tag:blogger.com,1999:blog-84714543102371919242024-03-04T21:37:30.721-08:00YLVA WESTERLUNDWORKS2008-2004http://www.blogger.com/profile/14577193091696949089noreply@blogger.comBlogger24125tag:blogger.com,1999:blog-8471454310237191924.post-24478306702229609162023-09-23T23:41:00.008-07:002023-10-21T23:54:34.427-07:00Dream Wasteland/ Only birds shall fly and the military rust 2021-2023 <div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiugLUTutpdoq4fXwW7oYV4z2rcaJhWqBh0hMyX2QFRirGq3jbCTQOfk4XHJtspdoj6WURbg1mv7z2qBvoX368Dr6U9w04hfm_SXoOz-VST3Vzzo-AKLkiCdNDqMa_ny6eHwz-485VLTudj7OQhf3vedh2FKEqnLnJzGApWvyknQgt7t-xhIl1kaupRfhI/s1920/FreSed_4791-Pano_LoRes.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1074" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiugLUTutpdoq4fXwW7oYV4z2rcaJhWqBh0hMyX2QFRirGq3jbCTQOfk4XHJtspdoj6WURbg1mv7z2qBvoX368Dr6U9w04hfm_SXoOz-VST3Vzzo-AKLkiCdNDqMa_ny6eHwz-485VLTudj7OQhf3vedh2FKEqnLnJzGApWvyknQgt7t-xhIl1kaupRfhI/s320/FreSed_4791-Pano_LoRes.jpg" width="320" /></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT1KdPTD0CKWGxCJ7jFXZElz0jJ2NzbLbW0WRfMpW5dslvDrrp1KkgkfPiLGKYJGeGyJa3ZFAYyatS1g1o2GOcvuVoVV_VIVFB5BzJnq8KuBP0qUGefQ2R8usyZFRVXUNXKAenXwaEZ0j78MStG-_1-WABzojAb6MV_He9zU1zbZ9I17Np9iliUUd_qnk/s1920/FreSed_4947-Panorama.jpg" style="display: block; 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Dream Wasteland/ Only birds shall fly and the military rust 2021-2023. Ylva Westerlund/ MatsAdelman.<div>Installationsvy från Södertälje Konsthall, 2023.</div><div>"Observatoriet: Konst och liv i den kritiska zonen" kretsar kring relationen mellan människor, djur, växter och andra former av liv och material från jorden. Utställningen sätter samman nya och inlånade verk från tjugosex konstnärer som på olika sätt tagit sig an sådant som finns inom den ”kritiska zonen”. Termen är hämtad från geo-vetenskapen och beskriver den biokemiska, tunna jordskorpan där livet har uppstått. I utställningen visas maskar och Oljefåglar (Guácharo), strandlevande fantasidjur och motståndskraftiga potatissorter, inhemska landskap och micro-territorier, regnvatten och alternativa samhällen på landsbygden i Europa och västra Asien. Konstnärerna använder måleri, teckning, video, skulptur, performance, workshops, odling och andra uttryckssätt som presenteras i parallella dynamiska berättelser i och kring Södertälje konsthall. </div><div>Konstnärer i utställningen: Alexander Ravskyi, Alexandra Ravskaya, Alma Heikkilä, Anastasia Bogomolova, Anastasya Kizilova, Apolonija Šušteršič, Åsa Sonjasdotter, Bernd Krauß, Carin Ellberg, Chudia Zheni, Erik Sjödin, Fernando Garcia Dory, Ilmira Bolotyan och Olga Shirokostup, Ingela Ihrman, Ivan Novikov, Joar Nango och Ken Are Bongo, Katarina Pirak Sikku, Kirill Agafonov och Natalia Peredvigina, Kultivator, Mats Adelman och Ylva Westerlund, Nina Svensson.</div>Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-17190186389806537782023-09-19T23:41:00.034-07:002023-10-23T00:22:58.832-07:00Beyond the shoreline of steel, 2023<div class="separator" style="clear: both;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpc9gnnewe40zxzm9icfIALnZHTuTjMKJhT8ZgiqIO7n67ZTVv3bjPTZ7VBnfYaNb6XfOtVobOMRaJy0Kc2eeUAISm1NyZR-B_kUbj-4reojYMt5gHZ7EzY-oxCV0o89wT_aOhdt__3zVq2TzHionqWn6B2AYiq_l5hgddtsQDgXJ-jhD0bSsrISu6Sos/s1440/IMG_20230921_101528_236.jpg" style="clear: left; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1MRTQGJi8amukn3q4ywOQ05BuXcf8P4DaXu7x9Iz3qAO-jm9onl0Iu_BsCXVc-zi5fEcxyTc6N9F7dlwZz1E_ebW_tWiNanAJlo5or1buZIzK3BQAO3wOWVrGS-JbMVxkGh8PAPVAG6ujDeufPnzxX0eHwFoIcucRzwykMhTu8nx05f-4xHdIyXsSFgw/s1920/5.jpg" style="clear: left; display: inline; float: left; margin-bottom: 1em; margin-right: 1em; padding: 1em 0px;"><img alt="" border="0" data-original-height="1080" data-original-width="1920" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1MRTQGJi8amukn3q4ywOQ05BuXcf8P4DaXu7x9Iz3qAO-jm9onl0Iu_BsCXVc-zi5fEcxyTc6N9F7dlwZz1E_ebW_tWiNanAJlo5or1buZIzK3BQAO3wOWVrGS-JbMVxkGh8PAPVAG6ujDeufPnzxX0eHwFoIcucRzwykMhTu8nx05f-4xHdIyXsSFgw/w320-h181/5.jpg" width="320" /></a></div></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGLFh21Gt1jnaA9OIS9wsjSIn2sTG_JzLfNzE_rO3PbOyOxLvQMWaMaqjHZgMdAkXPW_43kcWaZv4TuYWjXWPpOiBTtSFzDPSJHfXNEMqWuEPmc_BUhMW7xHX_-KJV9kQpjx-fVg2Lk3mk4Vhu7qo01_2QQO1czQlfIKm-MjqQ9VuVpRChBASXJZ8Lqf0/s1920/8.jpg" style="display: inline; padding: 1em 0px;"><img alt="" border="0" data-original-height="1080" data-original-width="1920" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGLFh21Gt1jnaA9OIS9wsjSIn2sTG_JzLfNzE_rO3PbOyOxLvQMWaMaqjHZgMdAkXPW_43kcWaZv4TuYWjXWPpOiBTtSFzDPSJHfXNEMqWuEPmc_BUhMW7xHX_-KJV9kQpjx-fVg2Lk3mk4Vhu7qo01_2QQO1czQlfIKm-MjqQ9VuVpRChBASXJZ8Lqf0/w320-h181/8.jpg" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGLFh21Gt1jnaA9OIS9wsjSIn2sTG_JzLfNzE_rO3PbOyOxLvQMWaMaqjHZgMdAkXPW_43kcWaZv4TuYWjXWPpOiBTtSFzDPSJHfXNEMqWuEPmc_BUhMW7xHX_-KJV9kQpjx-fVg2Lk3mk4Vhu7qo01_2QQO1czQlfIKm-MjqQ9VuVpRChBASXJZ8Lqf0/s1920/8.jpg" style="display: block; padding: 1em 0px; text-align: center;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgavraq6u0DhwrTyYxRhZ6Tadboy8zy4axWirfJyG2Z2yypQSu9mDL1WE1A0T0eFvLnPa2bkguCnbZ1YYJuEyFzPgaGrcTAByJ_tpzhI19wwyfJWwRl_uEFSYeLGDg5hGLSR0jirX6F6FC136_kJubYOAi0KlI4zeo9WBEYfowRmdq3uouQpwqYotRZS2k/s1920/10.jpg" style="display: inline; padding: 1em 0px;"><img alt="" border="0" data-original-height="1080" data-original-width="1920" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgavraq6u0DhwrTyYxRhZ6Tadboy8zy4axWirfJyG2Z2yypQSu9mDL1WE1A0T0eFvLnPa2bkguCnbZ1YYJuEyFzPgaGrcTAByJ_tpzhI19wwyfJWwRl_uEFSYeLGDg5hGLSR0jirX6F6FC136_kJubYOAi0KlI4zeo9WBEYfowRmdq3uouQpwqYotRZS2k/w320-h181/10.jpg" width="320" /></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnPkCy7sD2pvQdm_PbvUCd10R375ERuZDQmZe59l2ljSBCiHU-T-7KH4KhNp75zrd6KffJQL3jLttVig6DSCD3bu3En_0_6HlQUAnwfNPWJg-rrvYsrd-Z9_LIfWYfvnYS1KLAoXtVdcgc2IyNQg7A0wqVwoCiWCpoxkeJDY6x2P3PcevxEj5Y3J8N0d8/s1920/14.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnPkCy7sD2pvQdm_PbvUCd10R375ERuZDQmZe59l2ljSBCiHU-T-7KH4KhNp75zrd6KffJQL3jLttVig6DSCD3bu3En_0_6HlQUAnwfNPWJg-rrvYsrd-Z9_LIfWYfvnYS1KLAoXtVdcgc2IyNQg7A0wqVwoCiWCpoxkeJDY6x2P3PcevxEj5Y3J8N0d8/w320-h181/14.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both;"><br /></div><div>The video work "Beyond the shoreline of steel" show scenes from temporary installations and interactions, engaging with the landscape in a mill town in the North of Sweden. The work could be described as documentation of poetic actions and content-wise connected to Ryszard Bugajskis´ protest film ”Clearcut” (1991). </div><div><br /></div><div>A film made by: Ylva Westerlund, 2023. </div><div>Camera: Mats Adelman. </div><div>Music: Ursus Arctos, with variations on Imperiets' "Guld och döda skogar"(Gold and dead woods).</div><div><br /></div>With support from Swedish Arts Grants Committee.Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-76574923702791944692023-08-09T07:54:00.009-07:002023-10-21T02:00:22.296-07:00Sea poison plant, 2023<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPPw0d27_ckPBo7ZzMhNWKhit1pPKGYJdQvhNtKGcgcsVCs3QBNvN1DBbs-bUlR3qWeoyktHqN49z9h0CYyEtmcYZcNyxvgYpkI6Gn-6Nu4trYvS_59atXPtkl9VezeIT1IAKHmp0N4IPtAz2d97E8eKRYciAR7TAwYLd74sozXuczDdgScp_I_g9poUc/s1920/11.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1080" data-original-width="1920" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPPw0d27_ckPBo7ZzMhNWKhit1pPKGYJdQvhNtKGcgcsVCs3QBNvN1DBbs-bUlR3qWeoyktHqN49z9h0CYyEtmcYZcNyxvgYpkI6Gn-6Nu4trYvS_59atXPtkl9VezeIT1IAKHmp0N4IPtAz2d97E8eKRYciAR7TAwYLd74sozXuczDdgScp_I_g9poUc/s320/11.jpg" width="320" /></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs2AH_h04PBgNmM3gKQ6Ni1xBJ0gscK052UJeJvBaGLp-8x5_GPyEQsKa-qrEh9SOaTBPByVEJbw11AbJLFOXg7ZmxPWzEtA7Ccp4kCNSdi0o4x5PBtUpNvHfKhAHGCGEC2kfoXMpZUUKS7_sXxkxiEJeLUZ9Ua86fwBoNEB1_mMRcOpoNMVGx4jCX5Vg/s4624/20230805_112422.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="4624" data-original-width="3468" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs2AH_h04PBgNmM3gKQ6Ni1xBJ0gscK052UJeJvBaGLp-8x5_GPyEQsKa-qrEh9SOaTBPByVEJbw11AbJLFOXg7ZmxPWzEtA7Ccp4kCNSdi0o4x5PBtUpNvHfKhAHGCGEC2kfoXMpZUUKS7_sXxkxiEJeLUZ9Ua86fwBoNEB1_mMRcOpoNMVGx4jCX5Vg/s320/20230805_112422.jpg" /></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLr6WfK809iwJhhubPR4QuDpHt5ARYZfQqMXPSkfbjozw9B_JN1-piOrAi_0Zd-aCfLNBTK9BKbYWPCnOxrDWSu2_P-SSfR1KiGkK0pjz76_Vhh2spJJG3KBE-N-oXoJPZ5k-N4_C8h43ts3Nfb_SwdZQ4jEqV3J8AKiGMRcHWgfLnY7BKJzJPrrp9zpU/s4624/20230806_130442.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="4624" data-original-width="3468" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLr6WfK809iwJhhubPR4QuDpHt5ARYZfQqMXPSkfbjozw9B_JN1-piOrAi_0Zd-aCfLNBTK9BKbYWPCnOxrDWSu2_P-SSfR1KiGkK0pjz76_Vhh2spJJG3KBE-N-oXoJPZ5k-N4_C8h43ts3Nfb_SwdZQ4jEqV3J8AKiGMRcHWgfLnY7BKJzJPrrp9zpU/s320/20230806_130442.jpg" /></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnEeIBsW0uxcmxmpLZD82z1ToZPTrlx-k0wu-VAhCQ1MGRGqta65vs867gqx9RTyvi1xTbVxPq7TKnmWnHzQ1XuJc_jnX9Y0naykLXntC6JOtmss1zaWds5QkKnhx9AlyY2iFRJZvxnhfsjmzbq_RVyI7yXd7YIH7EPOmK50K_bzhPGlCR-PGAFSsK8Dk/s4472/20230806_130609.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="3354" data-original-width="4472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnEeIBsW0uxcmxmpLZD82z1ToZPTrlx-k0wu-VAhCQ1MGRGqta65vs867gqx9RTyvi1xTbVxPq7TKnmWnHzQ1XuJc_jnX9Y0naykLXntC6JOtmss1zaWds5QkKnhx9AlyY2iFRJZvxnhfsjmzbq_RVyI7yXd7YIH7EPOmK50K_bzhPGlCR-PGAFSsK8Dk/s320/20230806_130609.jpg" width="320" /></a></div>A work in 3 pieces: one placed by the sea, one high up in a tree and one in a stormfelled trunk. "Sea Poison Plant" is sensing the industrial effects on a landscape- not only the apparent mechanical processes as in quarrels and mills, but alterations also be found in chemical compositions in sea and air. <div>With nostrils pointing upwards, a leaking unit and ghosts in a living-dead tree. </div><div>Views from Blånagla Artfest 2023.</div>Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-29488300121708543582023-06-04T02:27:00.004-07:002023-10-15T01:29:34.276-07:00A dream like mine, 2023<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVVb2ci-0fSiiF95XkfdZL2cgdAD7h37p-CaWPf27EEFXo4ZlbNAVXPaJuQo9MpdlcqQbOUAOQ1PxZSYL4ntCJ0bidLTJCbt1of6rGB0wVnPFxn6Z7VS4yJP2ThrI3ZUh01bO1-OEeszwSHxx6RtpC6lkmJr1i9xN6P_9ItJ_iUWCOSnbDBylHATJht2c/s1440/IMG_20230603_083250_191.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="1440" data-original-width="1440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVVb2ci-0fSiiF95XkfdZL2cgdAD7h37p-CaWPf27EEFXo4ZlbNAVXPaJuQo9MpdlcqQbOUAOQ1PxZSYL4ntCJ0bidLTJCbt1of6rGB0wVnPFxn6Z7VS4yJP2ThrI3ZUh01bO1-OEeszwSHxx6RtpC6lkmJr1i9xN6P_9ItJ_iUWCOSnbDBylHATJht2c/s320/IMG_20230603_083250_191.jpg"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiygL803EfN4H_3FxEr7-GWrP5Q-U2rpbgF7dUSOZGiuOHSgzAosC4u0LLaqNTKXVWsb7czqoEXETY9RJEVEcF51eG53OnZRjMa5CBm1h4CVrgUuR1Z0zCpAmmKy2AnfGlrvV86QUhRqWDH434fWwtd_iqt06UpAueop9sq22_6Fv4Nm2t0WANoH2Y3/s1800/IMG_20230604_085555_683.jpg" style="display: block; 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padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="1440" data-original-width="1440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuc6XUeyf8-qOSviPwffUe2zH5SdHAmvAJkrh6DvAGV8_SIGZqXM38F6uA6yOR9y_qP9OsfKpui-Y1vuHwdSaOzPTJnEfjvKQsikSRt_ndozHbfLm1_HtPHUYzNpvYQTV-fy7R_E0E4KMDXGLVroP9TTcuVYCEKvgFj74fpo0hUgWT9YctoVaUA2t3/s320/IMG_20230604_090943_898.jpg"/></a></div>A dream like mine, 2023.......
"Installationen innehåller flera separata verk – Hide station, Collected steam from the forest floor och You can breathe me like a dream. Titeln refererar till den kanadensiska författaren M.T. Kellys bok A dream like mine (1987) som kan beskrivas som en kaotisk uppgörelse mellan en urfolksstam och företrädare för pappersmassaindustrin med magiska övertoner. Trots att berättelsen är påhittad, kopplar den an till konstnärens egna tankar om miljöförstöring och brukssamhällen.
Verket Hide station är ett textverk i trä placerad på en gammal, övergiven byggnad på berget. Titeln kan betyda både gömsle och gömd på engelska eller så kan man välja att läsa det som ett påhittat ortsnamn på svenska.
”När man tittar på lokala ortsnamn runt ikring har de ofta olika betydelse – Gideå till exempel kan härledas till ordet gide eller giga som syftar på att gapa eller ligga öppen. Domsjö har sitt ursprung i ordet dumber i betydelsen dovt, stilla vatten eller möjligen disig eller dimmig. Ett ord som ligger nära verkets Hide är higa/hige som dialekt för häftig åtrå eller vilsenhet. Jag tycker också att titeln låter som en uppmaning”, säger konstnären.
Skulpturen Steam collected from the forest floor består av en glasmonter placerad på ett befintligt betongfundament i terrängen. Verket utgår från upplevelsen när man går genom en tät granskog en tidig morgon och dimman lättar – ett försök att skapa ett litet vädersystem med ånga, imma, kondens och droppar som faller ned. I montern finns en upphittad bit rostande metallskrot från ett militärt fordon som genom det fuktiga klimatet kommer att vittra sönder och bli en del av jorden. Här ser vi en referens till den export av militära fordon som utgår från Örnsköldsvik och genom det här verket tar konstnären tillbaka en del till bygden igen.
You can breathe me like a dream är en halvgenomskinlig print på plexiglas av en akvarell. Verket visar ett landskap på väg att lösas upp, som vore det insvept i en tjock rök, eller befinner sig betraktaren i gränslandet mellan dröm och vakenhet? Akvarellen är placerad i vegetationen uppe på berget i ett perspektiv så att man kan koppla i hop den med den närliggande fabrikens rök.
”Som uppväxt i Husum är en van vid att se röken och dimman från fabriken som en naturlig del av landskapet. Känslan av att det alltid finns partiklar och stoff i form av dis och lukt i luften lägger ett raster på tillvaron i dessa zoner. Ofta är det vi kallar natur bara den del av omgivningen vi upplever som vacker och ”orörd”, men den uppdelningen är fiktiv. Egentligen är allt omkring oss – fabriker, golfbanor, vägar och granskogen – del av landskapet. Vår oförmåga att se hur allt är sammankopplat är grunden till många av våra miljöproblem i dag”, menar Westerlund."
........Text från katalog av Karolina Aastrup.Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-59644133406145793672023-02-22T00:14:00.001-08:002023-02-22T00:14:18.117-08:0020 meters of mist between me and an abandoned bunker and other notes from the area between Stäket and Skogsvaktarkärret, 2023<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTAsHkvyhkci7NvOJDZvVCO967KXnGS_wfDG1JC0vZfLjqBphlEvCdVwHIzmUGp43CrL6MbOpN3wEoWCpNLVG0Xqnr7kKQ4m66Y-PT5egQ335inV1A18kzXJFGENwmaOeAMxk981nhr4dUNOLRT2bRitn0JlN3_Gz75P8O3gdMqnaxJfkF_2z4hL8N/s4624/20230217_103613.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="4624" data-original-width="3468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTAsHkvyhkci7NvOJDZvVCO967KXnGS_wfDG1JC0vZfLjqBphlEvCdVwHIzmUGp43CrL6MbOpN3wEoWCpNLVG0Xqnr7kKQ4m66Y-PT5egQ335inV1A18kzXJFGENwmaOeAMxk981nhr4dUNOLRT2bRitn0JlN3_Gz75P8O3gdMqnaxJfkF_2z4hL8N/s320/20230217_103613.jpg"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGJEDFF4C6uQhqawFFwYGdutOpNBlc_6MyXXLvQPHtKR55wZygFujFAnQW17H2m8tqj_sK7K4QEFoNhFvFY3bSinZYPTjOrQ0GovahlklUPhDRB1_8DwbAT06Ql9eUNGR61ZhLi5PcY74zW4o6B5mZ_R-0v2J-O_cBc__4AWjGYpYpbY8nRhqKrAuK/s1440/IMG_20230217_092205_264.jpg" style="display: block; 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20 𝘮𝘦𝘵𝘦𝘳𝘴 𝘰𝘧 𝘮𝘪𝘴𝘵 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘮𝘦 𝘢𝘯𝘥 𝘢𝘯 𝘢𝘣𝘢𝘯𝘥𝘰𝘯𝘦𝘥 𝘣𝘶𝘯𝘬𝘦𝘳, 𝘢𝘯𝘥 𝘰𝘵𝘩𝘦𝘳 𝘯𝘰𝘵𝘦𝘴 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘢𝘳𝘦𝘢 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘚𝘵ä𝘬𝘦𝘵 𝘢𝘯𝘥 𝘚𝘬𝘰𝘨𝘴𝘷𝘢𝘬𝘵𝘢𝘳𝘬ä𝘳𝘳𝘦𝘵.
Landscape studies 2020-2023, Ylva Westerlund.
Spånga Konstförening
Opening 18.2 2-4 pm
18.2 2023- 6.3 2023
Works by Ylva Westerlund, Markku Huovila and Christina Rosén.
Spånga församlingshus, Värstaallé 1, Spånga, Stockholm.Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-13689869629346756162023-02-03T02:22:00.001-08:002023-02-03T02:58:35.465-08:00A meat dream of the octopus of industrial history, 2023<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg79SmRNYar7nqFvVytzIuPQdPWD0bsZNRqOF5PfuHGDkFBwda7eW6UbXJkCi3CZINWmNHsrsnM9D_d_H720AIpVnEC51lAh0JOTPgQSQFUzxkuJVYGUxs5caRhtsxLx54IiapFNUyW23gtsTXLhoGXcQoSPzucMxf1dR4JZCJJN_lpG2qyghnKG7gX/s1080/Reposta_328364917_3544888389078203_9010414670551003811_njpg.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="1080" data-original-width="1080" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg79SmRNYar7nqFvVytzIuPQdPWD0bsZNRqOF5PfuHGDkFBwda7eW6UbXJkCi3CZINWmNHsrsnM9D_d_H720AIpVnEC51lAh0JOTPgQSQFUzxkuJVYGUxs5caRhtsxLx54IiapFNUyW23gtsTXLhoGXcQoSPzucMxf1dR4JZCJJN_lpG2qyghnKG7gX/s320/Reposta_328364917_3544888389078203_9010414670551003811_njpg.png"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOiXLxkRrMBgIOjNQhcWboLzcZViCizlE3cwuygxHcACx7njpLzpYlDtRmBC-WGXAtyBWSiscXs4Lk_3i4pra48AcgxbqOKeZyT2rWJJmN525LwsWlu-gjpNrSsMYUk9rILeH8DnkTHIuNGK389dRagiy0MFOxiv3iLUyH1KV6QlhtzEgPmx19j9nQ/s1080/Reposta_328425685_540769577833210_2830340343925426428_njpg.png.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="1079" data-original-width="1080" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOiXLxkRrMBgIOjNQhcWboLzcZViCizlE3cwuygxHcACx7njpLzpYlDtRmBC-WGXAtyBWSiscXs4Lk_3i4pra48AcgxbqOKeZyT2rWJJmN525LwsWlu-gjpNrSsMYUk9rILeH8DnkTHIuNGK389dRagiy0MFOxiv3iLUyH1KV6QlhtzEgPmx19j9nQ/s320/Reposta_328425685_540769577833210_2830340343925426428_njpg.png.jpg"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicCWRRT6dNqr73_MJy3c1XnszB9-aMcvjk4NeL_u7Y3Ldl9Lz7z8J4P6K3-VQ_ehM8BIgP-5s3sS5h25vojQuYd6ftXM94tFH2UilY9YyrSieYM_GUpxa-fhHQCPFpwjBooRHl2qNtXI9x5lsIUfsOj1elwpYoX_i3yBLgJk5jZOEdBvJIUdq7NV9g/s1080/Reposta_328282566_176894161708372_3916016395729315975_njpg.png.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="1079" data-original-width="1080" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicCWRRT6dNqr73_MJy3c1XnszB9-aMcvjk4NeL_u7Y3Ldl9Lz7z8J4P6K3-VQ_ehM8BIgP-5s3sS5h25vojQuYd6ftXM94tFH2UilY9YyrSieYM_GUpxa-fhHQCPFpwjBooRHl2qNtXI9x5lsIUfsOj1elwpYoX_i3yBLgJk5jZOEdBvJIUdq7NV9g/s320/Reposta_328282566_176894161708372_3916016395729315975_njpg.png.jpg"/></a></div>
"A meat dream of the octopus of industrial history", a poster with drawings and text as a contribution to the publication Nature Scribbles and Flesh Reads.
The book is the result of a one-month residency with PRAKSIS in Oslo, bringing together the artists Kajsa Dahlberg, Miriam Döring, Annike Flo, Sive Hamilton Helle, Eli Maria Lundgaard, malatsion, Lexie Owen, Rebekka Sæter, and Ylva Westerlund for a period of collective investigation.
The residency asked how the human body, constantly entangled as it is with all the other stuff of the world, might serve as a measure of the health of the whole environment. Working together across March 2022, the residents researched that relationship, focusing on the idea of porosity — a softening of the boundaries between human and non-human bodies and the visible and invisible elements that surround them.
The publication is the response to this collective research in the form of reflections, proposals, artworks, documentations and traces of collective thinking processes. It has been produced for PRAKSIS residency 21, Nature Scribbles and Flesh Reads together with Index Foundation. developed with Kajsa Dahlberg. It was supported by Arts Council Norway, City of Oslo, The Royal Institute of Art, Stockholm, The Swedish Arts Grants Committee and Goethe Insitut.
Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-59350792071312492112022-08-13T06:06:00.001-07:002023-07-21T07:35:45.193-07:00The surrealist conclusion of kraft pulping history, 2022
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWbz5b7uoBpL8BVa_wfO_A5CXHiR6TQwF5IyEwEiYZOwIb1-PhZ6H_qFoe9NxTeG4ulzkd7BqbVlVvZvHOQCfbQUOtTdrr6ysehiLabyrtXtcG82gaEaxF4TtgILuSaQdbR6J-NHQNe-P46miucR1njQHsJEsE9v6NvCbJYilb8DFfWqYW-pfkbr8j/s1350/IMG_20220810_214431_366.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="1350" data-original-width="1080" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWbz5b7uoBpL8BVa_wfO_A5CXHiR6TQwF5IyEwEiYZOwIb1-PhZ6H_qFoe9NxTeG4ulzkd7BqbVlVvZvHOQCfbQUOtTdrr6ysehiLabyrtXtcG82gaEaxF4TtgILuSaQdbR6J-NHQNe-P46miucR1njQHsJEsE9v6NvCbJYilb8DFfWqYW-pfkbr8j/s320/IMG_20220810_214431_366.jpg"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1_M_O7jSteK6txVcmK0jbSyWJ3GaTQnG-U8vjyjKtsvcHzLPtoIlIseo2kdSkj6em7v-52jZFgGBivYSQtiWtkacgurDO847_ZiT239oozv2mKdMp8TFcBLgchfU9VWihY5Xugy-I7sE4N0g97iuTkIorRBEP2UmPyb_nzKrQcLZ3pNLjPiNBM_Eb/s1350/IMG_20220810_214431_377.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="1350" data-original-width="1080" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1_M_O7jSteK6txVcmK0jbSyWJ3GaTQnG-U8vjyjKtsvcHzLPtoIlIseo2kdSkj6em7v-52jZFgGBivYSQtiWtkacgurDO847_ZiT239oozv2mKdMp8TFcBLgchfU9VWihY5Xugy-I7sE4N0g97iuTkIorRBEP2UmPyb_nzKrQcLZ3pNLjPiNBM_Eb/s320/IMG_20220810_214431_377.jpg"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBc3nOc9IEP44MQK2P7WEkU22yPAOZV3C3_ZoeAFoCQNTKMERFF7nx_MQ_AabQjd2MM5NDq6hQlFMJmRey_wBwIMQZ1FRlU0vAJn1P7-HTUWAhe1ADHswiCxK1bkkHKHZPI5yMql6bymyEFN3nHIJ6OqEAc4mFOiIM2QRezoqcsPATBR55xA1X37kb/s1168/IMG_20220810_214431_455.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="1168" data-original-width="934" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBc3nOc9IEP44MQK2P7WEkU22yPAOZV3C3_ZoeAFoCQNTKMERFF7nx_MQ_AabQjd2MM5NDq6hQlFMJmRey_wBwIMQZ1FRlU0vAJn1P7-HTUWAhe1ADHswiCxK1bkkHKHZPI5yMql6bymyEFN3nHIJ6OqEAc4mFOiIM2QRezoqcsPATBR55xA1X37kb/s320/IMG_20220810_214431_455.jpg"/></a></div>Oxbrons banvaktarstuga, Tomasbo
12.8 2022- 10.9 2022.
OXBRON (heterotopia 1)
-----Mats Adelman
-----Bas Jan Ader
-----CM Lundberg
-----Elisabeth Peyton
-----Viktor Rosdahl
-----Ylva Westerlund
-----Arranged by HNK
hedstromsdalen.se
-----Image 1. "Dusk. The chimneys of the recovery boiler, Husum paper mill", wash drawing, 2014. And "A suggestion in how to deal with the mental effects of pollution, and Local findings", book, 2022.
Image 2-3. "Dreamcatcher (It smells like money)", t-shirt, 2021. And Mats Adelmans' chair sculpture, 2022.Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-14334253370658837702022-08-08T01:28:00.009-07:002023-10-21T11:00:45.062-07:00Dreamcatcher, 2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx3kR6L83D1d9YSmedpEa_0D5EpWcXtyB2fUw85A695kvAQHV1JnHLbmhYf_6YNH7rosj4mutCeXa_3CUJYXSoqEsLP1KiGC1rLn3xg6IydLC-7qKGQ0djndiaK4B87bk7ilzJFo0zNuDeXJNdl2BGwCrbL_t7PNIKi5aq8CA5-WevsDNwguYvQ1kD9r8/s1332/Screenshot_20221127_091745_Instagram.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1332" data-original-width="1080" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx3kR6L83D1d9YSmedpEa_0D5EpWcXtyB2fUw85A695kvAQHV1JnHLbmhYf_6YNH7rosj4mutCeXa_3CUJYXSoqEsLP1KiGC1rLn3xg6IydLC-7qKGQ0djndiaK4B87bk7ilzJFo0zNuDeXJNdl2BGwCrbL_t7PNIKi5aq8CA5-WevsDNwguYvQ1kD9r8/w284-h351/Screenshot_20221127_091745_Instagram.jpg" width="284" /></a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIC3fAhUK8pg0pIlt5J3JlIMluU6TXAVG1ukIgvFguSSszJzHvJmsMSBYEugyGFnFjOmp4_zkiONTR1VZmK-U10Z1sn9EWXhRjpo2fTa3sATmiKLNUDP3-2wQ45kv1_HuCETg3fj4yrJsANsGZ3fSzDJ_Mxcw9T4n1guQXi7NQ1JkJw596uhBRcm-z/s2664/IMG_20220731_204746.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2660" data-original-width="2664" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIC3fAhUK8pg0pIlt5J3JlIMluU6TXAVG1ukIgvFguSSszJzHvJmsMSBYEugyGFnFjOmp4_zkiONTR1VZmK-U10Z1sn9EWXhRjpo2fTa3sATmiKLNUDP3-2wQ45kv1_HuCETg3fj4yrJsANsGZ3fSzDJ_Mxcw9T4n1guQXi7NQ1JkJw596uhBRcm-z/s320/IMG_20220731_204746.jpg" width="320" /></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuppXrPSMiO6HC-19jIqoaH3ggwjxDa0r0jKNalwJNexNGzqiRqvLvoulnvn1XGtB2Wn6GFMiQocGDToLmSV4iYKzH33hXf6QeIBoJvo9vkvtNU3f_3DPuB58ybC852ArNPP9yRlgE6zWU0BXR6KuR6HdewxwRVicbLhuftQpHYplTx8s1NsmkL80k/s2105/IMG_20220731_204819.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2103" data-original-width="2105" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuppXrPSMiO6HC-19jIqoaH3ggwjxDa0r0jKNalwJNexNGzqiRqvLvoulnvn1XGtB2Wn6GFMiQocGDToLmSV4iYKzH33hXf6QeIBoJvo9vkvtNU3f_3DPuB58ybC852ArNPP9yRlgE6zWU0BXR6KuR6HdewxwRVicbLhuftQpHYplTx8s1NsmkL80k/s320/IMG_20220731_204819.jpg" width="320" /></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixOT98rwtegQcvpm2qD8SFJOTypYqGxjWl8fPW6Er9mi8Pp-t4M_3CchEFdCmsl90cFV2f6X5MQK89tQEgtK40IKtslEnVPjG7uIQK458rLYwLOBXQKObCenZpoH2Hxo6B5CPnNnFHEry3o8FNYlTSx-MgApx5Hci3QwtfK0CzLGDHBM_p7H2LPxje/s3968/IMG_20220731_141612.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="3968" data-original-width="2976" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixOT98rwtegQcvpm2qD8SFJOTypYqGxjWl8fPW6Er9mi8Pp-t4M_3CchEFdCmsl90cFV2f6X5MQK89tQEgtK40IKtslEnVPjG7uIQK458rLYwLOBXQKObCenZpoH2Hxo6B5CPnNnFHEry3o8FNYlTSx-MgApx5Hci3QwtfK0CzLGDHBM_p7H2LPxje/s320/IMG_20220731_141612.jpg" /></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiynUPjdSWhFkmZhN6wDdyHn0tmJ7SnikT1BMfiLLY8SKm6Mw30PK84YlZQ_Astyhtymh2t9QneB_lLfQ0Tk65Kil3NsmSCs-JMA7osSU2RsepU6WznOXkachjdTJWHT-J5EWOQhAEXto2OkQWWzdLKSnW0WofUgxKSBuB2hE6IrqZZET0AIyMLp-I0/s3968/IMG_20220731_141528.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="3968" data-original-width="2976" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiynUPjdSWhFkmZhN6wDdyHn0tmJ7SnikT1BMfiLLY8SKm6Mw30PK84YlZQ_Astyhtymh2t9QneB_lLfQ0Tk65Kil3NsmSCs-JMA7osSU2RsepU6WznOXkachjdTJWHT-J5EWOQhAEXto2OkQWWzdLKSnW0WofUgxKSBuB2hE6IrqZZET0AIyMLp-I0/s320/IMG_20220731_141528.jpg" /></a>
Installation views from Blånagla Artfest 2022, Orrviken/Husum, Västernorrland.--------------------- "Dreamcatcher", 2022.
Verk i 3 delar; en bok på bord i kaffestugan, en t-shirt med tryck hängandes i tall, teckningar printade på presenning liggandes på stranden.
Om verket:
I verket "Dreamcatcher"/ "Drömfångare" friläggs de dolda strukturer som uppstår i mötet mellan en industriell produktion och det mänskliga drömmandet. Som en röd tråd genom verken löper tankar om läckage och miljöförstöring, men även hur det oförklarliga manifesteras i brukssamhället.
-----------------------------
DREAMCATCHER.
A work on the hidden structures of industrial processes leaking into human dreaming. Spillages and pollution, but also something on how the unknown manifests itself in a mill town.
Consists of 3 pieces scattered around a coastal landscape: in a cottage a book presented on table with a Black grouse, from a pine tree an old stained t-shirt with text hangs (It smells like money), and on the shore a tarpaulin with drawings depicting oil clean up operations is placed partially submerged into the sea.
------Review of Blånagla Artfest 2022 in Volym online art magazine by Margareta Klingberg.--------
https://www.rvn.se/sv/Sarprofil-delplatser/volym/recensioner/
</div>Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-7819102136518186642022-06-15T09:40:00.005-07:002022-11-27T12:09:47.912-08:00Only birds shall fly and the miltary rust, 2022<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4UfKkDuNMsKQUcnB23c-HGkiYbL5cxsKrZ2qNZ7uy1oZZ2VySWJm9Roh7vnr-WPVRrQ_yDmn7wDYNtr1_SnRBJ4egws9nZweFBxI60rh4r_kYrs6B20cR4SIUqDISGj79rxQ-goRw7a9bL8iCJzkV5NVXeNaItfZSNkp6xS0mZN2xfm_ZZG3-yWla/s3543/Triennalen_Ylva%20Westerlund%20och%20Mats%20Adelman_01.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="2362" data-original-width="3543" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4UfKkDuNMsKQUcnB23c-HGkiYbL5cxsKrZ2qNZ7uy1oZZ2VySWJm9Roh7vnr-WPVRrQ_yDmn7wDYNtr1_SnRBJ4egws9nZweFBxI60rh4r_kYrs6B20cR4SIUqDISGj79rxQ-goRw7a9bL8iCJzkV5NVXeNaItfZSNkp6xS0mZN2xfm_ZZG3-yWla/s320/Triennalen_Ylva%20Westerlund%20och%20Mats%20Adelman_01.jpg"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfVwQ5SXCXv93UZS6OzdXenm8c5xIDkTYsJ_tTDvGNl-3QOrTQ0oy3aDyxbXtK-1BZpKTvZu09IgQBfJMBlx-qj_m0rQmw0TwaomFwdV0ljEF9N3CoEdfojzLbYzPzlvQUzBCSypBUjEFrHx2j_i8jdjPk4rXzxLEPnaXdfypqwFgFh4SBcjecCZht/s3543/Triennalen_Apotekshuset_01%20%28kopia%29.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="2362" data-original-width="3543" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfVwQ5SXCXv93UZS6OzdXenm8c5xIDkTYsJ_tTDvGNl-3QOrTQ0oy3aDyxbXtK-1BZpKTvZu09IgQBfJMBlx-qj_m0rQmw0TwaomFwdV0ljEF9N3CoEdfojzLbYzPzlvQUzBCSypBUjEFrHx2j_i8jdjPk4rXzxLEPnaXdfypqwFgFh4SBcjecCZht/s320/Triennalen_Apotekshuset_01%20%28kopia%29.jpg"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4vvoTNk2xZyoMH3tWJONUW1uoqYq4P__b_6tE8edFlIYDAAZNOCea-fFoSQWNvctiGqJ0tg-y_b9tuCiM7QPImgzOAfi0ueCpWqerPMdZ_Lo1j3MkOTRna8mK-z5OhVExbC_Ltma2kR6UEVTIpL3anNTF0RQwFS-NzXyjW9LZ4FfyT00nTuCKuIGP/s3543/Triennalen_Ylva%20Westerlund%20och%20Mats%20Adelman_02.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="2362" data-original-width="3543" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4vvoTNk2xZyoMH3tWJONUW1uoqYq4P__b_6tE8edFlIYDAAZNOCea-fFoSQWNvctiGqJ0tg-y_b9tuCiM7QPImgzOAfi0ueCpWqerPMdZ_Lo1j3MkOTRna8mK-z5OhVExbC_Ltma2kR6UEVTIpL3anNTF0RQwFS-NzXyjW9LZ4FfyT00nTuCKuIGP/s320/Triennalen_Ylva%20Westerlund%20och%20Mats%20Adelman_02.jpg"/></a></div>
Mats Adelman/ Ylva Westerlund, ”Only birds shall fly and the military rust", 2022. The installation consists of a group of wooden bird sculptures and watercolor studies of rust, telling a story about a walk on a military exercise ground outside Stockholm in 2020. The narration starts off with fieldnotes on birds and wildlife and continue towards a vision where the process of environmentally adapting the military forces unintentionally causes the total decomposition of its institution.
Installation view from Triennalen Västernorrland, Apotekshuset, Sollefteå.
11.6 2022- 10.9 2022
http://triennalen.konstframjandet.se/
Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-19073610253651090152022-04-06T01:36:00.001-07:002022-04-06T01:36:08.897-07:00R21- Nature Scribbles and Flesh Reads, 2022 <div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5gffjJIW2BquMZuGsFSIAGveqPYV7a82cBLMPhizALW7N8Sey22hJyx7_Fj3hv6HBLw0ik9Yj3SPzizyMMlE-Y_M1Ia9tCqxPa8cwVaGghPlSxFKj7_IEfhWso9FejsM8uWg1b6HF_aIFRBiZ2ILufFivM5YD14DI44JOY6CCN330syG680tfydi2/s1250/IMG_20220228_155208.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="1250" data-original-width="1080" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5gffjJIW2BquMZuGsFSIAGveqPYV7a82cBLMPhizALW7N8Sey22hJyx7_Fj3hv6HBLw0ik9Yj3SPzizyMMlE-Y_M1Ia9tCqxPa8cwVaGghPlSxFKj7_IEfhWso9FejsM8uWg1b6HF_aIFRBiZ2ILufFivM5YD14DI44JOY6CCN330syG680tfydi2/s400/IMG_20220228_155208.png"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsifcpWmF9_9Olwh8Zgj16mz5nm3ufKvA_-bNoueLYdqpPtv4seo78vu-Svt4z5kyu6GwKuZmMAj43Gjb9Kncwv6tgHLNGpVeXNIv4QvKnGZ9_Bxe7uWT3gWECgkhfy4fvRlB_YPktkU6yecE-wgF20Xs04lGQXkRzcSdgxpznNdJQpzsLVrLFzQlk/s3968/IMG_20220324_161115.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="3968" data-original-width="2976" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsifcpWmF9_9Olwh8Zgj16mz5nm3ufKvA_-bNoueLYdqpPtv4seo78vu-Svt4z5kyu6GwKuZmMAj43Gjb9Kncwv6tgHLNGpVeXNIv4QvKnGZ9_Bxe7uWT3gWECgkhfy4fvRlB_YPktkU6yecE-wgF20Xs04lGQXkRzcSdgxpznNdJQpzsLVrLFzQlk/s400/IMG_20220324_161115.jpg"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQzIM1zBfRTMxDRNRy4QbwhpFDLrr2xAl18_0Lx_TDyu6lDMU5sKHQHYbmEnTa1riyhJ9P44oauwYiwVNKGKIXU4GRsfQ7Js1yhbW5oKCtqP34MlNCjF-B3L0uRZm5gbP8A7jYZPiDL2tVEBpBuzyM4UfDwaIJKxMb4Pubu3UFk6Be63Lj3OeEPmcr/s3968/IMG_20220323_131508.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="3968" data-original-width="2976" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQzIM1zBfRTMxDRNRy4QbwhpFDLrr2xAl18_0Lx_TDyu6lDMU5sKHQHYbmEnTa1riyhJ9P44oauwYiwVNKGKIXU4GRsfQ7Js1yhbW5oKCtqP34MlNCjF-B3L0uRZm5gbP8A7jYZPiDL2tVEBpBuzyM4UfDwaIJKxMb4Pubu3UFk6Be63Lj3OeEPmcr/s400/IMG_20220323_131508.jpg"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzfYV3rqNYIERZWKjjQrOtLYvTIxCypu7dl0QFOftBZfOKHYta8vwouQOS3GLV0GLuia57vg7bRBc3znNVINcBajY-DSmD7v18bvPpKHboIWNRBaXbvwxsBY3bwePoqN8Mj7qZ4KWmZH3uUnTyY1gZQ5Z-FFal9ZkZU74MhhICuHCeWyKSo7EpbBuw/s1082/IMG_20220331_120605.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="1082" data-original-width="1080" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzfYV3rqNYIERZWKjjQrOtLYvTIxCypu7dl0QFOftBZfOKHYta8vwouQOS3GLV0GLuia57vg7bRBc3znNVINcBajY-DSmD7v18bvPpKHboIWNRBaXbvwxsBY3bwePoqN8Mj7qZ4KWmZH3uUnTyY1gZQ5Z-FFal9ZkZU74MhhICuHCeWyKSo7EpbBuw/s400/IMG_20220331_120605.png"/></a></div>
Taking place throughout March 2022, PRAKSIS's twenty first residency Nature Scribbles and Flesh Reads proposes a process of collective research into relationships between body and environment, through an investigation of the impact of chemicals and toxins on human and non-human bodies.
The residency has been developed with artist Kajsa Dahlberg and Index – The Swedish Contemporary Art Foundation, and brings together residents: Miriam Döring (DE), Annike Flo (NO), Sive Hamilton Helle (NO), Eli Maria Lundgaard (NO), Malatsion (DE/FR), Olha Marusyn (UA), Lexie Owen (CA), Rebekka Sæter (NO), Pia Aimée Tordly (NO), and Ylva Westerlund (SE).
#naturescribblesandfleshreads
@praksisoslo
With the support from Swedish Arts Grants Committee.Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-29189762779890464532022-04-05T10:38:00.009-07:002023-12-18T01:40:13.302-08:00Nuet klingar i det förflutna/ The present echoes in the past, 2022<b></b><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglHNqmBHCY7IcENF40bH-IN-o2uplXHYbjjm9f6KXA_EfneXQ_VwUyXacp7_-KXsaj0ul9XR2Dt9-qvnayBvM7P7Bs5teNwCAvgKWyJiYfvJLvYSeNYWW3nlvJJ0SPSqWJ70g1TfbCTFLRDJwBBS_OHbBAxfBvcSsr6iqpb7-Cs78XUJ_hrkHiyGMS/s2977/IMG_20220220_082544.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2977" data-original-width="2976" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglHNqmBHCY7IcENF40bH-IN-o2uplXHYbjjm9f6KXA_EfneXQ_VwUyXacp7_-KXsaj0ul9XR2Dt9-qvnayBvM7P7Bs5teNwCAvgKWyJiYfvJLvYSeNYWW3nlvJJ0SPSqWJ70g1TfbCTFLRDJwBBS_OHbBAxfBvcSsr6iqpb7-Cs78XUJ_hrkHiyGMS/s400/IMG_20220220_082544.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxwrYvnP6_5GAerLtaaaXuaJJunqyH0-xJk515lUKPqPy-9ffmfv6m6Zw1eDtzV9PV0VbqqrAuxx0xvvSF5Pf9F9_nJLrxjTwwgQq-yz_cJiunUAHXVh_geDV8Thw1u6jBjWP5bfYB9GbJelkK7H3Pr7ON5QuszUm4Ecnrl7k4ajHduQFlXZF82rhG69k/s4266/20231213_102131.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1976" data-original-width="4266" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxwrYvnP6_5GAerLtaaaXuaJJunqyH0-xJk515lUKPqPy-9ffmfv6m6Zw1eDtzV9PV0VbqqrAuxx0xvvSF5Pf9F9_nJLrxjTwwgQq-yz_cJiunUAHXVh_geDV8Thw1u6jBjWP5bfYB9GbJelkK7H3Pr7ON5QuszUm4Ecnrl7k4ajHduQFlXZF82rhG69k/s320/20231213_102131.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWsbyMZxybctTtDeXAx6guraiDUwOPm9YAeXTOXSlXhyphenhypheneikm9BVdTz7MF0P2B3Sikyi9ViBYUvmakIs_D6hKN4NUHCoaGcwZ9SLX-pqjNWGR0g-Rss8c-R2SqIxONTB8IdSNhdbzQ_BLPWAiA_HLgahRlUCAwTkNquh6Wv3weZbux1qmnv-cj90kvzbew/s4505/20231213_102144.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2093" data-original-width="4505" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWsbyMZxybctTtDeXAx6guraiDUwOPm9YAeXTOXSlXhyphenhypheneikm9BVdTz7MF0P2B3Sikyi9ViBYUvmakIs_D6hKN4NUHCoaGcwZ9SLX-pqjNWGR0g-Rss8c-R2SqIxONTB8IdSNhdbzQ_BLPWAiA_HLgahRlUCAwTkNquh6Wv3weZbux1qmnv-cj90kvzbew/s320/20231213_102144.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3RouraGtB-nMJFQC1j0ojl5tj5gNXtG4_YFkpoc8oYtqDueNJLj_Z3_MPEmZ0wNrZa5GGVSiJ14-31UCD_WmsJ8q5vyBX0zxTfvlJ_rQHJ1_9M1LlbJrjroWcU2jpJJabHr7eyckIe7tsQ3uoLRcY-SLOgQtekPvvLB2ksrMM0PladPsQeqNDsxDymic/s4392/20231213_102156.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2100" data-original-width="4392" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3RouraGtB-nMJFQC1j0ojl5tj5gNXtG4_YFkpoc8oYtqDueNJLj_Z3_MPEmZ0wNrZa5GGVSiJ14-31UCD_WmsJ8q5vyBX0zxTfvlJ_rQHJ1_9M1LlbJrjroWcU2jpJJabHr7eyckIe7tsQ3uoLRcY-SLOgQtekPvvLB2ksrMM0PladPsQeqNDsxDymic/s320/20231213_102156.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqY4qLMvpKj2VIxUsyBpX82O3aXIdARaNu4xVU-lvzVLbyeDxTIXN1uj6ah0wCQ8ApiGadnBUopGdHugKfUCsYPZRmMBYOJUyo1zsMKAd_EDOabd1_zPqeMn1XI9_5BAN1jJS4skHmzMMjbn0w-RRN9WA9PjdQ41Wh-f0z_PZc9OnG3QQQn9USj1FYRi4/s4328/20231213_102213.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2013" data-original-width="4328" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqY4qLMvpKj2VIxUsyBpX82O3aXIdARaNu4xVU-lvzVLbyeDxTIXN1uj6ah0wCQ8ApiGadnBUopGdHugKfUCsYPZRmMBYOJUyo1zsMKAd_EDOabd1_zPqeMn1XI9_5BAN1jJS4skHmzMMjbn0w-RRN9WA9PjdQ41Wh-f0z_PZc9OnG3QQQn9USj1FYRi4/s320/20231213_102213.jpg" width="320" /></a></div><div><br /></div>Ylva Westerlund,
by Ida Rödén in Akvarellen- The Nordic Watercolor Society magazine no 1/2022.
"As well as being a painter Ylva Westerlund is a keen birdwatcher and is fond of visiting a piece of restored swampland at the Järva field. She has created numerous paintings from this area for her series “The Last Mill” reflecting upon the destruction of nature. She recreates familiar landscapes and adds another enigmatic dimension. Her nature studies are intercepted with paintings that cannot be instantly interpreted which can be due to her interest for science fiction. She wants the spectators to experience insecurity in a manner known as heterotopia (displacement/parallel universe). The Järva field area was reserved for miltary excersizes in the period 1905-1970 and since the military left, the recreated marsh has become a haven for rare birds. But the tanks still stand there rusting and the whole place reminds of a scene from a science fiction story. Via her art Ylva Westerlund describes a kind of non-existing place where we are allowed to dwell on uncertainty. She studies nature, asks questions, tests theories and transfers knowledge. The journey towards the unknown continues."<div class="separator" style="clear: both; text-align: center;"><br /></div><br />Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-29354369500501674692022-02-19T06:51:00.004-08:002022-05-11T09:00:01.585-07:00Dream Wasteland, 2022.<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjK7GRewVO-nxlSGTXS5Q1YKYtftAn6w1dP6XYroDkwiaaKjL_U17vjcmCn-3BcIg-enZYQYvxqga9y0vDFgBcso1BkF9E-UN6HiyqWYDBm6RoZR7ZMREU0AkEL9LVhP7VYjielWPrKoK7nbbsBXcGgQ-BleaBHSRP5co17Xu9MTCM-boAsqGmQHfu7=s4041" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="2694" data-original-width="4041" src="https://blogger.googleusercontent.com/img/a/AVvXsEjK7GRewVO-nxlSGTXS5Q1YKYtftAn6w1dP6XYroDkwiaaKjL_U17vjcmCn-3BcIg-enZYQYvxqga9y0vDFgBcso1BkF9E-UN6HiyqWYDBm6RoZR7ZMREU0AkEL9LVhP7VYjielWPrKoK7nbbsBXcGgQ-BleaBHSRP5co17Xu9MTCM-boAsqGmQHfu7=s320"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiZ-5GnU9_aT0CrfwEYJ1u7nfAyRZ388a_aX3VmBhLGF3ZSKtDLBh5R1Rhakc8pmmsRu1uEcenZSYXb1rKoutYvgDzF-bsjV-wWU15bzyf6aIX-vyDcJ58YXJnrsDlGem6PxahLKGGLkdaFzycRHMeLRFwtaH6Y8D7u0kqaujbABE-fIQLKrazsZpiJ=s4094" style="display: block; 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<b>Mats Adelman and Ylva Westerlund.
Dream Wasteland
Moscow Museum of Modern Art Education Center
February 10 - March 6, 2022.</b>
Dream Wasteland by Ylva Westerlund and Mats Adelman is the first exhibition in the Northern Travelogue program. This art project explores the natural environment of the Järva Field in the Stockholm suburbs. Since 2016, the artists have been conducting field excursions, to use their own term, studing birds, biotopes, wetlands and traces of human activity in the area. Their reflections result in works recognising the coexistence of human and non-human actors as an integral factor of today's reality, while the interplay of natural and cultural phenomena gives rise to possible alternatives.
The Järva Field is a natural reserve and a unique example of biodiversity. Being in close proximity to a bustling metropolis, the area has been the least affected by the negative processes of urbanization, since from 1919 to 1970 it was given over to the Stockholm garrison for military exercises and was closed to the public. Today, the fate of the area is once again being tested, with its natural environment being very fragile.
One of the central objects in the exhibition is Westerlund's wall painting Speak Creek. Using the feminist optics of new materialism, she creates a space of interpenetration informed by the fluidity, vibration, and vacillation of agents, ideas, fantasies, feelings, and time. This approach can also be discerned in other works in the exhibition, such as the series of watercolors Exo migratory movements. The wasteland that appears in the drawings looks abandoned, but only at first glance. Like The Zone by Arkady and Boris Strugatsky, to whose works the artist refers, the territory she describes is a bare and overt projection of our reality. Instead of the author's first-person narration, Westerlund gives a voice to the surrounding landscape with its inhabitants. Water currents, migratory birds, toxins, mud, footprints become heard in a ringing emptiness.
The departure from a direct statement is a common feature in the artists’ works. The Järva field — located in the periphery — is perceived by them as a place sensitive to changes, fractures and the possibilities presented there. Adelman's and Westerlund's graphic work, The Last Machine, narrating walks and observations, breaks off with somnambulistic reveries about a perpetual motion machine in a world without humans... Unlike science, which tries to verify or falsify the hypothesis put forward, art, like science fiction, unwinds and transforms ideas. As Umberto Eco wrote, “...science fiction is the prose of the hypothesis”. That is how we can characterize Westerlund's graphic novel The New Hird, a comic book story set in a futuristic world telling us about the ecological catastrophe of the near future.
The artists do not pursue an encyclopedic project with their creative method. In the sculptures and watercolors that make up the series Bird Studies in Watercolor and Bird Studies in Wood, Adelman does not attempt to catalog and present dominant knowledge of the observed species. His approach is driven by a desire to encounter the unexplored and to capture that experience. The problems of describing and interpreting such an encounter are addressed in Suspended animation, filmed by Adelman with a Super 8 camera. In the joint exhibition project, Ylva Westerlund and Mats Adelman create a space of specific visibility. They manage to reduce the distance between various agents in a shared ecology.
Exhibition curator: Anastasia Nefedova Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-40034888424637191532021-10-30T00:28:00.011-07:002021-11-10T04:16:16.755-08:00Den sista maskinen/ The last mill, 2021<div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"></div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjFbJfICD6gGPeAhx5zfOnyKCuQbeXpjMcPjxm76-DbzB348euPdPMayrn3YHJFTGC7vlGyhqvkXb1wzPQrh8Ozh6ScjilxV0CMsgr1P5NYbrPh7Q3Mnbktw7UH6oG78OejsDKLLDCGpjdiyM-KB3XUi72M1ezebUhTx49GYtbZYWdulS3l6ofLQMQ5=s2048" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjFbJfICD6gGPeAhx5zfOnyKCuQbeXpjMcPjxm76-DbzB348euPdPMayrn3YHJFTGC7vlGyhqvkXb1wzPQrh8Ozh6ScjilxV0CMsgr1P5NYbrPh7Q3Mnbktw7UH6oG78OejsDKLLDCGpjdiyM-KB3XUi72M1ezebUhTx49GYtbZYWdulS3l6ofLQMQ5=s320" width="320" /></a></div><div class="separator" style="clear: both; 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<p dir="ltr"><span style="font-size: 1,00em;">"The northwest part of Southern Järva field, Stockholm, 12th of May 2016.</span></p>
<p dir="ltr"><span style="font-size: 1,00em;">We noticed that the water level in the stream was unusually high, and still. After following the stream a couple of hundred meters further down east we discovered the reason for the altered biotope. A damming made by beavers where a number of trees from the brink had been felled to create a compound. The water levels on the west side of the dam was about to overflow the nearby meadows, but eastwards the creek was running on smoothly…</span></p>
<p dir="ltr"><span style="font-size: 1,00em;">This scenario made us think of the Austrian forest caretaker and inventor Viktor Schauberger who elaborated with new biomimetic techniques in the early 20th century, based on the whirling movements of water in mountain rivers. Schauberger developed plans for a fully functional non-combustion motor, with implosion as its energy source. A motor that he perceived could save the natural world from the devastating effects of the rapidly expanding use of the explosion motor. </span></p>
<p dir="ltr"><span style="font-size: 1,00em;">We could still hear the sound of the E18 highway from where we were standing. And although the stream was running through a ditch, our thoughts started to meander… From the time of Schaubergers experiments and onwards, the water running through Swedish landscapes has been cut into the ground, straightened and redirected. To lay bare productive lands for the harvesting of resources. Everywhere to be seen in woodlands and fields are systems of ditches and canals, which up until now has drained an amount of wetlands in the size of a quarter of Sweden.</span></p>
<p dir="ltr">In our minds we are now following a small woodland creek, leading into a concrete pipe that runs across an arable land, and in the end of the tunnel it lets us see a vision of the last machine. The last mill...<br />
A man-made machine, but self-propelled when put into motion. Build to repair the nutrient runoff, drought damage and pollution made by the ditching and the culverting of water systems. A machine that continues to be active after hundreds of years, creating more and more wetlands and marshes..." </p><p dir="ltr">An installation made by Atelier for Implosive Design- Mats Adelman/ Ylva Westerlund. Exhibition view from Phantoms of the Commons at Tensta Konsthall, 2021.</p><p dir="ltr">Photo: Jean-Baptiste Beranger, Ylva Westerlund.</p><a data-saferedirecturl="https://www.google.com/url?q=https://www.mitti.se/nyheter/i-tensta-konsthall-stralar-det-lokala-samman-med-varlden/repujA!0iJ6hjE1XHQyVOwLKUvnaw/&source=gmail&ust=1636632884513000&usg=AOvVaw3po7pvS7mGZGWnr0nFyP3i" href="https://www.mitti.se/nyheter/i-tensta-konsthall-stralar-det-lokala-samman-med-varlden/repujA!0iJ6hjE1XHQyVOwLKUvnaw/" id="m_-2895522973422520866gmail-m_3853164967029974064LPlnk207732" style="background-color: white; color: #1155cc; font-family: Calibri, Arial, Helvetica, sans-serif; font-size: 16px;" target="_blank">https://www.mitti.se/nyheter/<wbr></wbr>i-tensta-konsthall-stralar-<wbr></wbr>det-lokala-samman-med-varlden/<wbr></wbr>repujA!0iJ6hjE1XHQyVOwLKUvnaw/</a>Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-46299332651407451332021-08-12T12:17:00.021-07:002023-09-05T09:25:36.077-07:00I pappermassans barndom, 2021<div class="separator" style="clear: both; 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margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG_5tKjrdV3NFs7NCjPQIRDUom-BOUg3f4bK7huRR93DeY411GEv-15VD_Lrb8BTRsqZKHABMjUS6sG0Tp98K-dNgbCDvUzA6QOzwOn2da0_QhwFDLNWWMb36vT3hB_Vj2-ycnuTcq4RE/s320/IMG_3856.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: inherit;"><em style="background-color: white; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><div style="text-align: center;"><em style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">In the childhood of the Pulp/ I pappersmassans barndom</em></em>, 2021,</div></em><span style="background-color: white;"><div style="text-align: center;">Wash drawings printed on fabric, hanging on a clothesline.</div></span></span><div><div style="text-align: center;"><span style="font-family: inherit; font-style: italic;"><br /></span></div><span style="font-family: inherit;"><em style="background-color: white; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><div style="text-align: center;"><em style="border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Gigant #1985: Sulfate 3000</em>, 2016,</div></em><span style="background-color: white;"><div style="text-align: center;">Graphic novel and foldable table with drawing.</div></span></span></div><div><div style="text-align: center;"><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><div style="text-align: center;"><span style="font-family: inherit;"><span style="background-color: white; text-align: start;"> <i>Sentences are made of woods/ It's a spell...</i></span><span style="background-color: white; text-align: start;">, 2021,</span></span></div><div style="text-align: center;"><span style="background-color: white; font-family: inherit; text-align: start;">Building with incorporated fragments of wood, text and images.</span></div><span style="background-color: white; border: 0px; font-family: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; text-align: start; vertical-align: baseline;"><div style="text-align: center;"><br /></div></span></div><div class="separator" style="clear: both; text-align: center;"><div style="text-align: right;"><span style="background-color: white; text-align: start;"><span style="font-family: inherit;">Photo: Sonia Hedstrand</span></span></div></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit;">Views from Blånagla Artfest, Orrviken, Västernorrland, August 2021. The Blånagla project is run by artist Helena Byström<span style="background-color: white;">, choreographer Anna Källblad, composer Lisa Ullén and filmmaker Jenny Vinterqvist.</span></span></div><span><span style="background-color: white; font-family: inherit;">Participants: Ellen Nylander, Håkan Bring, Minna Mannelqvist, Mats Wikström, Olle Hiort, Sven Teglund, Suchart Wannaset and Ylva Westerlund also Anita Jonsson, Lars-Ola Augustsson, Eivor Augustsson and Gertrud Edlund from the Blånagla choir.</span></span><p></p></div><div><a href="https://www.rvn.se/sv/Sarprofil-delplatser/volym/recensioner/blanagla-artfest-2021/" target="_blank">Volym 14/8 2021, recension, Blånagla Artfest 2021</a></div><br /><div><br /></div>Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-66945222888473037642020-11-24T00:07:00.025-08:002021-08-13T06:00:57.851-07:00Exo migratory movements, 2020<div class="separator" style="clear: both; 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font-size: 16px; margin: 0px 0px 0.6em; padding: 0px;"></p><div style="background-color: white; box-sizing: inherit;"><p style="box-sizing: inherit; color: #333333; font-family: system-ui, -apple-system, "Segoe UI", Roboto, Oxygen, Ubuntu, Cantarell, "Fira Sans", "Droid Sans", "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 16px; margin: 0px 0px 0.6em; padding: 0px;"><strong style="box-sizing: inherit;">Exo migratory movements</strong></p><p style="box-sizing: inherit; color: #333333; font-family: system-ui, -apple-system, "Segoe UI", Roboto, Oxygen, Ubuntu, Cantarell, "Fira Sans", "Droid Sans", "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 16px; margin: 0px 0px 0.6em; padding: 0px;">21 November- 13 December</p><p style="box-sizing: inherit; color: #333333; font-family: system-ui, -apple-system, "Segoe UI", Roboto, Oxygen, Ubuntu, Cantarell, "Fira Sans", "Droid Sans", "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 16px; margin: 0px 0px 0.6em; padding: 0px;">TITANIC @ <a href="https://reimersholmehotel.se/" style="box-sizing: inherit; color: #1f2dec; cursor: pointer; text-decoration-line: none;" target="_blank">REIMERSHOLME HOTEL</a></p><p style="box-sizing: inherit; margin: 0px 0px 0.6em; padding: 0px;"><a href="https://titanic.nu/" target="_blank">TITANIC</a><br /></p></div><div style="background-color: white; box-sizing: inherit; color: #333333; font-family: system-ui, -apple-system, "Segoe UI", Roboto, Oxygen, Ubuntu, Cantarell, "Fira Sans", "Droid Sans", "Helvetica Neue", Helvetica, Arial, sans-serif;"><p style="box-sizing: inherit; font-size: 16px; margin: 0px 0px 0.6em; padding: 0px;">Adress: <a href="https://www.google.com/search?q=reimersholme+hotel+adress&stick=H4sIAAAAAAAAAOPgE-LWT9c3LMlLz6uwzNWSzU620s_JT04syczPgzOsElNSilKLixexShalZuamFhVn5Ofkpipk5Jek5igkguUA12CFOUoAAAA&ludocid=2770460952141504904&sa=X&ved=2ahUKEwjfwr7diPbrAhWHw4sKHf4yB-8Q6BMwEnoECB4QAg" style="box-sizing: inherit; color: #1f2dec; cursor: pointer; text-decoration-line: none;" target="_blank"></a>Reimersholmsgatan 5, 117 40 Stockholm, Sweden</p><p style="box-sizing: inherit; font-size: 16px; margin: 0px 0px 0.6em; padding: 0px;">Curator: Tova Mozard</p><p style="box-sizing: inherit; font-size: 16px; margin: 0px 0px 0.6em; padding: 0px;">-</p><p style="box-sizing: inherit; font-size: 16px; margin: 0px 0px 0.6em; padding: 0px;">Skogvaktarkärret, a wetland north of Stockholm – February 2020 – there is snow hanging in the air and the sounds of the Eurasian coot can be heard from the reed.</p><p style="box-sizing: inherit; font-size: 16px; margin: 0px 0px 0.6em; padding: 0px;">Westerlund’s aquarelle paintings serve as memorandums from a series of excursions around lake Mälaren. The major part of them depicts former military areas and a specific landscape – created through military exercise –from abandoned bunkers and bandwagons to the less visible toxic contamination of soil.</p><p style="box-sizing: inherit; font-size: 16px; margin: 0px 0px 0.6em; padding: 0px;">Westerlund borrows an associative style of narration from early Soviet science fiction similar to the way Tarkovsky adapted Boris and Arkadij Strugatskijs novel “<em style="box-sizing: inherit;">Piknik na obochine</em>” (Roadside picnic) for the screen in “Stalker” (1979).</p><p style="box-sizing: inherit; font-size: 16px; margin: 0px 0px 0.6em; padding: 0px;">In the same way science fiction often has been interpreted as social critique, Westerlund’s work deals with questions of environmental justice and the anthropocene through the practice of ornithology or fairytales.</p></div><br /><br />Ylvahttp://www.blogger.com/profile/12032896421858228299noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-66479098738359776502019-12-16T03:34:00.003-08:002020-10-24T00:37:05.150-07:00My mother was a fish/ Re plant, 2019<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: xx-small;"><i>"My mother was a fish/ Re plant", 2019. Charcoal drawing on wall,</i></span><br />
<span style="font-size: xx-small;"><i>6 m x 4,5 m.</i></span><br />
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;"><i>Installation views from the exhibition "Unexpected Encounter", </i></span></div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif; font-size: xx-small;"><i>held </i></span><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i><span class="Apple-style-span" style="font-size: xx-small;">at </span></i></span><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i><span class="Apple-style-span" style="font-size: xx-small;">Arsenāls </span></i></span><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i><span class="Apple-style-span" style="font-size: xx-small;">Exhibition Hall of the Latvian National Museum of Art</span><span class="Apple-style-span" style="font-size: 12px;">.</span></i></span></div>
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<span class="Apple-style-span" style="font-size: xx-small;"><i>Photo: Margarita Ogolceva, LCCA, 2019.</i></span></div>
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<span class="Apple-style-span" style="font-size: xx-small;"><i> Documentation from experimental making of </i></span><span class="Apple-style-span" style="font-size: xx-small;"><i>biochar/ </i></span><span class="Apple-style-span" style="font-size: xx-small;"><i>drawing charcoal, 2019.</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglzPhirkHDecYrQs2Jw47yVNMunykphVfhn3pK5OR9Q9CUZoNMLiMQTXXGks63oKzcqVMd4xO3CflKKRoZvqKpOxFx2M3R_U100h-0QaN9K9bmL711aeapYvnVI-iHBv6Q41v_ucPtqVs_/s1600/10.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1358" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglzPhirkHDecYrQs2Jw47yVNMunykphVfhn3pK5OR9Q9CUZoNMLiMQTXXGks63oKzcqVMd4xO3CflKKRoZvqKpOxFx2M3R_U100h-0QaN9K9bmL711aeapYvnVI-iHBv6Q41v_ucPtqVs_/s320/10.jpg" width="271" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRmrIkZEGHrZn4MYScUm_Y6uqZyiz9qZ9cntX6_edcQmli2vFxMP-h_DrcjfOnS6M8jW8YQPiivQiLdZrYbJBEDTtXSoF8VrnULpeaLNOct5HSUN2rBFUvZ4j4H1GMKyGySwlNlrHo2S4A/s1600/11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1447" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRmrIkZEGHrZn4MYScUm_Y6uqZyiz9qZ9cntX6_edcQmli2vFxMP-h_DrcjfOnS6M8jW8YQPiivQiLdZrYbJBEDTtXSoF8VrnULpeaLNOct5HSUN2rBFUvZ4j4H1GMKyGySwlNlrHo2S4A/s320/11.jpg" width="289" /></a></div>
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<i><span class="Apple-style-span" style="font-size: xx-small;"> Photo: Ylva Westerlund</span></i></div>
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<span class="Apple-style-span" style="font-family: "arial"; font-size: x-small;"><i><b><span class="Apple-style-span" style="font-size: large;">Unexpected Encounters </span></b></i></span><span class="Apple-style-span" style="font-family: "arial"; font-size: xx-small;"><i><b><span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-size: xx-small;">- an exhibition
dedicated to science fiction</span><span class="Apple-style-span" style="font-size: xx-small;"> </span></span></b></i><span class="Apple-style-span" style="font-size: 12px;"> </span></span><br />
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<span class="Apple-style-span" style="font-family: "arial"; font-size: 12px;"><i>Arsenāls Exhibition Hall of the Latvian National
Museum of Art </i></span></div>
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<span class="Apple-style-span" style="font-family: "arial"; font-size: 12px;"><i>13.12.19 - 23.02.20</i></span></div>
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<span class="Apple-style-span" style="font-family: "arial"; font-size: 12px;"><i>curated by </i></span><span class="Apple-style-span" style="font-family: "arial"; font-size: 12px;"><i>Inga Lāce, Andra Silapētere and Solvita Krese</i>, </span><span class="Apple-style-span" style="font-family: "arial"; font-size: 12px;"><i>Latvian Centre for Contemporary Art</i></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt;">From December 13 to February 23 2020, the Latvian
Centre for Contemporary Art will present the exhibition “Unexpected Encounters”
at the “Arsenāls” Exhibition Hall of the Latvian National Museum of Art. “Unexpected
Encounters” is a research and exhibition project that explores the
relationships between science fiction, art and processes in society, combining
historical research and works by contemporary artists. “Unexpected Encounters”
addresses the impact of science fiction on the Latvian cultural space in the
second half of the 20th century, and includes works by contemporary artists
which highlight current issues of feminism, ecology and politics by envisioning
alternative futures. The project's title is derived from a collection of
stories by the Soviet science fiction writers the Strugatsky brothers, collated
and published in Riga in 1987. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt;">On December 14, from 13:00 to 18:00, there will be a
symposium dedicated to the exhibition, where curators Inga Lāce, Andra Silapētere
and Solvita Krese will conduct talks with artists Ylva Westerlund, Kristaps
Epners, Ieva Balode, Anton Vidokle, Driant Zeneli, Ann Lislegaard, Bahar
Noorizadeh and Viktor Timofeev. All events will take place at the LNMM Exhibition
Hall "Arsenals”. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "arial"; font-size: 9pt;">The participating artists of the "Unexpected
Encounters” exhibition are: Māris Ārgalis, Ieva Balode, Auseklis Baušķenieks,
Maija Dragūne, Aleksandrs Dembo, Kristaps Epners, Dzidra Ezergaile, Pēteris Džigurs,
Nash Glynn, Alberts Goltjakovs, Inārs Helmūts, Ann Lislegaard, Zenta Logina,
Malda Muižule, Deimantas Narkevičius, Bahar Noorizadeh, Artūrs Ņikitins, Pakui
Hardware, Ivars Poikāns, Māra Rikmane, Artūrs Riņķis, Vladislav Shapovalov, Genādijs
Suhanovs, Kirils Šmeļkovs, Viktor Timofeev, Anton Vidokle, Artūrs Virtmanis,
Sif Itona Westerberg, Ylva Westerlund, Driant Zeneli, Zheng Bo.</span><span style="font-family: "arial"; font-size: 9pt;"><o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieoG8ajSgtzE7tTFjSHqSyPdVdj6oN2rZeimWcx-gUHD85qfDu1ogQWaGZ-el3B961z9BKMUBlzswKMKSTvrGaKzEPvPEnpGxFgtqa8kCQlAcneoHh2L8b9e4TR1GLdQPuwOE4I0cZQ8w/s1600/paneldebatt+lcca.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1403" data-original-width="1600" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieoG8ajSgtzE7tTFjSHqSyPdVdj6oN2rZeimWcx-gUHD85qfDu1ogQWaGZ-el3B961z9BKMUBlzswKMKSTvrGaKzEPvPEnpGxFgtqa8kCQlAcneoHh2L8b9e4TR1GLdQPuwOE4I0cZQ8w/s320/paneldebatt+lcca.jpg" width="320" /></a></div>
<span face=""arial" , "helvetica" , sans-serif" style="background-color: white; color: #1c1e21; display: inline; float: none; font-size: 14px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 19px; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">The talk part of exhibition "Unexpected Encouters" at "Arsenāls" exhibition hall of the National Art Museum of Latvia was moderated by the curators of the exhibition Solvita Krese, Inga Lāce and Andra Silapētere. Participants of the program - artists Ieva Balode, Ylva Westerlund, Ann Lislegaard, Anton Vidokle, Bahar Noorizadeh, Driant Zeneli, Kristaps Epners and Viktor Timofeev, Kaspars Groševs ("Zolitūde") with musical performance.</span><br />
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<span class="Apple-style-span" face=""arial" , "helvetica" , sans-serif" style="color: #1c1e21;"><span class="Apple-style-span" style="font-size: 14px; line-height: 19px;">Pictures below from the workshop "Create your own sci-fi charachter" with Ylva Westerlund, arranged by LCCA.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGw-I12wficCpy3ttdclTjYpqIcpOVkWBF3xJ7b3LtOj7_j7GWOR50pqcAZU0o3hRtBhmzMWL6WHeTAQrFZ55GSeSzBuFRjBKw5x2ZsdZSYYfH6I6ZZevrc_1aRMGjlJy1wQYDBkxKAKw/s1600/DSC_0575.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1064" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGw-I12wficCpy3ttdclTjYpqIcpOVkWBF3xJ7b3LtOj7_j7GWOR50pqcAZU0o3hRtBhmzMWL6WHeTAQrFZ55GSeSzBuFRjBKw5x2ZsdZSYYfH6I6ZZevrc_1aRMGjlJy1wQYDBkxKAKw/s320/DSC_0575.JPG" width="212" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3VEnh29I9fWyv1CqinhoOt7Q7vUE1nldZ2ZevxK9EQXBPb9h1r1UC2XhIvzGWj1JjMrKKWQaoq4oUcsMYjyJRa5t3JMdLCEZ-LGoU995HspeUSsoMkyucqG9ofalXeC0-Gm31Inrpmc8/s1600/DSC_0580.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1064" data-original-width="1600" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3VEnh29I9fWyv1CqinhoOt7Q7vUE1nldZ2ZevxK9EQXBPb9h1r1UC2XhIvzGWj1JjMrKKWQaoq4oUcsMYjyJRa5t3JMdLCEZ-LGoU995HspeUSsoMkyucqG9ofalXeC0-Gm31Inrpmc8/s320/DSC_0580.JPG" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxG2oHKzH84B91nPtnFYJhlaxdcWV0HdFCnkKL0UfX4-qJGc6z6k1c10jYd8KPgNJjIPtbAJiPNfHtg0r1j-gvvBkUOVQaqXmZe3xDY8w-5opcpefeMOLC1xyk9WJvbxUKNU_d986lZm8/s1600/DSC_0592.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1064" data-original-width="1600" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxG2oHKzH84B91nPtnFYJhlaxdcWV0HdFCnkKL0UfX4-qJGc6z6k1c10jYd8KPgNJjIPtbAJiPNfHtg0r1j-gvvBkUOVQaqXmZe3xDY8w-5opcpefeMOLC1xyk9WJvbxUKNU_d986lZm8/s320/DSC_0592.JPG" width="320" /></a></div>
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2008-2004http://www.blogger.com/profile/14577193091696949089noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-12445562895067764072018-10-31T12:37:00.000-07:002020-01-09T02:19:40.383-08:00Skissbok s.1-2 - Riktningsbyte i flödande medium/ Korpen, 2018<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizf4Sn5GMZDhQ_XcRXjKn2nVmF1o_V6EcoxCVf5nhyphenhyphenGof3oZ1DKUYBDEla54G52DtrRMenXKW3B-GQGeBR9IuBtCevMWYHU62HLj2Nbr0UGgplD-gTH8N5_G-l33RMWtazvsbHV73dVirJ/s1600/KHM_Gallery_View_IMG_3725.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1068" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizf4Sn5GMZDhQ_XcRXjKn2nVmF1o_V6EcoxCVf5nhyphenhyphenGof3oZ1DKUYBDEla54G52DtrRMenXKW3B-GQGeBR9IuBtCevMWYHU62HLj2Nbr0UGgplD-gTH8N5_G-l33RMWtazvsbHV73dVirJ/s320/KHM_Gallery_View_IMG_3725.jpg" width="320" /></a></div>
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"Sketch book pages 1-2: Redirecting fluid matters/ Raven", wall drawing in charcoal, 600 cm x 300 cm. Installation view from KHM1, Malmö, 2018.</div>
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Kolteckning på vägg 600 cm x300 cm. Installationsvy från KHM 1, Chokladfabriken, Malmö. Edstrandska stiftelsens stipendiater 2018.</div>
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<span class="Apple-style-span" style="font-family: "arial" , sans-serif; font-size: x-small; line-height: 19px;"><a href="http://www.google.com/url?q=https://www.khm.lu.se/event/utstallning-edstrandska-stiftelsens-stipendiater&sa=U&ved=0ahUKEwi8hMCvtbHeAhUnlIsKHcSSCzMQFggUMAA&usg=AOvVaw3wT1KJlhLh_gxxJlHsmGwS" style="color: #1a0dab; cursor: pointer; font-family: arial, sans-serif;">Utställning - <b>Edstrandska stiftelsens</b> stipendiater | Konsthögskolan i ...</a></span></div>
<br />2008-2004http://www.blogger.com/profile/14577193091696949089noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-22365877618865681852018-06-26T11:32:00.006-07:002023-10-14T05:58:56.037-07:00Eftervärlden- det postindustriella landskapets naturgeografiska förutsättningar, 2018<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-size: x-small;">Installationsvy från Gerlesborgs Konsthall</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Presentation av verket med </span><span class="Apple-style-span" style="font-size: x-small;">Ylva Westerlund och Mats Adelman.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Läsning ur Lunneboken av och med författaren </span><span class="Apple-style-span" style="font-size: x-small;">Gunnar D Hansson.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Fågelskådning i Gerlesborg med Jan Uddén, </span><span class="Apple-style-span" style="font-size: x-small;">biolog på Uddevalla Museum.</span></div>
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<span class="Apple-style-span" style="color: #222222; font-family: "helvetica neue" , "helvetica" , sans-serif; font-size: 17px;"><strong style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 17px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><em style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 17px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Det postindustriella landskapets</em></strong><strong style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 17px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><em style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 17px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">naturgeografiska förutsättningar</em></strong></span></div>
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<span class="Apple-style-span" style="color: #222222; font-family: "helvetica neue" , "helvetica" , sans-serif; font-size: 17px;"><strong style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 17px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><em style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 17px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"><br /></em></strong></span></div>
<span class="Apple-style-span" style="font-size: 17px;"><strong style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 17px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Ylva Westerlund/Mats Adelman</strong></span></div>
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<span class="Apple-style-span" style="color: #222222; font-family: "helvetica neue" , "helvetica" , sans-serif; font-size: 17px;">”Att geografiskt befinna sig på en plats, situerad, är en förutsättning för att förstå de mer övergripande skeenden och dess intra-aktion med vardagliga praktiker/</span><br />
<span class="Apple-style-span" style="color: #222222; font-family: "helvetica neue" , "helvetica" , sans-serif; font-size: 17px;">Att geografiskt befinna sig på en plats, sittandes, är en förutsättning för att förstå vardagliga skeenden.”</span></div>
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<span class="Apple-style-span" style="color: #222222; font-family: "helvetica neue" , "helvetica" , sans-serif; font-size: 17px;">Text i teckning/del av installationen, Ylva Westerlund/ Mats Adelman, 2018.</span></div>
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<span class="Apple-style-span" style="color: #222222; font-family: "helvetica neue" , "helvetica" , sans-serif; font-size: 17px;">Landskap, och den materia som rör sig i det, påverkas av och omformas av vind, regn, sol och naturkatastrofer. Men också av gift, strålning, brukande och rovdrift. I Westerlund/Adelmans utställning på Gerlesborgs konsthall visas i en serie akvareller, teckningar och stolskulpturer kring det komplexa samspelet mellan vår påverkan och påverkningsbarhet av det yttre.I olika lokala specifika nedslag kopplas studier av landskapet med tankar om rörelser i samhället i övrigt. Där tanken om utveckling som en riktning framåt och uppåt i sin tur skapar en motbild; en annan rörelse i ett mer flytande medium. Inte direkt framåt, men inte hellre bakåt eller ingenstans.</span></div>
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<span class="Apple-style-span" style="color: #222222; font-family: "helvetica neue" , "helvetica" , sans-serif; font-size: 17px;">Ylva Westerlund och Mats Adelman har båda sin bas i Stockholm. De har i flertalet projekt jobbat med landskapets och naturstudiens koppling till lokala förhållanden. Bland annat i olika skissuppdrag men även i installationerna <em style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 17px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Swedish Wood</em>, 2014, <em style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 17px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Ateljé för Implosiv Design</em>, 2016 och under 2018 gör de även i samarbete med Tensta Konsthall guidade vandringar på naturområdet Järvafältet i Stockholm.</span></div>
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</span>2008-2004http://www.blogger.com/profile/14577193091696949089noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-26839596151138937952018-06-26T10:48:00.003-07:002018-11-28T00:27:33.224-08:00Public Luxury, ArkDes/ Tensta Museum, 2018<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-size: x-small;"> foto: Tensta Konsthall</span></div>
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<h3 id="tensta-museums-filial-p-arkdes" style="display: inline; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
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<span class="searchArea" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="color: blue; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">1.6 2018–13.1 2019</span> Tensta museum är Tensta konsthalls fleråriga projekt med fokus på historia och minne i Tensta, sett genom de människor som bor och arbetar där, samt platsen i sig med sina många fysiska lager. Tensta museum är ett projekt där konsthallen ”leker museum”, nu med en filial på ArkDes, som en del av utställningen Public Luxury som pågår till <span style="color: blue; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">13.1 2019</span>. Sedan utställningen <span style="color: blue; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><a href="http://www.tenstakonsthall.se/?hstavdelningen-tensta-museum-rapporter-frn-nya-sverige" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: black; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span style="color: blue; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Tensta museum: Rapporter från Nya Sverige</span></a></span> ägde rum på konsthallen 2013/2014 har Tensta museum fortsatt i form av en ständigt pågående serie aktiviteter med inriktning på lokal historia, samtidigt som det är en samtidsrapport med inslag av scenarier för framtiden. </span></div>
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Med Adam Tensta, Ahmet Ögut & Emily Fahlén, Erik Stenberg, Lili Reynaud-Dewar, Magnus Bärtås, Marie-Louise Ekman, Meron Mangasha & Senay Berhe, Sergio Montero Bravo, Spånga fornminnes- och hembygdsgille, Stockholms stadsmuseum med verk av Carl Larsson och Veronica Nygren från Tensta gymnasium, StreetGäris, Tensta konsthalls Kvinnocafé och Ylva Westerlund.</div>
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2008-2004http://www.blogger.com/profile/14577193091696949089noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-89721704946220277152017-09-18T23:38:00.004-07:002023-10-14T09:29:30.773-07:00En studieplats i skogskanten/ Dream wasteland, 2017/></a></div>
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" <b>I Dream Wasteland/ En studieplats i skogskanten tar Ylva Westerlund fågelskådning till hjälp för att medvetandegöra vårt förhållningssätt till naturen och vår omgivning. Tre betongskulpturer med teckningar blir stationer på Järvafältet där observationer på plats samverkar med teckningarnas texter i en beskrivning av både dagens verklighet och en möjlig framtid.</b></div>
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<i>Dream Wasteland/ Studieplats i skogskanten</i> är en fortsättning på Ylva Westerlunds utställning Den nya hjorden som under sommaren visats på Tensta konsthall. Utställningen visar akvareller och tuschteckningar där gränsområden och förhållandet mellan landsbygd och förort står i centrum. Konstnären, som också är en entusiastisk fågelskådare, promenerar varje dag från bostaden i Tensta genom skogen till ateljén på Eggeby gård. Det omgivande landskapet bildar fonden för funderingar kring relationen mellan natur och samhälle som återfinns i en del av teckningarna.</div>
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Tre betongfundament, två med infogade teckningar på aluminiumplåt och en med inristad text, har placerats runt Eggeby gård som ligger på Järvafältet strax norr om Tensta. Betongskulpturerna förankras både av sin tyngd, cirka 300 kg, och genom att de är delvis nedgrävda. De blir ett slags gravstenar eller kapslar för färd till eller från framtiden.</div>
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Skulpturerna kommer att fungera som hållplatser vid tre guidade promenader som arrangeras under hösten. Under promenaderna beskriver Westerlund biotopen på platsen, och de fågelarter och djur som just då rör sig i området kartläggs. Observationerna ger skulpturen ett specifikt lokalt sammanhang medan text och bilder tillför ett mer drömlikt lager."</div>
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Offentligt verk producerat i samarbete med Tensta konsthall och Stockholm konst.<br />
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Foto: Ylva Westerlund och Tensta Konsthall</div>
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<a href="https://m.facebook.com/notes/dn-stockholm/konstn%C3%A4ren-ylva-westerlund-visar-sina-verk-och-naturen-ute-p%C3%A5-det-f%C3%B6r-mig-en-g%C3%A5n/1920766188192122/?__tn__=%2AsH-R">https://www.facebook.com/notes/dn-stockholm/konstnären-ylva-westerlund-visar-sin-konst-och-naturen-ute-på-det-för-mig-en-gån/1920766188192122/</a>2008-2004http://www.blogger.com/profile/14577193091696949089noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-65706798663835725562017-06-12T11:37:00.002-07:002023-10-29T06:33:46.874-07:00Den nya hjorden, 2017<div class="separator" style="clear: both; text-align: center;">
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<b><span class="Apple-style-span" face=""lucida grande" , "helvetica" , "arial" , sans-serif" style="line-height: 16px; text-align: left;"><span class="searchArea" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;">Tensta Konsthall 1.6–24.9 2017</span></span></span></span><span class="Apple-style-span" face=""lucida grande" , "helvetica" , "arial" , sans-serif" style="line-height: 16px; text-align: left;"><span class="searchArea" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; padding: 0px;"> </span></span></span></span></b></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small; line-height: 16px;"><b>Conversation between Ylva Westerlund, </b></span><br />
<span class="Apple-style-span" style="font-family: inherit; font-size: x-small; line-height: 16px;"><b>Emily Fahlén, and Asrin Haidari.</b></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small; line-height: 16px;"><b>Asrin Haidari: </b>Tell us about the title The New Hird.</span></div><div style="font: 11.5px / 12.1px Helvetica; line-height: 12.1px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small; line-height: 16px;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small; line-height: 16px;"><b>Ylva Westerlund: </b>The New Hird can be read as planet Earth with an old spelling, but also as a flock. My drawings and paintings sometimes contain a futuristic perspective—science fiction that takes place in a new era. The title also appears on the front cover of one of my cartoon series, in a story that is set on the Järva Field. Ideas about the “new” can also refer to utopian notions about the “new Man”, the new human being – an ideal. The English title, The New Hird, has a somewhat different meaning than the Swedish; it calls to mind the word “herd”, which means “flock”, but misspelt. “Hird” is an old Norse and Anglo-Saxon word referring to a personal band of warriors, a troop of guards that appear as creatures in the drawings.</span></div><div style="font: 11.5px / 12.1px Helvetica; line-height: 12.1px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small; line-height: 16px;"><br /></span></div>
<div style="font: 11.5px / 12.1px Helvetica; line-height: 12.1px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small; line-height: 16px;"><b>Emily Fahlén: </b>How was it that you started working with cartoons?</span></div><div style="font: 11.5px / 12.1px Helvetica; line-height: 12.1px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small; line-height: 16px;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small; line-height: 16px;"><b>YW: </b>I started when I was a child—it was a way for me to begin to draw. I was inspired by classic cartoonists like Alan Moore and Brian Bolland, and tried to imitate them. The cartoon format has permeated how I draw; I found my own figures, characters, and abilities—it became a way to visualize things and to think. There is a natural connection in cartoons between text and image, and you are able to incorporate a lot into a single frame. I’m also interested in how the so-called Situationists used pop culture in the 1960s—in how they would do a kind of détournement and turn material over to see another side of it, or put it together with something unusual, or unexpected. The Situationists’ strategy was to confront consumerism and question a system through rereading it and finding its cracks.</span></div><div style="font: 11.5px / 12.1px Helvetica; line-height: 12.1px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small; line-height: 16px;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><b>AH: </b>In the exhibition, we encounter different kinds of environments: Tensta and the surrounding Järva Field, the industrial community of Husum, and a new world in the process of dissolution. Why have you chosen to link these places together? What do these suburban and provincial narratives have in common?</span></div><div style="font: 11.5px / 12.1px helvetica; line-height: 12.1px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><b>YW: </b>I think it’s partly that these areas were built during a particular time, when an optimistic attitude toward development prevailed. They have had a function: in the small industrial communities, for example, in relation to the employer and the organization of labor. I’d say that their position is different today: both the provincial towns and the suburbs have lost some of their identity because they no longer function as models for a social idea; the functions of welfare society have been dismantled and social services are moving to the commercial centers. Out-migration is palpable in the old industrial communities, whereas the opposite is more likely in the suburbs. At the same time, since people no longer find themselves “in the midst of development”, it may be possible to redefine places, to create a space to think differently. Or we must do this in some way and so self-organization becomes more tangible. We approach a kind of borderland, which is negative in many different ways, but it also offers possibilities…</span></div><div style="font: 11.5px / 12.1px helvetica; line-height: 12.1px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><b>EF: </b>The borderland you talk about is evident in The New Hird. In your science-fiction world, society has reached its peak, and a new sort of Big Bang has occurred as a consequence of our consumption and our unsustainable relationship </span><span style="font-family: inherit; font-size: small;">to natural resources. Your drawings certainly constitute an ecological critique, but are the images only dystopic?</span></div><div style="font: 11.5px / 12.1px helvetica; line-height: 12.1px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;"><span style="font-family: inherit; font-size: small;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><b>YW: </b>My narratives have different timelines and contain elements of dreams and fantasy. They contain a free movement of thought. In the series The New Hird I refer to the established idea of the Big Bang as a singular event, when all time began and from which all development proceeded. Speaking in purely biological terms we are on the way towards altering the role of evolution—we can change our genes, for instance—so in some way our fundamental preconditions have changed. Gas clouds or the fumes we see in the images come from the motorway and recreate a new kind of primeval state, like during the Big Bang. In my images we see it happen again, but now in reverse. You don’t know exactly what this is the beginning or the end of. I’m interested in portraying a breaking point; through image and text I try to get at something that isn’t quite right, that doesn’t really correlate—a crack, a fissure. You could find a “third” plan. “The third” is what I find interesting in feminism and in ecological debates—a relationship which opposes a dualistic world view.</span></div><div style="font: 11.5px / 12.1px helvetica; line-height: 12.1px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><b>EF: </b>Yes, the idea that a catastrophe need not be entirely negative—it can also be the beginning of something new. I’m reminded of a book I have at home called Paradise Built in Hell. It’s a study of what happens when civilizations fall apart as a result of natural catastrophes—tragedies in themselves—but these events also make possible a wholly new situation where people help each other and practice solidarity.</span></div><div style="font: 11.5px / 12.1px helvetica; line-height: 12.1px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><b>YW: </b>Yes, the idea of a kind of cleansing through catastrophe sounds both frightening and appealing; it contains both religious and revolutionary tendencies. But, yes, perhaps it could be interesting if the situation we observe in my work could also convey an awakened solidarity with natural forces, or the catastrophe, if you will. That the event functions as an opening for another, inclusive, relationship to processes in nature which we also are part of and influence. And are influenced by. </span></div><div style="font: 11.5px / 12.1px helvetica; line-height: 12.1px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><b>EF: </b>It’s also interesting how you work with toxins. It’s not either exclusively bad; I mean, on the one hand, it can be devastating, but on the other, toxins can also offer possibilities, as for example, in hormone therapy, in medicines, etc.</span></div><div style="font: 11.5px / 12.1px helvetica; line-height: 12.1px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><b>YW: </b>Exactly— if you think beyond simple negative consequences, it can be a potential opening for another relationship. I have also used flooding as an idea for this phenomenon. Fluidity and leakage have such different connotations even though they describe a similar movement. Fluidity has positive associations: a fluid economy, development and progress. Leakage, on the other hand, is considered to be something very negative—as in menstruation, waste, pollution—something uncontrolled. Nevertheless, the words describe the same things. </span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;">It’s possible to trace feminist ideas about what is given value and what isn’t, but also in relation to nature—all the systems we create to justify how we use nature and how nature should serve human society. I think we have to abandon thoughts of controlling nature, so that leakage becomes something we cannot control or protect ourselves from. Instead we must embrace the condition of things and the inevitable—for example, that we can take responsibility for </span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;">pollution that is released—it’s already in the ground, it’s here. We can’t deny the waste we’ve been involved in producing. </span></div><div style="font: 11.5px / 12.1px helvetica; line-height: 12.1px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><b>AH: </b>And finally to land directly in our own immediate present…Just now Förbifart Stockholm (Bypass Stockholm) is being built. It is an extensive infrastructural project to create a connecting motorway to relieve the pressure of traffic into the central parts of Stockholm. We see how the landscape of Järva Field is changing, being strained, and environmentally exposed by this project. You also take up Förbifarten and its waste products in your work.</span></div><div style="font: 11.5px / 12.1px helvetica; line-height: 12.1px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px;"><span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;"><b>YW: </b>Yes, my own experiences linked to places where I live my everyday life often form the basis for my work. I am often on the Järva Field, both because I have my studio there and because of my interest in bird watching. So purely geographically it’s impossible for me not to relate to the road projects that are going on in the area. They have a loud voice which often drowns out the songs of birds. Motorways and car traffic are often described as prerequisites for free movement, exchanges between districts, and development. But to an extent, in my experience they have the opposite effect, creating barriers, stemming the mobility of people, plants, and animals, and hindering spontaneous patterns of movement. Car traffic to shopping centers is what benefits from more roads—roads generally function as economic arteries. Another aspect to all this is that making roads doesn’t seem to favor human contact—taking yourself between two flats in Tensta by car is much more complicated than driving to Barkarby or Kista. It’s difficult not to see car traffic as an educational project meant to point out important values in life. Had Pink Floyd’s The Wall been written today, it would probably have been called “The Road”.</span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;">Emily Fahlén and Asrin Haidari </span></div>
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<span class="Apple-style-span" style="font-family: inherit; font-size: x-small;">works at Tensta konsthall.</span></div>
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2008-2004http://www.blogger.com/profile/14577193091696949089noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-81927452519444921662017-03-31T00:41:00.004-07:002023-10-14T06:07:08.026-07:00Momentum 9 Alienation, 2017<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX38QWTaQyUbu432O5CDzNfijAkLY3n09Rosa-6I9pMjHAnwDvg2WDCUaHkCajbBOuwy15dSCTi9JlBpBcC9LbTuSUk03SdtP6RS5ZdZniyio2o-TjfppMNYS37U9eoYZTaH2XqSUHwVk5uwg5ryjgdBcs1_5SR0NHP5uYg6YNZ1LPZCEebjI-fA91-6s/s3038/2017%20Momentum%203.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="3038" data-original-width="2323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX38QWTaQyUbu432O5CDzNfijAkLY3n09Rosa-6I9pMjHAnwDvg2WDCUaHkCajbBOuwy15dSCTi9JlBpBcC9LbTuSUk03SdtP6RS5ZdZniyio2o-TjfppMNYS37U9eoYZTaH2XqSUHwVk5uwg5ryjgdBcs1_5SR0NHP5uYg6YNZ1LPZCEebjI-fA91-6s/s320/2017%20Momentum%203.jpg"/></a></div><div class="separator" style="clear: both; text-align: center;">
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"The New Hird", graphic novel, 33 pages. Publication in the bookshop of The House of Foundation and Gallery F15 at Momentum in Moss.<br />
Also shown as online graphic novel, from Feb- Sept 2017: <span class="Apple-style-span" style="font-family: "arial" , sans-serif; font-size: 16px; line-height: 19px;"><a href="http://www.google.se/url?q=http://www.momentum.no/&sa=U&ved=0ahUKEwi2kc-vnoDTAhUKESwKHajkBqIQFgggMAI&sig2=jtUBX4_vBOpqhxyijzq1cw&usg=AFQjCNHfG6B-r2X23uXo-uNLJ2ul8I08Jg" style="color: #1a0dab; cursor: pointer; font-family: arial, sans-serif; text-decoration: underline;"><b style="color: #1a0dab; cursor: pointer; font-family: arial, sans-serif; text-decoration: underline;">MOMENTUM</b><span class="Apple-style-span" style="color: #1a0dab; cursor: pointer; font-family: "arial" , sans-serif; text-decoration: underline;"><span class="Apple-style-span" style="cursor: pointer;"> 9: Alienation - Fylkesgalleriet Punkt Ø</span></span></a></span><br />
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2008-2004http://www.blogger.com/profile/14577193091696949089noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-50396224271567628562016-08-30T04:33:00.005-07:002020-02-17T06:13:06.404-08:00Gigant #7 1985/ Sulfate 3000, 2016<div class="separator" style="clear: both; text-align: center;">
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Installationsvy från utställningen "Samhällsmaskinen", Malmö Konstmuseum, 2016. "Skymning", 2014, 6 st tuschlaveringar i grå ram. Serietidningen "Gigant # 7 1985, Sulfate 3000", 62 sidor, 2016, placerad i kartong och som läsexemplar. Kartongstol, 2016, en lässtol i kartong och trä, gjord i samarbete med Mats Adelman.<br />
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Foto: Jenny Ekholm och Ylva Westerlund</div>
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2008-2004http://www.blogger.com/profile/14577193091696949089noreply@blogger.comtag:blogger.com,1999:blog-8471454310237191924.post-5026405467458866462012-09-20T11:10:00.003-07:002023-10-14T06:11:47.360-07:00Evolutionary throwback, 2012<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjZyDQGo44F0-8evau-hyrKah_nMPWD912m4RbMUDLJqKzb_aUOP-vqmMqQk16YV8CnYMqFzfABiZFb3lVVFm4FExizq4aH9yOPN6jtmTUzxF_udJXhP-vq3nGxZbNkiARisBhCXs7kvLSNkwC9Gi0vlSARNowcFAAK6Dw-UKK_vk0tXOUbV62dLPSbYc/s3000/2012%20KB%201.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="600" data-original-height="2000" data-original-width="3000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjZyDQGo44F0-8evau-hyrKah_nMPWD912m4RbMUDLJqKzb_aUOP-vqmMqQk16YV8CnYMqFzfABiZFb3lVVFm4FExizq4aH9yOPN6jtmTUzxF_udJXhP-vq3nGxZbNkiARisBhCXs7kvLSNkwC9Gi0vlSARNowcFAAK6Dw-UKK_vk0tXOUbV62dLPSbYc/s600/2012%20KB%201.jpg"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH_-o9pymMg-XxVJqarTVB59FlGJG2vlfLBq8XB3TLQqeYM4sYhlsY_micxkIEYgnlT1ONyoXu3zfqh3BDCPnPESrdIDd4EghMWN-u0GioHU0wCjSG7cjcTPtRM8kqV9yDRDc1iYAAGPokPrWRwdVwYbpSZrv6A4GKMVlupL_T74GSnAzWs7p92TMCTLA/s3000/2012%20KB%203.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="600" data-original-height="2000" data-original-width="3000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH_-o9pymMg-XxVJqarTVB59FlGJG2vlfLBq8XB3TLQqeYM4sYhlsY_micxkIEYgnlT1ONyoXu3zfqh3BDCPnPESrdIDd4EghMWN-u0GioHU0wCjSG7cjcTPtRM8kqV9yDRDc1iYAAGPokPrWRwdVwYbpSZrv6A4GKMVlupL_T74GSnAzWs7p92TMCTLA/s600/2012%20KB%203.jpg"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilo3mYQ2tHf-iUf-c10-959V5-dvW3ZQAMpbuIWUSFtLBfHVUdr1ePXr83oNM05TyH1Fe74OVwZ3hQ6Nda5MUdGKImW5Tx9mB00DLDVwU6QNdFNozTUbSIjECMIPnF6uZH3KZfSXPFEPmSyl1OC3hMVyzYGPi2vzucjMOR3FOEugEQK5QbYqF3YA2w1y0/s3000/2012%20KB%206.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="600" data-original-height="2000" data-original-width="3000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilo3mYQ2tHf-iUf-c10-959V5-dvW3ZQAMpbuIWUSFtLBfHVUdr1ePXr83oNM05TyH1Fe74OVwZ3hQ6Nda5MUdGKImW5Tx9mB00DLDVwU6QNdFNozTUbSIjECMIPnF6uZH3KZfSXPFEPmSyl1OC3hMVyzYGPi2vzucjMOR3FOEugEQK5QbYqF3YA2w1y0/s600/2012%20KB%206.jpg"/></a></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3cbqXYlV2p_gK5ApaM7261nQwk6Yqv8oJI4o9QpTZSdDNwMkEaqXvI4M3cC84xcT3EQIpZqWmi2uwGDLaFNKmYcKYhHZa78JVaf9XV-DtYMRGTY-Hfu_t2KH61GZePrEdnD2BxV-sowduDu2WO5U9AZVSABtBeFtLEJHJxBfPrAcXWbL2Qa9yRefN9As/s3000/2012%20KB%207.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="600" data-original-height="2000" data-original-width="3000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3cbqXYlV2p_gK5ApaM7261nQwk6Yqv8oJI4o9QpTZSdDNwMkEaqXvI4M3cC84xcT3EQIpZqWmi2uwGDLaFNKmYcKYhHZa78JVaf9XV-DtYMRGTY-Hfu_t2KH61GZePrEdnD2BxV-sowduDu2WO5U9AZVSABtBeFtLEJHJxBfPrAcXWbL2Qa9yRefN9As/s600/2012%20KB%207.jpg"/></a></div><div class="separator" style="clear: both; text-align: center;">
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Installation view "Evolutionary throwback", Künstlerhaus Bethanien, 2012.</div>
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Installation view</div>
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Still from video</div>
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Still from video</div>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: 13px;"><b><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><span class="Apple-style-span" style="font-size: 13px;"><br /></span></span></b></span>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><span class="Apple-style-span">Video, DVD, 5 min loop. </span></span></b></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><b><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><span class="Apple-style-span">Installation view from exhibition "Evolutionary throwback" at Künstlerhaus Bethanien, Berlin, 2012.</span></span></b></span><br />
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<span lang="DE" style="font-family: Times, 'Times New Roman', serif;"><b><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 17px;">Photo: David Brandt</span></span></span></b></span></div>
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<span lang="DE"><b>Between Life and Death<o:p></o:p></b></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span lang="DE">The work of </span><span lang="DE">Ylva Westerlund</span><span lang="DE"> (S)<o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span lang="DE">Preservation and conservation are museum collection practices, which Ylva Westerlund discloses as regressive and questions on the one hand, while at the same time employing them for her own artistic works. These processes are supplemented by the concepts of “dead” and “alive” – which cannot really function in conjunction – as embodied in literary creatures such as Frankenstein’s monster or vampires and zombies, for example. Westerlund is fascinated by such beings. As she sees it, there is an obvious analogy between these simultaneously broken and free creatures and the post-structuralist theories of Judith Butler and Michel Foucault. In the case of Butler the philosopher, it is the paradox of overcoming performative gender roles with a simultaneous negation of categories such as man and woman. This ambivalence helps Westerlund to conceive the categories of being and non-being simultaneously and to investigate this theme in collages, mural works, videos, texts and comics. In the process, she may enter into the role of a scientist or sometimes into that of the object being studied. In the video <i>Evolutionary throwback</i></span><span lang="DE"> (2012), for example, the artist appears as a creature crossed between homo sapiens and australopithecus anamensis, performing orders such as eat, think, read and talk in front of the camera. Here, she acts as both investigating subject and object to be investigated – when in the sequence “read”, for example, she reads aloud theories of evolution from a book. Ylva Westerlund is interested in (gender-)theoretical, scientific and biological threshholds and border areas, which she believes show enormous political and, of course, artistic potential.<o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">/Christiane Opitz</span><br />
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