Center for
contemporary art

2025 / Home /
The exploitation of Sápmi in a long-term perspective

Jonas Monié Nordin
Tuesday 2 December 2025
7pm

Resource exploitation in Sápmi has a long history. Since the 17th century, industrialists and investors have turned to the north to cope with various crises. In early modern times, it was a matter of obtaining capital for the consumption of the new global commodities of the time. Today, it is a matter of what is commonly referred to as green transition.

The discovery of silver at Násavarri/Nasafjäll and copper at Svappavaara/Svahpavarri in the early 17th century opened up northern Sápmi to mining, the establishment of mills and marketplaces, but also to the first wave of tourism and cultural exploitation of the area. The economic boom of the 17th century was followed by a recession in the industrialisation of northern Sweden, but it served as a clear foundation for the exploitation that gained momentum in the 19th century and is therefore significant for our society today.

Jonas Monié Nordin is a professor of historical archaeology at Lund University and conducts research on resource colonisation in Sápmi during the early modern period. In 2020, he published the award-winning book The Scandinavian Early Modern World, which places Scandinavian colonialism in a broader global context. Jonas is also a member of the Truth Commission for the Sámi People.

The talk will be held in Swedish.

 

The Song of Stone

A film by Toshio Matsumoto
Wednesday 29 October 2025
7pm

The Song of Stone (1963), 25min

The Song of Stone (Ishi no Uta) is an experimental documentary film by avant-garde film director Toshio Matsumoto (1932–2017) with a soundtrack by Kuniharu Akiyama. The film follows the lives of stonemasons in the village of Aji on Shikoku in Japan and their intimate but tough relationship with the material they work with – a material that follows them from the cradle to the grave. Using almost exclusively still images, Kuniharu Akiyama’s soundscape and Toshio Matsumoto’s voice-over convey a quiet and highly poetic portrait of a granite quarry and the labour involved, but also the stonemasons’ spiritual and caring relationship with the living material that is stone.

The Song of Stone is screened in conjunction to our current exhibition niilas helander: If I am the lake you take your face from.

 

Máhccan – Homecoming

A film by Suvi West & Anssi Kömi
Wednesday 29 October 2025
7pm

Máhccan – Homecoming (2023), 1h 16min

The film is set in the museum world in a turning point, where the national museums have to deal with their colonial history. The National Museum of Finland returned thousands of everyday objects taken from the indigenous Sámi people back to them. Filmmaker Suvi West takes the audience behind the scenes revealing a visual, philosophical, and spiritual realm. She seeks a connection with ancestors through old museum objects, eventually arriving at the collective pain points of the Sámi people. West asks whether the returning objects can help a fractured nation cope with past sorrows.

How can one hear the voice of ancestors, who traditionally have aided the Sámi people in navigating life? And how can one confront a sacred drum that has been violently taken, traditionally considered inappropriate to photograph or touch, as it belongs only to its owner?

As the dream-like journey progresses, she delves deeper into the bloody past of the Sámi people and the realm of unresolved sorrows. The effects of historical events are felt and become visible in the present moment. Simultaneously, West asks how forgiveness can be given? How can the damage caused by outsiders be repaired so that collective pains can finally be left behind?

Máhccan – Homecoming is screened in conjunction to our current exhibition niilas helander: If I am the lake you take your face from.

 

Collective Longing & Collective Structures

Nathalie Koger
Wednesday 5 November 2025
7pm

In this Metod talk, Nathalie Koger will introduce The Golden Pixel Cooperative, an association founded in 2013 in Vienna in response to the need for collective action by artists and art workers within a predominantly individualistic cultural landscape. Over the years, the cooperative has developed a range of structures and frameworks that constitute its infrastructure, fostering bottom-up curation and engagement by the members through screenings, workshops, exhibitions, symposia, and publications.

In her talk, Nathalie will present the collective film Half of the Sky (2020) — an homage to the often under appreciated female Bauhaus artists, and a tribute to further queer-feminist role models and emancipatory practices. Building on this, she will also outline the cooperative’s organisational structure and highlight some of its discursive formats.

Nathalie Koger is an artist and film maker from the Black Forest, now living in Vienna and one of the founding members of GPC in 2013.
GPC (The Golden Pixel Cooperative) is an association for moving images, arts and media, active within both exhibition and cinema contexts.

The talk will be held in English.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

 

2025 / Home /
Coal, Conflict and Class Struggle – Thatcherism and the Destruction of Collectivism in the UK

Dave Procter
Tuesday 25 November 2025
7pm

The Miners Strike of 1984-85 was a fundamental turning point in the relationship between the State and the working populace and marked a change in the social and political landscape of the United Kingdom. The neoliberal experiment that started in the Americas in the 1970s and expanded with the election victories of Ronald Reagan and Margaret Thatcher was now to be implemented across the Atlantic Ocean with devastating results that are still being felt today.

In this talk, Värmland-based sound artist, cultural archivist and former Trades Union activist Dave Procter discusses the events that led to the start of the Miners Strike, the major events that took place during the year long dispute, the aftermath of the strike and the lessons we have learnt and need to (re)learn with the rise of far right political parties across the EU and the world.

Dave Procter is a sound artist based on Hammarö in Värmland, where he also works for ABF as an English teacher and as an academic proof reader at Karlstad University. He grew up in a mining community as a member of a mining family and this informed his social and political thinking as a teenager watching his community change as the 1980s progressed. As a university lecturer in Leeds, he became involved in Trades Union activism and this in turn fed into some of the more sociological courses he taught on in the Music Department.

The talk will be held in English.

 

 

Sámi Marxism

niilas helander
Tuesday 30 September 2025
7pm

In this Metod talk, niilas helander will discuss his art practice and activism through the lens of Marxism and racialised capitalism (also known as black Marxism) as a starting point, or possibly a method. Two separate engagements, but with a common thread running through both.

niilas helander is an artist and poet from Álletnjárga in Sápmi, now living in Athens. He has a BA from the School of Photography in Gothenburg and a Master of Fine Arts from the Malmö Art Academy (2015).

The talk will be held in English.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

 

 

 

If I am the lake you take your face from

niilas helander

26 September–7 December 2025
Opening Friday 26 September 6-11pm

my pronouns are fox, wolf, and goshawk
a river running through me, who are you

niilas helander is an artist and poet from Álletnjárga in Sápmi, now living in Athens, whose work is infused by Sámi epistemology in relation to the constraints imposed by Western law. Issues relating to land ownership and exploitation are specifically addressed as a kind of ecological contract. If Sámi law is a law of nature, a spiritual law, how can we then live within it? The river says, I am the law, and overflows every spring.

We hollow the mountains, we cut down the forests, we prevent the free movement of reindeer, we destroy rivers and lakes, we poison the air, we set up borders—racism just makes the Sámi law impossible.

Through found footage, text, drawing and sculpture an intricate proof of state policy and oppression is brought forward alongside testimonies of the continuous destruction of sacred and spiritual landmarks. For the exhibition at SIGNAL works by fellow artists are invited to dialogue with helander’s own work, including Iver Jåks and Hamlet Hovsepian.

 

 

1

niilas helander, If I am the lake you take your face from. Foto/Photo: OMN

2

niilas helander, If I am the lake you take your face from. Installationsvy/installation view. Foto/Photo: OMN

3

niilas helander, An Ecological Contract, 2025. Foto/Photo: OMN

4

niilas helander, An Ecological Contract, 2025. Foto/Photo: OMN

5

niilas helander, The Land Doesn’t Acknowledge You, 2025. Foto/Photo: OMN

6

niilas helander, The Land Doesn’t Acknowledge You, 2025 (detalj/detail). Foto/Photo: OMN

7

niilas helander, The Geography of Hate, 2021/2025. Foto/Photo: OMN

8

niilas helander, The Geography of Hate, 2021/2025. Foto/Photo: OMN

9

niilas helander, The Geography of Hate, 2021/2025 (detalj/detail). Foto/Photo: OMN

10

niilas helander, The Geography of Hate, 2021/2025 (detalj/detail). Foto/Photo: OMN

11

niilas helander, The Geography of Hate, 2021/2025 (detalj/detail). Foto/Photo: OMN

12

niilas helander, An Ecological Contract, 2025 (detalj/detail). Foto/Photo: OMN

13

niilas helander, An Ecological Contract, 2025 (detalj/detail). Foto/Photo: OMN

14

niilas helander, An Ecological Contract, 2025 (detalj/detail). Foto/Photo: OMN

15

niilas helander, Breach of Contract, 2025. Foto/Photo: OMN

16

niilas helander, If I am the lake you take your face from. Installationsvy/installation view. Foto/Photo: OMN

17

niilas helander, Untitled (goavddis), 2025 Foto/Photo: OMN

18

Installationsvy/installation view. Foto/Photo: OMN

19

Hamlet Hovsepian, Untitled, 1976. Foto/Photo: OMN

20

Iver Jåks, Liten Háldi, 2025. Foto/Photo: OMN

21

niilas helander, Untitled (crows), 2025. Foto/Photo: OMN

22

niilas helander,, Untitled (crows), 2025. Foto/Photo: OMN

Almost Swedish?

Astrid Trotzig
Wednesday 21 May 2025
7pm

The writings of Astrid Trotzig are driven by questions of identity and belonging, loneliness and exclusion, but also by questions about the relationship between parents and children. In her talk, she takes SIGNAL’s current exhibition I dance on the wings of a shark with works by Jennie Jieun Lee and David Permén as a starting point and reflects on what it means to constantly have one’s identity judged and valued by others, as a kind of approval or denial of belonging to the community we call Swedishness.

The talk will be held in Swedish.

 

Book release: Red Anemone

by Ida Börjel
Wednesday 7 May 2025
7-9pm

Red Anemone by Ida Börjel

FIVE INVITED GUESTS
Nimat Hasan – poetry
Salman Nawati – oud
Bissan Edwan – poetry
Tina Quartey – frame drum
Petra Mölstad reads Jasim Mohamed’s translations from Arabic.

Ida Börjel, poet and translator, lives in Malmö. Red Anemone is a documentary poem from inside Palestine, in which tentative round-table discussions, life stories and after-talk with chance encounters in the street come together in a polyphonic swirl. The questions revolve around liberation from oppression, the conditions of poetry and translation as an act of resistance: in Red Anemone, people whose lives and literature are conditioned by the violence of the occupation speak. The book also contains the poet’s listening for words in the darkness of the night.

Nimat Hasan, Palestinian writer and poet from Gaza, born in 1980 in Rafah, thereafter living in Deir al-Balah. Also active as a social worker. Her new poems from inside Gaza are regularly translated by Jasim Mohamed.

Salman Nawati, artist from Gaza, living in Tanum. Member of Hawaf Collective and one of the founders of the virtual Sahab Museum where Gaza’s art and cultural heritage is showcased using VR technology.

Bissan Edwan, journalist/publisher/poet. Born in Libya to Palestinian parents. Imprisoned and deported from Egypt in 2020. Current ICORN resident in Lund.

Tina Quartey, a percussion pioneer. Her main instruments are congas, shekeré, berimbau, udu and batá, with the addition of various cymbals, gongs, bells, singing bowls and other delightful sounds.

Petra Mölstad, poet, lives in Malmö. Debuted in 2013 with the poetry collection Införsel by Förlaget Glas. Her fourth book Landskapskynnen was published in 2024 by Lejd förlag.

Jasim Mohamed, poet and translator, lives in Uppsala. His translations of poetry from Gaza can be read in Ord & Bild’s Prisma Palestina and 20-TAL’s theme issue Resistance and Humanity.

Thanks to Albert Bonniers förlag and designer Nina Ulmaja.

 

Connecting the Dots: The Refused Witnesses

Katrine Dirckinck-Holmfeld
Wednesday 2 April 2025
7pm

In 2020, in the wake of the Black Lives Matter protests and #RhodesMustFall, the artist group Anonymous Artists removed a replica plaster bust of Frederik V from the Assembly Hall of the Art Academy in Copenhagen and submerged it in Copenhagen Harbor. Through this artistic happening, the artist group sought to draw attention to Denmark’s colonial past and King Frederik V’s (founder of the Art Academy) involvement in the transatlantic slave trade. This peaceful action was carried out in solidarity with artists, students, and people worldwide who still live with the consequences of Danish colonialism. However, it also unleashed a massive media storm, police investigations, institutional silencing, and attacks—but also significant solidarity. This is far from an isolated case. In recent years, artists and cultural workers in the Nordic region who challenge colonial narratives and work at the intersection of emancipatory practices, institutional critique, and global solidarity are facing censorship, silencing, attacks, and intimidations.

In this Metod talk, Katrine Dirckinck-Holmfeld will share methods on artistic research as a transformative and liberatory practice. Structured around the following chapters: Connecting the Dots, The Refused Witnesses, and Mapping (Un)Solidarity, participants are invited to take part in assembling fragments from the specific case and similar cases.

Katrine Dirckinck-Holmfeld, PhD, is a visual artist, independent researcher and educator. Working across media and in collaboration with others, her work explores the framework of “reparative critical practices” that intends to create small acts of repair, resistance and interventions in the cultural archive, and to build alternative infrastructures for art and culture.

The talk will be held in English.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

 

I dance on the wings of a shark

Jennie Jieun Lee, David Permén

21 March–15 June 2025
Opening Friday 21 March 7-9pm

Closed for Easter 18–20 April & 1 May

In 1801, Marie Laveau, historically known as the iconic Voodoo Queen of New Orleans, Louisiana is born. A free woman of color, she practices herbalism and community activism, and is something of a cross-class healer and confidant.

In 1881, Laveau’s remains are entombed in Saint Louis Cemetery No.1. The same year, her tomb becomes a well sought destination and a ritual emerges: mark ‘X’ on the tomb, make a wish, knock three times and leave a small offering to the queen to grant your wish from the grave. Those whose wishes are granted return and circle their ‘X’.

In 1973, Jennie Jieun Lee is born in Seoul, Korea. At the age of 4 her family immigrates to New York, USA.

In 1979, David Vargas Taylon is born in Lima, Peru. Three and a half months later, he is adopted by Swedish parents and moves to Sweden. He then becomes David Permén.

In the summer of 1994, Jennie Jieun Lee visits Marie Laveau’s tomb, what comes to be a pivotal moment for her.

In the summer of 1996, at the age of sixteen, David Permén together with his adoptive family return to Peru for one moth. During this visit he meets his biological mother.

In 2020, Jennie Jieun Lee spends time learning how to farm flowers as a direct reaction to the feeling of impending doom rising all around.

And in 2022, the work Marie, a sculptural installation-cum-recreation of Marie Laveau’s tomb, is made where visitors are encouraged to mark the tomb, make a wish, and leave an offering.

In 2024, David Permén works on a series of sculptures that examine the complexities and mysteries of individual experience and alienation. Later that year, he applies for his Peruvian citizenship.

In spring of 2025, these individual paths intertwine and converge forming a larger web that in turn mirrors the fate of so many shared and lived experiences. Balancing those paths is to dance on the wings of a shark.

 

0_copy

Jag dansar på hajens vingar. Foto/Photo: OMN

4-3_copy

David Permén, Dopet/The Baptism, 2024. Foto/Photo: OMN

1_copy

Jag dansar på hajens vingar. Installationsvy/installation view. Foto/Photo: OMN

4-5_copy

Jennie Jieun Lee, Marie, 2022 (detalj/detail). Foto/Photo: OMN

4-6_copy

Jennie Jieun Lee, Marie, 2022 (detalj/detail). Foto/Photo: OMN

4-7_copy

Jennie Jieun Lee, Marie, 2022 (detalj/detail). Foto/Photo: OMN

4-8_copy

Jennie Jieun Lee, Marie, 2022 (detalj/detail). Foto/Photo: OMN

2_copy

Jennie Jieun Lee, Marie, 2022. Foto/Photo: OMN

4-2_copy

David Permén, Dopet/The Baptism, 2024. Foto/Photo: OMN

4-4_copy

Jennie Jieun Lee, Marie, 2022. Foto/Photo: OMN

2-1_copy

David Permén, Hakuna Matata, 2024. Foto/Photo: OMN

2-2_copy

David Permén, Hakuna Matata, 2024. Foto/Photo: OMN

4-9_copy

David Permén, Månljus/Moonlight, 2024. Foto/Photo: OMN

4-10_copy

David Permén, Månljus/Moonlight, 2024 (detalj/detail). Foto/Photo: OMN

4-11_copy

David Permén, Månljus/Moonlight, 2024 (detalj/detail). Foto/Photo: OMN

4-12_copy

David Permén, Månljus/Moonlight, 2024 (detalj/detail). Foto/Photo: OMN

4_copy

Jag dansar på hajens vingar. Installationsvy/installation view. Foto/Photo: OMN

6_copy

David Permén, Dónde Está El Amor, 2023. Foto/Photo: OMN

5_copy

Jag dansar på hajens vingar. Installationsvy/installation view. Foto/Photo: OMN

Is peace and reconciliation a possibility for me?

Bernt Hermele
Tuesday 18 February 2025
7pm

I am a writer, 71 years old born and living in Stockholm.
In 2002 my mother was killed by a Palestinian suicide bomber during a visit to Israel. In 2005 I made a TV documentary about the incident.
At first, I saw the TV documentary as part of a healing process. But the work did not bring me any consolation.
Since 2017, I have documented nearly 300 stories of Holocaust and Nakba survivors in various projects. These projects have not been very helpful either.
Over time, I have realised that the work is actually only triggering my trauma, not alleviating it. This realisation has forced me to take care of myself first, to then let my work become part of a healing process. Not the other way around.
The stories I have documented are of course about unimaginable atrocities, but also about the possibility of a dignified life and that peace and reconciliation are possible choices.

The evening will begin with a screening of a slide and sound show based on some of the stories collected by journalist and author Bernt Hermele in his latest book Nakba: Catastrophe before our eyes (Ordfront förlag 2023).

Many thanks to the Mediterranean Museum and the exhibition Nakba – Palestinian stories from 1948, on view until May 2025. Photo: Emma Fredriksson

The talk will be held in Swedish.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

 

 

 

 

A Fidai Film

by Kamal Aljafari
Introduction by Oskar Hallberg
Tuesday 10 December 2024
7pm

A Fidai Film (2024), 78 min
Arabic, Hebrew, English, with English subtitles

In the summer of 1982 the Israeli army invaded South Lebanon. They advanced as far as West Beirut, which had been home to the Palestine Research Center and its vast collection of photographs, films, and documents since 1965. The Israeli army seized the archive as war booty.

This history forms the departure point for Kamal Aljafari’s reconstruction of a revitalized Palestinian visual record, a sort of counter-archive that he calls “the camera of the dispossessed.” A Fidai Film is a blend of found footage and experimental cinema, with parts of the image cut out or replaced with material from the background, and title texts scratched out with red marks.

The film is a treasure trove of footage about Palestinian life before and after the Nakba, accompanied by a soundtrack by Simon Fisher Turner and texts by writers including Gassan Kanafani. Each image and montage embodies history and art, longing and sadness and resistance and sabotage.

Watch trailer here.

Oskar’s Gold Nuggets is an ongoing series of film screenings where our neighbor and cineaste Oskar Hallberg presents a film in dialogue with the current exhibition on view.

 

Present times. Ourselves.

Marie Muracciole
Wednesday 4 December 2024
7pm

Between 2014 and 2019 Marie Muracciole was head of Beirut Art Center in Beirut, Lebanon. She entitled her curatorial program Present times. Ourselves, quoting from a page in Virginia Woolf’s last book, Between the Acts. Exhibitions, talks, screenings, public conversations, workshops were about sharing the actual moment the people of this town were going through.

She will talk about the context of Beirut and about her project – how it went wrong or well. And about artists dedicated to inventing new languages of time in order to provide the experience of their time. Like the work of Majd Abdel Hamid, the works of some artists that are not activists excavate a relation to truth that is not a myth (i.e. a story that builds explanations from facts). It builds out of literal, and often tense, confrontations between the viewer and their experience of the present. And, it brings a way to include art in our lives as an experience of freedom, and as a way to value the unforeseen.

Marie Muracciole is an art critic, writer, and independent curator based in Paris.

The talk will be held in English.

 

 

Sahab Museum: Imagination as a place to survive

Salman Nawati
Wednesday 27 November 2024
7pm

Floating in the sky, free from walls, a museum breaking out of isolation, in the form of a cloud from which it takes its name, a shape that came as proof of Gaza’s rich history. Sahab Museum is a virtual space and platform designed to convey Gaza’s past, present, and future. A place of transmission of artistic memory, history, and heritage, to overcome marginalization. It is shaped around virtual reality and technologies to allow all visitors from Palestine and the entire world to walk through it, from wherever they are based.

Sahab Museum was founded by the Hawaf collective (Hawaf means edges in the Arabic language) around the idea of rebuilding a community by building a museum. Hawaf collective emerged in 2021 and consists of six members. The founding members Mohamed Abusal (visual artist, Gaza), Mohamed Bourouissa (visual artist, Paris), Sondos Al-Nakhala (architect, Gaza), and Salman Nawati (visual artist, Sweden). In 2022, Andres Burbano (visual artist, Paris) and Marion Slitine (researcher and anthropologist, Marseille) joined Hawaf.

The talk will be held in English.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

 

 

(inside) a wave, a cocoon

Majd Abdel Hamid, Melanie Kitti

27 September–8 December 2024
Opening Friday 27 September 6-11pm

Fresco—a painting becoming wall with time. Embroidery—threads meticulously stitching movement. These are ancient skills that bare history and memory within them. Not as materials, but as testimonies. Silent processes performed through time consuming repetition and a slowness that embraces possible flaws in their narrative.

For Majd Abdel Hamid (Palestine, lives in Beirut and Paris) the sea, loss and trauma is his subject matter, and colourful threads his material. Self-taught in traditional embroidery, Hamid’s works are the result of careful crafting conceived as “sculptures in time” in their quest for resilient beauty amidst a continuous state of emergency. Remembering and existing can be an ongoing movement through your hand.

With pigments, limestone and plaster Melanie Kitti (Sweden, lives in Malmö and Copenhagen) both embraces and dissolves the boundaries between applied and fine arts. Personal and historical contexts are as intertwined as the layers of material she applies—scraping and painting, adding and erasing. And in this particular fresco painting, the symbolism inherent in the collective life of ants. Did you know that ants can perform highly skilled acts of surgery to heal their wounded fellows?

At the peak of the abyss, misery and frustration, there is something that reminds us that there are other possibilities, other probabilities—inside a wave of transformation rests a cocoon of change, protecting time from its turbulence.

 

1-hamid_kitti_20

(inside) a wave, a cocoon. Foto/Photo: OMN

2-hamid_kitt_1

Melanie Kitti, a way to go astray, 2024. Foto/Photo: OMN

3-1-hamid_kitti_3

(inside) a wave, a cocoon. Installationsvy/installation view. Foto/Photo: OMN

3-2-hamid_kitti_17

Melanie Kitti, a way to go astray, 2024 (detalj/detail). Foto/Photo: OMN

3-3-1-hamid_kitti_19

Melanie Kitti, a way to go astray, 2024 (detalj/detail). Foto/Photo: OMN

3-3-hamid_kitti_18

Melanie Kitti, a way to go astray, 2024 (detalj/detail). Foto/Photo: OMN

3-hamid_kitti_2

(inside) a wave, a cocoon. Installationsvy/installation view. Foto/Photo: OMN

4-1-hamid_kitti_12

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

4-2-hamid_kitti_16

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

4-3-hamid_kitti_15

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

4-hamid_kitti_6

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

5-1-hamid_kitti_7

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

5-hamid_kitti_4

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

6-hamid_kitti_11

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

hamid_kitti_5

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

11-hamid_kitti_29

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

hamid_kitti_8

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

2-hamid_kitti_24

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

3-hamid_kitti_25

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

hamid_kitti_9

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

5-hamid_kitti_26

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

6-hamid_kitti_23

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

hamid_kitti_10

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

8-hamid_kitti_22

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

9-hamid_kitti_21

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

10-hamid_kitti_27

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

hamid_kitti_13

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

hamid_kitti_28

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

hamid_kitti_14

Majd Abdel Hamid, Ode to sea (Kerkennah, Beirut, Anafi), 2023- pågående/ongoing. Foto/Photo: OMN

Poetry and thought in the age of an awaiting grief

Carl Wallnér
Thursday 13 June 2024
7pm

We are at war both with ourselves and with nature. Without hope of an end, it is as if we are experiencing the loss in advance and mourn in anticipation of it. In 2022, the Swedish Language Council recognised that this grief to come, the ”awaiting grief”, has entered our language, which means that it has also entered our lives. What does this sadness mean? Drawing on both poetry and philosophy, Carl Wallnér seeks to answer this question of the awaiting sorrow. The talk will be followed by a discussion on time, loss and bereavement.

I am immersed in grief, therefore I exist
— Jacques Derrida, 1990

The talk will be held in Swedish.

 

 

 

 

After Life

by Hirokazu Kore-eda
Introduction by Oskar Hallberg
Wednesday 29 May 2024
7pm

After Life (1998), 119 min
Japanese, with English subtitles

”After death, people have a week to choose only one memory to keep for eternity.”

If you could choose only one memory to hold on to for eternity, what would it be? That’s the question at the heart of Hirokazu Kore-eda’s revelatory international breakthrough, a bittersweet fantasia in which the recently deceased find themselves in a limbo realm where they must select a single cherished moment from their life to be recreated on film for them to take into the next world. After Life’s high-concept premise is grounded in Kore-eda’s documentary-like approach to the material, which he shaped through interviews with hundreds of Japanese citizens. What emerges is a panoramic vision of the human experience—its ephemeral joys and lingering regrets—and a quietly profound meditation on memory, our interconnectedness, and the amberlike power of cinema to freeze time.

Watch trailer here.

Oskar’s Gold Nuggets is an ongoing series of film screenings where our neighbor and cineaste Oskar Hallberg presents a film in dialogue with the current exhibition on view.

 

CLOSED

9-12 May 2024

In solidarity with the people of Palestine we will remain closed during Eurovision Song Contest in Malmö.

It is somewhat embarrassing that Sweden seems to be lagging behind here

Thord Eriksson
Thursday 16 May 2024
7pm

A book about those who came here, those who were left behind and those who will be forced out of Sweden.

‘I thought I would write a book about an evacuation, I couldn’t imagine that it would be about a country in Europe guarding a position of the extreme outer edge’, writes Thord Eriksson in his foreword.

In early summer 2021, anxiety is spreading among the Afghans working at the Swedish embassy in Kabul. The Taliban are on the offensive and other countries are already preparing to help Afghans leave the country. But not Sweden. ‘Two of our cleaners have presented stamped threatening letters,’ the Swedish ambassador writes to a holiday-dazed Foreign Ministry in late July. There was no reaction, and the decision to evacuate was not taken until after the Taliban had seized power.

As Thord Eriksson begins to write this book, his questions centre on the reluctant rescue operation. The questions become more and more numerous when Sweden, before the last rescue plane has even taken off from Kabul, starts making decisions to deport Afghans again. Some are being rescued in one direction while others are to be sent back in the other. How is this possible?

Thord Eriksson, born in 1966, is a journalist and author. His last book Those who remained was described as ‘the social reportage of the year’ in Expressen and as one of the best non-fiction books of 2019 in Göteborgs-Posten.

The talk will be held in Swedish.

Metod is an ongoing series of talks about working methods within the field of contemporary art and culture.

 

 

 

 

cococo, continuous curves

Mieko Meguro, Wineke Gartz

12 April–16 June 2024
Opening Friday 12 April 7-9pm

How do you mourn the loss of a loved one?

You eat their favourite food. You listen to their favourite songs. You isolate yourself in the company of your memories, careful not to loose a single detail of their existence.

Sorrow weighs heavy on the heart. Time feels impenetrable, as if it is impossible to overcome.

And then one day a window opens, like a small crack letting the outside world enter your universe. Once again.

This is life. Full of continuous curves, and emotions that give them colour.

 

 

img_6196

cococo, continuous curves. Foto/Photo: SIGNAL

1-2-1

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

1-2-2

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

1-2-3-1

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

1-2-3-2

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

1-2-3

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

1-2-4

Wineke Gartz, The Communicator, Pink, Yellow & Blue II, 2024 (detalj/detail). Foto/Photo: OMN

1-2-5

Wineke Gartz, The Communicator, Pink, Yellow & Blue II, 2024 (detalj/detail). Foto/Photo: OMN

1-2-6

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

1-3-1

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

1-3-2

Wineke Gartz, The Communicator, Pink, Yellow & Blue II, 2024 (detalj/detail). Foto/Photo: OMN

1-3

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

1-4-1

Mieko Meguro, Exhausted Helium, 2016-2017. Foto/Photo: OMN

1-4-3

Mieko Meguro, Exhausted Helium, 2016-2017 (detalj/detail). Foto/Photo: OMN

1-4-2

Mieko Meguro, Exhausted Helium, 2016-2017 (detalj/detail). Foto/Photo: OMN

1-6-1

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

1-6

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

2-0

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

2-6

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

3

Mieko Meguro, Exhausted Helium, 2016-2017 (detalj/detail). Foto/Photo: OMN

4-1

cococo, continuous curves. Installationsvy/installation view. Foto/Photo: OMN

Cheese is time, time is money, money is monopoly

Mohamed Bourouissa, Stef Kamaris,
Marie Vedel

15 March–19 May 2024
at Kim? Contemporary Art Centre, Riga

The exhibition Cheese is time, time is money, money is monopoly is presented at Kim? Contemporary Art Centre, Riga.

Release: Händelseboken

Andrzej Tichý & L. T. Fisk
Saturday 17 February 2024
7pm

Händelseboken (The Book of Events) by Andrzej Tichý:
In Lindängen, Malmö, the girl Alicja kills herself with pills in a playground. The petty criminal Mink discovers her, but doesn’t seek help because he doesn’t want to deal with the authorities. A few days later, he lies passed out in a stairwell. Zygmunt Pereira, a radical writer in decline, lets him sleep it off on his couch. Far away, near the end of the world, Egea and Svatopluk are enjoying peace and quiet, grateful to have left violence behind. Their lives are somehow connected with the cook Antje Schmidt, her son Johnny Schmidt Smith, the translator and flautist Tania Balbine, a composer named Kowalski and the financial consultant Samuel Haddad. There is also the angel Metatron, the storyteller Scheherazade, visions of Swedish forced repatriation and the collapse of global capitalism in 2128. But who is able to see the whole picture?

Andrzej Tichý reads from Händelseboken, L. T. Fisk plays the pedal organ and electronics, and the evening is accompanied by music that appears in various ways in the book.

The reading will be in Swedish.

 

Statoil & Kristofer Flensmarck

Saturday 3 February 2024
7pm

A new year begins. The darkness continues.
To let the exhibition Money or Life resonate with us for a while longer, we have invited the Norwegian static-oil-core band Statoil and poet Kristofer Flensmarck to usher in our 2024. A new beginning. A continued endeavour towards another world.

19.00 Doors open
19.30 Kristofer Flensmarck reads from the poetry collection Signal
20.15 Static-oil-core with Statoil

Kristofer Flensmarck
Signal (Anti, 2021)
Signal is an existential narrative, a varied monotony, a glowing drone composition of increasingly distant tones and flashes of light. An alphabetically organised attempt to include everything that is gradually disappearing in the great ongoing collapse. All anger, all beauty, all loss, all meaninglessness. All fear, all nature, all shit, all stillness, all time. A sign language invented after the contact has been broken, fragmented into indications and hints. The conceptual poetry is consumed and cancelled.

the past and the present

the charred

Statoil
Static-oil-core
Statoil is the sound of the sticky, black-gold liquid being pumped out of the earth, distributed over the globe and turned into capital. As the only preserver of the genre ‘static-oil-core’ (an instrumental genre of heavy, repetitive riffs and shrieking noise) they are the manifestation of the middle finger to hyper-capitalism, cynical raw material extraction and the lack of compassion for the common human.
Teaser