Exhibitions 2019

  • Carlos Garaicoa

    23 Sep 2019

     Carlos Garaicoa

    …una realidad sin bordes
    como jardines de lo eterno…

    …a borderless reality
    like gardens of the eternal…

    Lunds konsthall and Skissernas Museum
    4 October 2019 – 2 February 2020

    In his practice, Carlos Garaicoa (born in Havanna, 1967) investigates how the city and its architecture reflects and influences society. Today he lives in Madrid, but he keeps returning to his home town, Havana in Cuba, where he is still active and maintains a studio.

    Havana’s unfinished and abandoned construction projects, and the lost dreams they represent, is a starting point for his meditations on how all utopias fail. In Havana decayed buildings from the colonial era and the early twentieth century coexist with the many truncated projects of the Cuban Revolution. After the fall of the Berlin Wall in 1989, Cuba became isolated and was hit by serious economic crisis, which made most construction work impossible.

    To Garaicoa, such urban ruins symbolised setbacks for the regime and the death of revolutionary utopia. Beyond the Cuban context his practice visualises the dark side of all utopias and constitute a critique of Modernism and the ideological societal projects of the twentieth century.

    Garaicoa’s first artistic project consisted of anonymous interventions in the city, commenting and questioning the changes it was undergoing. He gradually shifted to using photography and drawing, and soon also sculpture, video and architecture, for his still ongoing investigation of the city as a political and economic landscape.

    Much like the professionals who shape our public space, Garaicoa places sketching and modelling at the core of his artistic practice. Carlos Garaicoa’s work reminds us of how significant our surroundings, and especially architecture and urban planning, are for our understanding of who we are and how others see us.

    The exhibition consists of two parts and is a collaboration between Skissernas Museum and Lunds konsthall. This is the first significant presentation of Carlos Garaicoa's work in Sweden.

    Please download the exhibition catalogue here

     

     

     

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  • The Measure of All Things: On the (in)Human

    17 Jun 2019

    The Measure of All Things: On the (In)Human
    29 June – 22 September 2019

    Ulrika Gomm, Hanni Kamaly, Santiago Mostyn, Sandra Mujinga

    The title The Measure of All Things: On the (In)Human refers to a famous formulation of an anthropocentric notion of the world and the self that is attributed to the Greek philosopher Protagoras (6th century B.C.). This formulation would later become the Latin phrase homo mensura which means “Man is the measure of all things”. Many claim that these words are to be taken to refer to how human beings use themselves as benchmarks for understanding the world. This is a controversial opinion that has been the subject of philosophers’ debate for centuries, and which is problematised by the participating artists in the exhibition.

    In Sandra Mujinga’s works, the human body is expanded and allowed to interact with technology, fashion, and digital media. In the video ILYNL (It’s Like You Never Left), sequences from Malmö and the Congo are alternated in a film where the digitised and manipulative protagonist appears to be living through her smartphone. The piece is shown together with Touch Face 1–3, consisting of three sculptures made to resemble giant bodies, or test dummies, and that have been inspired by elephants’ behaviour.

    In their work, both Hanni Kamaly and Santiago Mostyn refer to repressive, often racist, structures that limit people’s room to manoeuvre, thus excluding individuals and groups from social networks, welfare systems and legal protection, among other things. Kamaly has produced a new film, DINGS, shown at the cultural history museum Kulturen in Lund. At the gallery space, another of her films, HeadHandEye, will be shown together with a selection of her characteristic sculptures, which are often named after victims of structural violence.

    Santiago Mostyn presents two installations, both with newly produced elements: The Warming Plateau, which takes the history of the island of Tobago as its subject matter, and Red Summer Edit, shown as a wall-papered series of images in which historical footage is juxtaposed with first-hand photographs taken by the artist himself. The violence seems to repeat itself in the images, which bring to light the consequences of the politics of excluding and dehumanising black people in the USA today.

    Ulrika Gomm’s audio and text installation Building Nation and Bodies (1914–2014), compiles excerpts from declarations of government penned in Sweden between the years indicated in the title. This piece deals with ideas about the body, and political discourses aiming to control its existence. Gomm’s work HORIZON, is being shown at Lund’s City Library, and takes as its point of departure notions of democracy in present-day, authoritarian China.

    Hanni Kamaly new film, DINGS, is being shown at the cultural history museum Kulturen in Lund. Read more here

    Ulrika Gomm’s work HORIZON, is being shown at Lund’s City Library.

    Please download the exhibition catalogue here

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  • Work in Progress

    07 Apr 2019

    WORK IN PROGRESS
    A glimpse into the work of contemporary picture book illustrators

    Stadshallen: LAB, Stortorget 9
    10 April – 12 May 2019
    Open every day between 125pm

    Workshops for children:
    17 April 46 pm
    24 April 46 pm
    1 May 123 pm
    8 May 46 pm

    Work in Progress is a pop-up exhibition that presents the work of 20 Swedish and international contemporary illustrators working with content for children and young people. The artists have worked together in Lund for 48 hours. The outcome of these two intense, creative and challenging days is displayed at Stadshallen: LAB to give audiences a unique insight into the creative process itself. What is displayed in the exhibition, will not be fully developed works, but rather creative exercises or pieces in the making. The exhibition aims to highlight the process behind picture book making and invite us to reflect on the status of illustration as an art form.

    Participating artists:
    Alaya Vindelman
    Antonia Pesenti
    Arad Golan Coll
    Bernardo P. Carvalho
    Cecilia Höglund
    Clara Dackenberg
    Hannah Arnesen
    Jo Berry
    JooHee Yoon
    Kjell Thorsson
    Laura Hunter
    Laurier Richard
    Lilian Bäckman
    Linn Schrab
    Maisie Paradise Shearring
    Maja Lindberg
    Ninna Thorarinsdottir
    Per José Karlén
    Sanna Borell
    Sara Lundberg

    The works in the exhibition are selected by the artists themselves together with curator Debora Voges.

    Work in Progress is a collaboration between Litteralund, and Lunds konsthall with support from Region Skåne and in collaboration with Iaspis – The Swedish Arts Grants Committee’s International Programme for Visual and Applied Artists.

    Image: Bernardo P. Carvalho

     

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  • Nina Roos

    25 Mar 2019

    Nina Roos
    Regarding the Point of Restraint
    Lunds konsthall 6 April – 16 June 2019

    Nina Roos (born in Porvoo in 1956) is among the most accomplished artists in the Nordic region. She represented Finland at the Venice Biennale in 1995 and has had two substantial retrospectives to date, at Kiasma in Helsinki in 2001 and at Malmö Konsthall in 2003. Roos was Professor of Painting at the Academy of Fine Arts in Helsinki in 2001–04 and has been External Tutor at the Malmö Art Academy since 1995. She won the Carnegie Art Award in 2003, one of many prizes she has received.

    Her chosen mode of expression is painting, as a pictorial language that enables both authors and viewers to develop their intellectual and emotional faculties. “The important thing for me, from the beginning, was trying to define what a painted image is. Not to illustrate a story or an object“.

    For a painter with Roos’s reflective and investigative inclinations, every new work or series of works starts from the very beginning and is forced to find its own paths. The painted image, for her, is neither a ready-made concept nor an ideally finalised form of articulation but rather a highly deliberate process of producing immediacy and presenting it to the viewer. It is as if her paintings were always “on the way to the image”.

    This exhibition contains a handful of new and recent series of painted images. Risk and Crimson (notes) (both 2018–19) are united by the reddish-grey overall tone, by the experimental telescoping of painted surface into painted space, and by the recurrent use of twigs or thin branches as visual cues. “It is as if body and space were mixed up and compressed into something both indeterminate and fearsome.”

    Regarding the Point of Restraint (2017), consists of six paintings are built into a pavilion, whose walls are in turn painted three distinct colours. In addition to the purpose-built pavilion (which may be described as an architectural painting), Roos has had some walls in the gallery painted a bluish grey, as if a ”body of colour” had been inserted into the architectural space, transforming it into a colour sculpture. Similar themes are developed in several series of drawings and watercolours (2013–15), now shown for the first time in an institutional setting.

    Not Yet Said, Not Yet Done (2008) is a series of paintings inspired by collective spiritual exercises during a trip to Udmurtia (a republic within the Russian Federation) in 2007. “In retrospect I can define them as four visualizations of an interdependent inside and outside. The four paintings undermine the viewer’s position in relation to what is being viewed.”

    ‘Regarding the Point of Restraint’ is an exhibition conceived both as a visual treatise on the painted image and as a demonstration of the power that painting has to transform built space and the space of thought. To be able to do these things, painting must both be about something and be something. Roos demonstrates that this is still possible in today’s reality, which is increasingly difficult for the individual to decipher and understand.

    The quotes are from Nina Roos’s studio conversation with curator Anders Kreuger in the exhibition catalogue.

    Image: Nina Roos, Risk (in confrontation), 2018–19, oil on canvas. Photo credit: Jussi Tiainen

    Please download the exhibition catalogue here

     

     

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  • Remembering What Is

    15 Jan 2019

    Remembering What Is: Chile’s Recent History in Film and Art
    26 January–24 March 2019

    Participants: Constanza Alarcón Tennen, Amalia Alvarez, Cecilia Barriga, Sebastián Calfuqueo, Cristóbal Cea, Claudia Del Fierro, Giorgio Giusti, Patricio Guzmán, Voluspa Jarpa, Miguel Littín, Marilu Mallet, Leonardo Portus, Enrique Ramírez, Raúl Ruiz, Claudio Sapiaín, Ivo Vidal

     ‘Remembering What Is’ features contemporary art thematising the early 1970s in Chile, along with a number of films by directors working within the so-called Nuevo Cine Chileno movement. These filmmakers were active in Chile in the 1960s and the early 1970s and recorded how the socialist president Salvador Allende entered the political arena of the exploited, conflicted and unequal country that Chile was at the time. Later, from the exile that became reality for many of them, they bore witness to the military coup of 1973 and its aftermath.

    Many artists active in Chile today work with methods and subject matter that can be recognised from Nuevo Cine Chileno. They critically scrutinise contemporary life, with its conflicts that may be traced back to a violent past, but the current context is different. The overall picture is complicated by a critical discussion about the process of reconciliation launched when Pinochet was forced to relinquish power two years after the historical referendum of 1988. The question many ask is: Did the coup, and the ideology behind it, really end that year?

    The films and the art works in the exhibition are united by their authors’ intention to depict and reflect the social and political situation in Chile during the past 50 years. Crucial are questions on the relationship between memory and history, and how recent and distant events are remembered and retold by different actors.

    The ambition is that the exhibition as a whole forms a layered picture of the past, reminding audiences today of the conflicts of yesterday. Past traumas – but also political progressivity and the struggle for justice – become connected with current issues such as student movements across the world in the 2010s, the continued presence of fascism in Chilean society and in Latin America at large, urban change in Santiago and the rights of the Mapuche population.

    Curator of the exhibition, Hans Carlsson.

    Lecture
    Saturday 2 February at 3 pm 
    Exile and Memory in Chilean Cinema
    Lecture by José Miguel Palacios, doctor at Universidad Alberto Hurtado, Santiago, Chile. Read more

    Book presentation and reading: A Conversation in 60 Pages. (In English)
    Saturday 16 March  at 3–5pm
    Artist Helena Fernández-Cavada and independent curator and sociologist Maria Berríos present their artist book "a conversation in 60 pages". The text in the book is based on letter correspondence between the two, and touches upon questions of time, and the act of controlling time, in Spain and Chile under the dictatorship in each country. The book was produced as part of the Fernández-Cavad exhibition The Stolen Hour which was shown at the SixtyEight Art Institute in Copenhagen in 2018. 

    Download the exhibition catalogue here

     

     

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