Åsa Jungnelius
Åsa Jungnelius

Scale 1:1 – Symposium on Context-Specific Art

Date: Thursday 25 August – Friday 26 August 2016
Place: Region Kronoberg 
Residence_in_Nature-Selection_MG_9931
The symposium Scale 1:1 is developed in relation to the art project Residence-in-Nature, which takes place in different localities in the Region of Kronoberg during the summer of 2016. Residence-in-Nature takes as its starting point the landscape and its cultural, economic and political aspects. The symposium brings together the participating artists with invited guests to discuss what it means to work context-specifically as an artist today, and how art can make us think about concepts such as site, countryside and nature from different perspectives. 
How do artists create methods for working in depth with a certain context? Can one bring the same method to different places and still claim to work with the notion of the specific? How do different time frames – to be a temporary visitor or a permanent resident – affect what becomes possible? What problems and potentials are involved when addressing  local and global audiences at the same time? What new forms of artistic and institutional practices do we see emerging through intensified relationships with local contexts? What is the local anyway? 
How is the perception of sparsely populated rural areas changing in a post-industrial present where the boundaries between the city and the countryside, and between nature and culture, are being re-negotiated? Has ”site” and ”the specific” become exotic and desirable properties – so called Unique Selling Points – for the experience of culture in an increasingly homogenized world? Or should we understand the growing interest for the context-specific in art as a form of tactile resistance against a generally abstracted existence? 
The title Scale 1:1 makes reference to the working method used in Residence-in-Nature whereby the artistic process is shaped by the artists’ presence in a specific place for a limited time. The symposium employs the concept of Scale 1:1 as a general approach in order to ask questions about, and test the forms for, ”situated” knowledge production  in relation to site, body and thought. 
Preliminary list of participants: Johanna Gustafsson Fürst (artist), Hilda Hellström (artist), Klara Hobza (artist), Åsa Jungnelius (artist and Artistic Director Residence-in-Nature), Fredrik Paulsen (furniture designer), Jerszy Seymour (artist), Ross M Taylor (artist), Lisa Torell (artist), Markus Vallien (woodworker), Jonas Williamsson (graphic designer), Emma Smith (artist, author to The Practice of Place), Karin Lindroth (graphic designer and Artistic Director for The non-existent centre/Ställberg mine), Lisa Rosendahl (curator) Mårten Björk (teolog, editor for Subaltern) Axel Andersson (Historian and critic, author of Den koloniala simskolan) Heidi Wassi (Länsantikvarie) 
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PRACTICAL INFORMATION 
PROGRAM 
Day 1, Thursday, August 25 
12 pm Registration from 12 at Lessebo People’s House 
13 pm Introduction of Åsa Jungnelius and Lisa Rosendahl. Länsantikvarie Heidi Wassi talk about Kronoberg as a context, in Lessebo People’s House. 
14 pm Guided bus tour to all art works with a break for a middle course. The artists will present their works. Interventions by Axel Andersson and “Carl von Linné” 
18 pm Bus tour ends at Transjö People’s House, followed by dinner, Erik Gärdvall and Sara Söderberg food, Jenny Silver music. 
Day 2, Friday, August 26 
10-16 pm Presentations by Mårten Björk, Karin Lindroth, Markus Vallien and Emma Smith,  and collective reflections at Transjö Folkets Hus 
16.30 pm Bus departs from Transjö to Lessebo Station
NOTIFICATION OF ATTENDANCE 
Send an email with name, phone number and any special dietary requests to info@residence-in-nature.sePrice: SEK 300, for the cost of food, middle course, dinner, breakfast and lunch are served. 
Accommodation (tents) and the bus tour is included in the price. 
PACKING LIST – Tent (if you don´t have a tent it is also possible to sleep in a common dormitory tent) – Sleeping bag – Sleeping mat – Flashlight – Towels, bathing suits (it is possible to take a swim in the lake, no showers avaliable) – Good shoes, some of the art works can be more or less difficult to access, so bring leisure shoes -Mosquito repellent 
Welcome! 
Residence-in-Nature and the symposium Scale 1:1 are made with the support from Region Kronoberg and Växjö Kommun, in collaboration with Iaspis – the Swedish Arts Grants Committee’s International programme for visual artists.

Residence-in-Nature

 

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Residence-in-Nature is not an Artist-in-Residence program. It is not a site-specific artistic work. Rather, it can be seen as an experiment and a method in the scale 1:1. We invite participants from different backgrounds, who express themselves artistically through a host of disciplines, to spend time and work in the region of Kronoberg. Residence-in-Nature is interested in what takes place through this presence and these collaborations and in how it relates to the specific context. It looks at what happens when local concerns and questions meet global ones, and at the result in form and content of the trading of knowledge.

Where can we meet art in a sparsely populated rural area mainly comprised of man-made nature in the shape of forestry, streams, old company towns in the transition from industry to post-industry, small towns, nature reserves, tourists, hiking and canoe trails? The aim of Residence-in-Nature is to let the participating artists live and work where they and their practices meet the inhabitants of the area waiting for the bus, in the forests, by the canoe trails, the libraries and roads. Involving them in a change of position leading to an embrace of the public space as a totality.

What is the meaning of the place for production and material? The glass industry was booming in Småland in the 1960s. Artists were invited to live and work in the region to create a new meaning for an industry that previously had made items for more prosaic use, like milk bottles and light bulbs. A mode of production mostly reliant on local materials like rock, glass and timber, became the node in the construction of a society where crafts, economy, labour and artistic figuration came together.

What type of economic development is needed for the construction of contemporary society when the concept of work is changing and many are swept up in flows of migration? Residence-in-Nature investigates everything from notions of community to tourism, consumption and the construction of society. What does one do for the other, and what does it mean for the collective, the community that we share? In which ways can an artistic production contribute to the discussion?

Residence-in-Nature was initiated by Åsa Jungnelius as a long-term collective art project. It was based on her own experiences of context-specific artistic work in a rapidly depopulating area where the post-industrial condition highlights a complex setting. The landscape in Småland is intimately linked with the material culture that gives the coordinates for our economic, social, political and ecological situation.

The initiative coincided with the wish of the regional local authority to through artistic work find a durable form for an experimental Artist-in-Residence program directly linked to the local context.

Starting, opening, beginning and continuing from May 28 to September 25 for the 2015–16 residency in the Region of Kronoberg.

The participants are Johanna Gustafsson Fürst (artist), Hilda Hellström (sculptor and designer), Klara Hobza (artist), Åsa Jungnelius (artist and artistic director), Fredrik Paulsen (furniture designer), Lisa Rosendahl (curator), Jerszy Seymour (designer), Ross M Taylor (artist), Markus Vallien (woodworker), Jonas Williamsson (graphic designer), Lisa Torell (artist) and Terje Östling (artist). From Växsjö Konsthall: Filippa de Vos (art educator), Jenny Käll (coordinator), Fredrik Sandblad (communications), Nicolas Hansson (Head of Växjö Municipality Culture Department).

A symposium and public party stemming from the project and in collaboration with ”Moving Mass” and Lisa Rosendahl will take place August 25–26.

Residence-in-Nature is carried out with support from the Region of Kronoberg, Swedish Arts Grants Committee’s International Programme for Visual and Applied Artists (Iaspis) and Växjö Municipality.

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Scale 1:1 – Symposium on Context-Specific Art

Thursday 25 August: guided tour to all the Residence-in-Nature sites 1-6pm (followed by a public party)
Friday 26 August: collective reflections at Transjö Folkets Hus 10am-4pm

The symposium Scale 1:1 is developed in relation to the art project Residence-in-Nature, which takes place in different localities in the Region of Kronoberg during the summer of 2016. Residence-in-Nature takes as its starting point the landscape and its cultural, economic and political aspects. The symposium brings together the participating artists with invited guests to discuss what it means to work context-specifically as an artist today, and how art can make us think about concepts such as site, countryside and nature from different perspectives.

How do artists create methods for working in depth with a certain context? Can one bring the same method to different places and still claim to work with the notion of the specific? How do different time frames – to be a temporary visitor or a permanent resident – affect what becomes possible? What problems and potentials are involved when addressing local and global audiences at the same time? What new forms of artistic and institutional practices do we see emerging through intensified relationships with local contexts? What is the local anyway?

How is the perception of sparsely populated rural areas changing in a post-industrial present where the boundaries between the city and the countryside, and between nature and culture, are being re-negotiated? Has ”site” and ”the specific” become exotic and desirable properties – so called Unique Selling Points – for the experience of culture in an increasingly homogenized world? Or should we understand the growing interest for the context-specific in art as a form of tactile resistance against a generally abstracted existence?

The title Scale 1:1 makes reference to the working method used in Residence-in-Nature whereby the artistic process is shaped by the artists’ presence in a specific place for a limited time. The symposium employs the concept of Scale 1:1 as a general approach in order to ask questions about, and test the forms for, ”situated” knowledge production in relation to site, body and thought.

Preliminary list of participants: Johanna Gustafsson Fürst (artist), Hilda Hellström (artist), Klara Hobza (artist), Åsa Jungnelius (artist and Artistic Director Residence-in-Nature), Fredrik Paulsen (furniture designer), Jerszy Seymour (designer), Ross M Taylor (artist), Lisa Torell (artist), Markus Vallien (woodworker), Jonas Williamsson (graphic designer), Emma Smith (artist, author to The Practice of Place), Karin Lindroth (graphic designer and Artistic Director for The non-existent centre/Ställberg mine), Lisa Rosendahl (curator)

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Contact information:​
Åsa Jungnelius, konstnär och konstnärligledare, info@residence-in-nature.se, +46707192013
Nicolas Hansson, kulturchef, växjö kommun, nicolas.hansson@vaxjo.se
Fredrik Sandblad, Vaxjö kommun, fredrik.sandblad@vaxjo.se
www.residence-in-nature.se (release May 28)

 

SNÄCKAN NYA TUNNELBANAN

Snäckan.2

SNÄCKAN

Åsa Jungnelius

Med en feministisk utgångspunkt ser jag på tunnelbanestationen och det fysiska hålrum den utgör, som en gigantisk skulptur, en snäcka. Det monumentala hålrummet bildar insidan på snäckan och kan läsas som en hyllning till moderskapet men också vänskapen, faderskapet, omhändertagandet och kollektivets värnande av de många. Tunnelbanan är i sig ett omhän- dertagande, satsningen på utbyggnaden av kollektivtrafiken handlar om hänsyn till framtida generationer både i fråga om social och ekologisk hållbarhet. Det offentliga rum en tunnelba- nestation utgör är en hyllning till människans förmåga att samverka och organisera sig. När jag skriver ett feministiskt förhållningsätt menar jag i vid bemärkelse, det vill säga ett jäm- ställt förhållningsätt till dina medmänniskor.

Juryns motivering:

”Med en stor lekfullhet presenterar förslaget ett överdåd av färger, material och former. Rosa glittrande förförelse och skulpturalt överflöd som förvandlar rummet till en hemlig berättelse om skatter och mystiska material. Rumsligt och materialmässigt övertygande. I vårt kaotiska och högteknologiska tidevarv kan uttryck som Snäckan påminna oss om vår gränslösa fantasi och barnets magiska inre universum.”

Snäckan.3

A MOVING MASS, Kalmar Konstmuseum

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MOVING MASS

Ingela Johansson, Eva Arnqvist, Johanna Gustafsson Fürst, Åsa Jungnelius, Caroline Mårtensson and Malin Pettersson Öberg

05/12 – 28/02 2016

Glass is a never stagnant mass – it is moving mass. Moving Mass explores the glass as concept, history, product and production: industry and human interaction as the basis for community-building. In Moving Mass, six Swedish artists have explored “The Kingdom of Crystal”, with the local and global changes in society as starting point. What significance has the glass had, and what is it like to live in The Kingdom of Crystal when most of the production has moved abroad? Has the labour immigration contribution to the glass industry’s success been made invisible? How is the loss and changes of the work, identity and community dealt with and portrayed? The exhibition at Kalmar konstmuseum is a feature in a longer process with various activities. The project was initiated by the artist Ingela Johansson, who invited artists Eva Arnqvist, Johanna Gustafsson Fürst, Åsa Jungnelius, Caroline Mårtensson and Malin Pettersson Öberg. In dialogue with the place and the people, who were and still are dependent on the glass craft and industry, the change in the Swedish glass production are dealt with and portrayed as an example of a community in transition.

During the exhibition period a series of talks take place with the various works as starting point. On 18–19 February 2016 Kalmar konstmuseum and curator Lisa Rosendahl organize an international conference on the theme. In August 2016, a second part of the conference will be organized in collaboration with the project Residence-in-Nature.

The project is carried out in dialogue with Kalmar konstmuseum, The Glass Factory and The Design Archive Pukeberg and is supported by the Swedish Arts Council, the Swedish Arts Grants Committee and Nybro Municipality.

 

CONFERENCE MOVING MASS

Shaping social change
 about the artist’s role as a producer of knowledge and the art institution as host of cross-disciplinary conversations

The project Moving Mass deals with “The Kingdom of Crystal,” and its history, present and future from six different artists’ perspective. The emphasis is on questions about the glass industry in relation to changes in local and global society. The conference Shaping social change takes Moving Mass as the starting point to create a cross-disciplinary conversation about different methods to visualize our contemporary time and its underlying history.

The conference also addresses the question of what it means for artists, curators and art institutions, in various ways, to work site-specifically. What are the methods to engage in dialogue with a specific context? And take that as a starting point in your work? Presentations of the artists participating in Moving Mass are alternated with other voices.
The conference is developed by curator Lisa Rosendahl commissioned by Kalmar konstmuseum and the project Moving Mass. In August 2016 a second part of the conference is arranged in collaboration with the project RESIDENCE IN NATURE.

Registration and attendance
Sign up by February 11th via Swedish postal giro 66 11 38-8, or contact us at info@kalmarkonstmuseum.se for international service.
Limited seats available.

1st day, coffee included: 300 SEK, student 150 SEK
Dinner 1st day, 19.30 at Söderport: 420 SEK
2nd day, lunch and coffee included: 300 SEK, student 150 SEK

If you are allergic or have special dietary wishes, please let us know: info@kalmarkonstmuseum.se
For questions about content and program, contact Lisa Rosendahl: lisarosendahl@gmail.com
Any other questions, contact Kalmar konstmuseum: bengt-olof@kalmarkonstmuseum.se

Thursday February 18th (in English)
Location: Kalmar läns museum
Time: 14-19.00
(Registration and possibility to visit the exhibition at Kalmar konstmuseum from 11.00)

Artistic, institutional and curatorial methods for working with art as part of a community survey. What does it imply for the institution, curator or artist, to take a profound engagement in a specific context as a starting point?

14.00 – 14.15 Bengt Olof Johansson, director at Kalmar konstmuseum, welcomes everyone, moderator Lisa Rosendahl introduces the conference

14.15 – 14.45 Moving Mass: the project is introduced by the participating artists: Eva Arnqvist, Johanna Gustavsson Fürst, Ingela Johansson, Åsa Jungnelius, Caroline Mårtensson and Malin Pettersson Öberg

14.45 – 15.30 Helene Larsson Pousette, curator, The Swedish History Museum, Stockholm

15.30 – 16.15 Annette Bhagwati, project leader and curator, HKW, Berlin

16.15 – 16.45 Q&A with Helene Larsson Pousette, Annette Bhagwati and Ingela Johansson on methods for working with art as part of a community survey. Moderator: Lisa Rosendahl

16.45 – 17.15 Coffee break

17.15 – 18.00 Aneta Szyłak /Alternativa, Gdansk

18.00 – 18.45 Q&A about institutional and independent methods when working on site specific artworks with Aneta Szyłak, Bengt Olof Johansson, Eva Arnqvist, Johanna Gustavsson Fürst, Ingela Johansson, Åsa Jungnelius, Caroline Mårtensson and Malin Pettersson Öberg. Moderator: Lisa Rosendahl

19.30 Dinner at Söderport, advance booking necessary

Friday February 19th (in Swedish)
Location: Pukeberg
Time: 9.30 – 16.00 (Bus from Kalmar konstmuseum leaves 9.00, return trip 16.30)

How do we catch sight of our contemporary time? What role does the shaping of the mediation of knowledge play? The artists participating in the project Moving Mass share their work processes and methods in dialogue with practitioners from other fields.

09.00 Bus from Kalmar konstmuseum to Pukeberg

09.30 Bengt Olof Johansson, director at Kalmar konstmuseum, greets everyone welcome, moderator Lisa Rosendahl introduces the day.

09.45 – 10.00 Eva Wängelin, Curator and Head of Designarkivet, introduces Designarkivet.

10.00 – 10.15 Malin Pettersson Öberg, Artist: Reading Glass

10.15 – 10.45 Cornelius Holtoft, Professor in Archeology, Linnéuniversitetet

10.45 – 11.00 Caroline Mårtensson, Artist: Efterklang

11.00 – 11.30 Publiksamtal med Malin Pettersson Öberg, Cornelius Holtoft, Caroline Mårtensson och Eva Wängelin.

11.30 – 12.30 Lunch and possibilities to visit the Design Archive möjlighet att besöka Designarkivet

12.30-12.45 Åsa Jungnelius, Artist: Titta en vara som kan tala!

12.45-13.15 Johanna Rosenqvist, Lecturer The Department of Music and Art, Linnaeus University

13.15 – 13.30 Johanna Gustafsson Fürst, Artist: Skådespelartransparensen och Distributionen

13.30 – 13.50 Q&A with Åsa Jungnelius, Johanna Rosenqvist and Johanna Gustafsson Fürst.

13.50-14.15 Coffee break

14.15-14.30 Eva Arnqvist, Artist: Positionsförflyttningar – en studie i rött

14.30-15.00 Peter Aronsson, Professor in Historiebruk och kulturav, Pro-Rector Linnaeus University

15.00 – 15.15 Ingela Johansson, Artist: I ljuset och skuggan av ornamenten

15.15 – 16.00 Finishing discussion with all participants from day 2

16.30 Bus leaves toward Kalmar konstmuseum

Pressmeddelande

Konstnären Åsa Jungnelius är aktuell både i utställningen Gudrun – minnet av en storm på Växjö konsthall och i projektet Residence-In-Nature. Åsa berättar mer onsdagen den 26 augusti kl. 18 på Växjö konsthall. 

porträtt.liten

När Åsa Jungnelius flyttade från Stockholm till Småland för att börja arbeta inom glasindustrin våren 2007, möttes hon av jättelika odlade granskogar och bruksorter i förvandling – hon stod i en främmande värld. Sedan dess har hon vid flera tillfällen använt konstnärliga strategier för att borra sig in i den nya miljön.

I utställningen Gudrun bidrar Åsa med installationen Apburen, som med ett poetiskt anslag undersöker landskapet i Smålands inland. “Naturen är en del av vårt gemensamma offentliga rum, en plats där produktion och romantik möts”, berättar Åsa.

Åsa Jungnelius är också motor i projektet Residence-In-Nature, där tio konstnärer och formgivare, svenska och internationella, har bjudits in för att bo och verka i Smålands inland under två år.

Residence-In-Nature lägger sitt fokus på platser utanför städer och större samhällen som liksom det urbana samhället genomgår stora förändringar. “Frågor om de växande storstäderna och urbanitet har varit i centrum i medierna ett tag. I Residence-In-Nature undersöks frågor som avfolkningsbygd, förändrade villkor för överlevnad i den postindustriella ekonomin, naturen och den växande turistnäringen”, berättar Åsa Jungnelius.

På onsdag finns alltså möjlighet att höra mer och att ställa frågor om projektet.

Tid: Onsdag 26 augusti kl 18
Plats: Växjö konsthall

Residence-In-Nature stöds av Region Kronoberg, Iaspis (Konstnärsnämndens internationella program för bild- och formkonstnärer) och Växjö kommun.

Mer information
Åsa Jungnelius, info@asajungnelius.se, 070-719 20 13.
Kajsa Dahl, Växjö konsthall, kajsa.dahl@vaxjo.se, 0470-414 75.

Imago Mundi

Map of the New Art, Imago Mundi
1.9–1.11 2015, Fondazione Giorgio Cini, Venice, Italy
hole
Hole
About the Swedish collection Archive of Visions and Actionsincluded in the exhibition: What happens if you ask more than two hundred artists to take on the same miniature scale – a ten by twelve centimeter linen canvas on a wooden frame – as their common starting point? What will the artists do with this common condition, having to change scale from much larger works – or from video, performance or conceptual works – to a small canvas? The variation among the Swedish participants is large in terms of age, geography, material, media, themes, and methods. Olle Bonniér was born in 1925 and made a name for himself as early as the 1940s, while Inez Jönsson and Johan Österholm are still in art academies. Most of the participating artists live in Sweden, but in all the different parts of the country. Some live abroad, others divide their time between Sweden and other countries, and a few live in Sweden only temporarily. As a natural consequence of today’s broad notion of art and its new techniques, many participants move between visual arts and other disciplines and artistic forms: choreography, poetry, music, architecture, fashion, design, comic books, illustrations for children’s literature, pedagogy, activism and social planning. They express themselves through a broad spectrum of media and traditions such as painting, sculpture, textile art, graffiti, tattoo, performance, moving image, glass design and installation art. More than ever, artists are seeking the borderland

between different forms of expression. Here, contemporary art serves as a door opener to new perspectives on artistic creativity and methodology, and as a way of gauging the Zeitgeist. The book Archive of Visions and Actions – Contemporary Art from Sweden presents
214 artworks by 227 Swedish artists and with introductory texts on the artists. The book includes essays by art critic Dan Jönsson, curator and artist Paula von Seth and project architect and collector Luciano Benetton. Editors: PhD Art Historian Jacob Kimvall, Paula von Seth and journalist Sven Carlsson. All artworks can be seen at the webpage www.imagomundiart.com. The project Imago Mundi was initiated in South America 2006 by Luciano Benetton. Today it involves artists from 80 countries from around the world, including most African countries, Iran, North Korea, the Aborigines in Australia, and so forth. In spring 2014 Paula von Seth was assigned to curate the Swedish archive.

More information:
www.imagomundiart.com

Residence-In-Nature

August 17, 2015, marks the beginning of the first week of the Residence-In-Nature art project. Ten artists and designers, Swedish as well as international, have been invited to live and work in the region through a residence program, which is divided into different periods and runs for two years.

The project will be concluded with an exhibition and a seminar. The aim is to conduct a site-specific work and through that explore the possibilities for an area of post-industrial emergence.

The project is led by artist Åsa Jungnelius along with Växjö konsthall and is supported by the Kronoberg Region, Iaspis (The Swedish Arts Grants Committee’s International Program for Visual Artists), and Växjö Municipality.

Residence-In-Nature focuses on locations outside the cities and larger communities that, just like urban society, are undergoing major changes. “Questions about growing cities and urbanity have been at the heart of media for a while. Residence-In-Nature examines issues such as depopulated regions, changing conditions for survival in a post-industrial economy, nature, and growing tourism industry”, says Åsa Jungnelius.

During the summer of 2014, the first phase of Residence-In-Nature was implemented through a pilot project where a group of artists camped, worked, and exhibited along Ronnebyån Stream. The experiences and issues highlighted there are now further explored.

Johanna Gustafsson Fürst

The Delighted spectators Quietly Viewed the Remarkable Spectacle 

“Overall, the project is expected to contribute to an innovative art scene with both a generous wingspan and sharp edge, and with a focus on the trials and changes facing the region’s cultural scene in the future. We want to strengthen models and methods for a regionally adapted program for Artist-In-Residence, thus giving professional creators of culture better premises on which to work in the region”, says Nicolas Hansson, Head of Växjö Municipality Culture Department.

Växjö konsthall will be a major arts educational resource for the project’s public and educational elements, and program activities will be carried out, visiting various parts of the region.

Contributing

Johanna Gustafsson Fürst, artist, 
Hilda Hellström, artist, 
Klara Hobza, artist, 
Åsa Jungnelius, artist, Fredrik Paulsen, furniture designer, 
Jerszy Seymour, artist 
, Ross M Taylor, artist, 
Lisa Torell, artist
, Markus Vallien, woodworker, 
Jonas Williamsson, graphic designer.

Residence-In-Nature

Fredrik Paulson, showing the movie Kon-Tiki (1950)

10 Artefakter från Boda The Nationalmuseum

TEN ARTEFACTS FROM BODA

The province of Småland has a long tradition of manufacturing based on specific materials including wood, stone and glass. The conditions for this production have close links with our material culture and they describe the economic, social, political and ecological preconditions for the times in which we live. From 2007 to 2012 I worked as an artist and designer in the manual glass industry. The move to Småland made it possible for me to acquaint myself with cultivated forests, lakes and rivers and single-factory towns that I had not previously experienced. In order to establish contact with the place I made a hole in the forest using dynamite, and this marked the starting point of my working artistically on Mother Earth. This later developed into a long-term collective and site-specific project known as Residence-in-Nature that is currently being conducted in Småland. My own experiences of the post-industrial society with a declining population have made me want to discuss new, critical approaches to consumption, production and urbanity. Boda as a place with its artefacts, its narratives from the art industry, material, body and object together form a social space and event that I want us to look at more closely and to discuss.

Curator: Åsa Jungnelius

 

10_artefakter_från_boda-2

Gudrun

Gudrun – minnet av en storm

Sommarens utställning på Växjö konsthall handlar om Stormen Gudrun. Bigert & Bergström, Åsa Jungnelius och Nils Kim Gustafsson & Martin Klevegård ger perspektiv på det oväder som för tio år sedan drog fram över Smålands inland. Utställningen visas mellan den 13 juni och 6 september.

Stormen Gudrun var ett kraftigt lågtryck som den 8 till 9 januari 2005 drog in från Atlanten och drabbade norra Europa. Natten mot den 9 januari var 341 000 hushåll strömlösa i Sverige. Ringhals och Barsebäck fick stoppa produktionen. Tåg-, buss- och färjetrafik stod helt stilla i Sydsverige. Det tog en månad innan trafiken var igång på alla järnvägar. Sju personer omkom.

Stormen fick stora följder för skogsbruket i Sydsverige, och Kronobergs län drabbades hårt. Uppskattningsvis 75 miljoner kubikmeter skog stormfälldes i Götaland, vilket motsvarar en årsavverkning.

Maktlöst. Skoningslöst. Den mänskliga civilsationen är sårbar under naturens våldsamma krafter… Ja, Gudrun tömde alltså sina lungor för drygt tio år sedan. Men vad ville den där jättekvinnan egentligen berätta för oss? Har vi gjort nåt fel?

Bigert & Bergström: The Weather War

Konstnärsduon Bigert & Bergström träffades på Konstakademin 1986 och har sedan dess  arbetat i skärningspunkten mellan människa, natur och teknologi.

The Weather War är en film om människans strävan att kontrollera vädret och tämja dess kraft. Konstnärsduon reser till USAs tornadobälte för att stoppa en tornado. På vägen ges exempel på hur meteorologin har utvecklats i symbios med militära mål och hur dessa visioner förskjutits till dagens tankar om geo-engineering. Kontroversiella idéer med sociopolitiska konsekvenser där frågan om vem som äger rätt till ett modifierat väder ställs på sin spets.

Bigert & BergströmI ett större perspektiv visar filmen på de globala klimatförändringar som dagens människa är utsatt för. Hur ska vi bete oss för att möta dessa utmaningar? Genom anpassning? Eller genom ett krig mot en tilltagande aggressiv väderlek? I Bangladesh byggs skyddsmurar mot kommande översvämningar. I Kina skickas raketer mot hotande regnoväder. Och i Italien avfyras kanoner mot hagel för att skydda årets vinskörd.

I utställningen Gudrun visar Bigert & Bergström en installation med filmenThe Weather War och flera av de skulpturer och maskiner som ingår i filmen.

Åsa Jungnelius: Apburen

Åsa Jungnelius arbetar med materialitet som sitt språk och intresserar sig för relationen mellan våra kroppar, objekten vi omger dem med och rummen de tillsammans agerar i.

Åsa JungneliusVåren 2007 flyttade Åsa från Stockholm till Småland för att börja arbeta inom glasindustrin där hon möttes av odlade skogar, vattendrag och bruksorter i förvandling – hon stod i en främmande värld. Sedan dess har hon vid flera tillfällen använt konstnärliga strategier för att borra sig in i den nya miljön.

I verket Moder Jord (2013) och projektet  Residence-In-Nature (2014–) har Åsa med utgångspunkt i förutsättningar i Smålands inland undersökt frågor om bl.a. produktion, kommersialism, genus och det postindustriella samhällets framväxt.

Åsa JungneliusNär Moder Jord visades på Kalmar konstmuseum berättade hon: “För att få kontakt med platsen startade jag arbetet Moder Jord som inleddes av att jag med hjälp av dynamit sprängde ett hål i skogen, jag ville göra ett hål med hjälp av våld. Sedan följde ett strövande och insamlande av material från skogen runt mitt hus i Månsamåla och temporära platsspecifika skulpturer tog form ute i markerna.”

Apburen är specialproducerad för utställningen Gudrun och undersöker interiören, den kroppsliga relationen till en materiell gestaltad form ur ett socialkonstruktivistiskt perspektiv. Åsa ser på naturen som en del av vårt gemensamma offentliga rum, en plats där produktion och romantik interiör och exteriör möts. Kropparnas agerande i rummet bidrar genom sin närvaro som material och blir en del av verket.

Nils Kim Gustafsson & Martin Klevegård: En berättelse från Stormen Gudrun

Nils Kim Gustafsson / Martin KlevegårdDet var strax efter nyår 2005. Filmaren Martin Klevegård hade bokat en tågbiljett från Stockholm, där han arbetade med filmprojekt, för att besöka föräldrahemmet i Södra Vare utanför Vislanda. Men resan fick skjutas upp, eftersom förbindelsen bröts – Stormen Gudrun kom emellan.

När han några dagar senare lyckades ta sig ut till gården, möttes han av förödelse. Lantidyllen var ersatt av sönderbrutna skogar, ofarbara vägar, strömlöshet och skakande berättelser. Parallellt med röjningsarbete och kamp för elförsörjning, samlade Martin historier och material med sin kamera.

Tillsammans med Nils Kim Gustafsson gjorde han senare kortfilmen En berättelse från stormen Gudrun, som bl.a. har visats på SVT. Filmen återger ett av alla dramatiska öden som stormen Gudrun lämnade efter sig.

Stormen Gudrun 2005-01-08, passagerare satt instängda en hel natt i buss strax utanför Alvesta.

 

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