Delat?, Giorgi Gago Gagoshidze, Elisabete Finger & Manuela Eichner, Aage Gaup, Apostolos Georgiou, Beatrice Gibson, Maria W Horn, Thomas Hämén, Susanna Jablonski, Ingela Johansson, Kapwani Kiwanga, Birgitta Linhart, Hanna Ljungh & Mattias Hållsten, Fathia Mohidin, Santiago Mostyn, Christian Nyampeta, Ingrid Elsa Maria Ogenstedt, Didem Pekün med KHORA, Charlotte Posenenske, Sofia Restorp, Iris Smeds, Augusta Strömberg, Isak Sundström, Svärta (Yngve Baum, Jean Hermanson, Odd Uhrbom), Erik Thörnqvist, Cara Tolmie, Tommy Tommie, Danae Valenza, Ana Vaz, Peter Weiss & Hans Nordenström, Mats Wikström, Måns Wrange, Markus Öhrn

21.11 2020 – 14.2 2021

Norrbotten


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