{"id":32839,"date":"2023-02-05T20:26:13","date_gmt":"2023-02-05T19:26:13","guid":{"rendered":"https:\/\/studio44-stockholm.com\/exhibitions\/exhibitions-2023\/3-separata\/"},"modified":"2025-02-19T03:37:03","modified_gmt":"2025-02-19T02:37:03","slug":"4-separate","status":"publish","type":"page","link":"https:\/\/studio44-stockholm.com\/en\/exhibitions\/exhibitions-2023\/4-separate\/","title":{"rendered":"4 Separate Exhibitions"},"content":{"rendered":"

4 Separate Exhibitions<\/h1><\/h1><\/div>
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\u201dHILOS DE MEDUSA\u201d (<\/span>In loving memory)<\/span><\/span><\/span><\/p>\n

Ana Mar\u00eda Almada De \u00c1lvarez<\/h3>\n

Culture is an instrument that keeps us alive. The value of art as cultural residue goes beyond what the viewer can see with the naked eye and can help us free ourselves from prejudice and prestige.<\/span><\/span><\/span><\/span><\/span><\/p>\n

Like jellyfish, our bodies are made of water. If the jellyfish loosens its strings by touching other bodies to paralyze its victims and swallow them, we can feel other existences with our strings to love and evolve together. Our threads, like those of jellyfish, also have different lengths and resistances.<\/span><\/span><\/span><\/span><\/p>\n

I have been working for a long time with the project “Medierande artifact”. Through the project, I train the body to reflect and communicate about what is experienced (the source of all knowledge) in a close relationship with things. Any object can become a mediator between the unconscious and the body, creating percepts, concepts, and effects in communication with the environment.<\/span><\/span><\/span><\/span><\/p>\n

Ana Mar\u00eda Almada De \u00c1lvarez<\/span><\/span><\/span><\/em><\/p>\n<\/div>

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Christina G\u00f6thesson<\/p>\n

Mothers – In the installation Mothers, my thoughts go to mothers, grandmothers, grandmothers and their mothers. It is a project that has its starting point in an investigation, with linen as material and women’s repeated actions in focus. Technique – monotypes, hand print on linen, rebar, photo collage.<\/p>\n

MONUMENT ETERNAL LACK<\/p>\n

In history, it wasn’t women who built monuments – They embroidered monograms.<\/p>\n

MONUMENT EVIGHETSMANGEL is part of an art project that has its starting point in an investigation, with linen as material and women’s repeated actions in focus. By collecting images of monograms on towels, I want to create a time document. This is an ongoing project that will grow and build upon, into a document of time and action. My vision is to create a work that tells about the repetition of the more or less necessary actions that continue within the constant processes of the home and that rarely make it out into the public eye. Repetitions of actions such as washing, cooking, mangling, dirtying, and washing again. Although these are actions that do not seem to lead to anything permanent, this is what constitutes the environment for time, life, and security – A home.<\/p>\n

In the interactive project, the visitor is welcome to donate an image of a monogram to the project and thus become involved in the design of an archive and hopefully a future monument – Monument Evighetsmangel. The project started under Konstliv Halland and has been shown at the Art Museum in Halmstad, Art Association Varmbadhuset Vimmerby, Corduroy Part I, ABF-huset Stockholm, neo:gallery Bolton Manchester UK.<\/p>\n

To participate in the Monument Evighetsmangel project, email gothesso@icloud.com. I need your picture and answers to some questions.<\/p>\n

Christina G\u00f6thesson (MFA art department) works experimentally with different materials and techniques as means of expression both two- and three-dimensionally. In her work, she investigates different ways of communication and stages processes that touch on questions of existence, of identity and belonging, of time and place that are the basis of her various art projects<\/p>\n

www.christinagothesson.se\/wordpress<\/span><\/span><\/a><\/u><\/p>\n<\/div>

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BLUMENGARTEN<\/span><\/span><\/p>\n

Susanne H\u00f6gdahl Holm<\/h3>\n

My exhibition is about the visual and aesthetic inheritance from the romantic era, the pursuit of perfection and reality\u2019s shortcomings, gardens and parks, and about insects and people.<\/i><\/p>\n

With its root in the aesthetics of the Romantic era, the Blumengarten project addresses issues of social and environmental sustainability. The pandemic in the last few years has accentuated differences in living standards and revealed the connection between societal exposure and economic structures. The private garden is associated with the good life, while municipal garden workers are low on the list of high-status professions. The communal land and physical labor which must be executed on-site are devalued, while those who have the opportunity to work from home and master their own time are given the right of interpretation in public life. The preposterousness of this order is accentuated in relation to the climate crisis, as more people will have to share the shrinking commonly administered resources.<\/p>\n

Susanne H\u00f6gdahl Holm<\/span><\/span><\/em><\/p>\n<\/div>

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IMMINENT<\/p>\n

Rikard F\u00e5hraeus<\/h3>\n

Time is an illusion and therefore there are moments that stretch the imminent into the continuously possible.<\/p>\n<\/div>

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