"Friends forever- a Socialist revolution!", poster/ drawing, 100 x 70 cm. With candles below. Installation view, Landings Projectspace, Vestfossen, Norway.
Iaspis presents the Open house, autumn 2008. Participating artists: Malin Arnell, Antippa , Kader Attia, Victoria Brännström, Kerstin Ergenzinger, Athena Farrokhzad, Boris Groys, Roza El-Hassan, Emma Hedditch, Anna Livion Ingvarsson, Hristina Ivanoska, Andreas Johansson, Gülsün Karamustafa, Eli Leven, Metahaven (Daniel van der Velden), Warren Neidich, Suela Qoshja, Laercio Redondo, Emily Roysdon, Pia Wergius, Ylva Westerlund
//…In her IASPIS studio Ylva Westerlund is showing videos and drawings under the heading Non Serviam. Focusing on the voice and how it sometimes escapes notions of gender and body, in one of her works Ylva Westerlund has found her point of departure in the style of singing known as ”growl”. In a filmed interview Angela Gossow, lead singer of band Arch Enemy, explains the physiological parameters of growl technique. The installation also includes an interview with Cristine Sarrimo, who is a professor in literature at Malmö University, dealing with how accusations and confessions are manifested in a post-religious legal system.
Video titles; "The technique of Growl", 2008, "Post-religious confessions", 2008, "Downward Pentagram", 2008
Landings Project Space proudly presents Tuez le flic en vous, a collaboration by Ylva Westerlund and Beata Fransson. The exhibition is a revision of Om den värld som vecklar ut sig när A vill ha något av B, shown earlier this year at Konsthall C in Stockholm.
”Tuez le flic en vous” –kill the pig inside – appeared as a slogan on walls all over Paris during the student protests of 1968. This demand was in keeping with Michel Foucault’s writings in Discipline and Punish: The Birth of the Prison. This book is the point of origin for Tuez le flic en vous, which explores a society of surveillance and the policing of its citizens. The operating theater at the University of Uppsala and the forests surrounding the Försvarets Radioanstalt becomes the backdrop for a game with a revolving cast of characters.
Beata Fransson was born in 1977 and holds and MFA from Malmö Art Academy. Previous exhibitions include Göteborgs konsthall, The Hasselblad Center, and Rooseum. She lives and works in Stockholm. Ylva Westerlund was born in 1975 and holds an MFA from Malmö Art Academy. Previous exhibitions include IASPIS and Bonniers Konsthall. She lives and works in Stockholm and Malmö.
LUST FOR LIFE, 2006
The Breeder Gallery, Athens, Greece
Sture Johannesson (SE), Mika Taanila (FIN), Magnus Thierfelder (SE), Alex Villar (USA) & Ylva Westerlund (SE).
Curated by Elena Tzotzi
//…Another way of observing and translating is to be found in the work of Ylva Westerlund where we encounter intellectual experiments and ideologies in peculiar hybrids. Westerlund constructs analogies between opposite, incompatible standpoints offering an apparent, but quite logical consensus. In the installation entitled C (2004) the story of Frankenstein’s monster is linked to gender theory. The idea to introduce C as a new subject seems to be the only logical solution in order to achieve a total and just equality. But nevertheless, by stating a new order one automatically creates a new set of rules and regulations.
"Exercises in Triangulation", Rooseum Konsthall, Malmö, 2004
//…In the video Exercises in Triangulation Ylva Westerlund starts from a scientific method of putting light on the political rhetoric from a new perspective. The movie describes incompatible ideas being put together and creating a new, third variation. The theories are introduced very matter-of-factly in the video, which reminds of a scientific presentation. But the emblem of the constructed sender, which is exposed, to raise our doubts and make us question things questions the objectiveness of the movie.
Frame magazine 1/2004 "A New Wave of Political Consciousness"
//...Or as the young artist Ylva Westerlund points out in her remarkable project in which she sews old-fashioned flags and banners for groups such as "Sweden's Satanist-Feminist Association Engelbrekt": in a situation in which loosely knit single-issue groups or activists with guerrilla strategies are to come together around certain values and goals, we find ideologies in peculiar hybrids. In one of her videos she has an alien dressed as an orator say: "Let us speak with a two-edged tongue". Westerlund traces popular, well-meaning contemporary strategies and slogans to their, at times, highly murky origins and offshoots. She shows how our desire to do good (and BE good), together with the longing for group solidarity, can at times get us to say yes to things we shouldn't. This was also the breeding ground for 1930s fascism, as Westerlund quite calmly points out. Westerlund's unwavering thinking reveals new opportunities for political art.//