Petra Lindholm, Till Anne Marie / For Anne Marie

Petra Lindholm, Till Anne Marie / For Anne Marie, 2010, image: Galleri Magnus Karlsson

In Petra Lindholm’s fifth exhibition at Galleri Magnus Karlsson, titled “Till Anne Marie / For Anne Marie,” Lindholm’s new work exists alongside Peter Köhler’s complimentary exhibition “Star City Garden.” This Finnish artist dedicates her show to her blood relative; the content is based upon her great aunt’s personal narrative and history. Living in Finland in the early 1900’s, ’Anne Marie’ was once engaged to a Russian man by the name of Mr. Obolenski who was forced flee to Paris during the Russian Revolution. He was never to be seen again, despite his engagement with the heartbroken Anne Marie. Lindholm explains that her great aunt became sick from sadness and committed herself to a quiet sanatorium sequestered in the Alps. As part of her aunt’s self-constructed therapy, she chose to document these mysterious, hazy mountains on a number of different occasions, often in a repetitive manner.

Lindholm displays this mountain range which both assisted and haunted her distant relative as a series of soft photographs, three-dimensional textile wall pieces softly lit from behind, plus a longer film installation, titled Till Anne Marie / For Anne Marie, 2010 set aside in one of the gallery’s middle rooms illustrating variations of her great aunt-alone in the midst of this mountain range and moving through the phases of her life. This filmic scene is expressed in pastel, subdued shades of light pink and coral, as well as stony hues such as cloud and heather grey, alongside sparsely used black to denote silhouettes, footsteps or forest details. Lindholm also created a musical score for the video which is beautiful-almost paralyzingly so and with poetic sensitivity. Lindholm’s Till Anne Marie / For Anne Marie, 2010 illuminates both her great aunt’s intimate journey to overcome heartache and visual elements empathizing a mutually shared emotion of loss.

Lindholm’s relative suffered by not being able to consummate her love with her fiancé in one of many traditional ways; she was unable to share the rest of her life with the one she deemed as her soulmate. In choosing the mountains as both solace and comfort, Lindholm emphasizes the curative powers of nature-that choosing life over death, that bravely moving forward instead of living in despair can be a difficult choice. Lindholm’s video installation Till Anne Marie / For Anne Marie, 2010 serves to explain, alongside her other works which share the same theme, that the world is filled with opportunities, useful tools and beneficial ways in which one can overcome strife. The world surprises, if one is open to searching for ’the medicine’ in less obvious spaces or faces. A majestic mountain, snow-covered field or open sky are not always viewed as strictly environmental factors for the lonely. To see the review in context, click here.

Edgar Cleijne & Ellen Gallagher, “Better Dimension”

Edgar Cleijne & Ellen Gallagher
Installation view. Image: Jacquelyn Davis.

Presenting collaborations between Dutch artist Edgar Cleijne and US artist and filmmaker Ellen Gallagher, ‘Better Dimension’ at Stockholm’s Bonniers Konsthall includes experimental works that provide socio-political commentary on US history and race relations from a cosmic, obscure distance. More »

Riga International Biennial of Contemporary Art (RIBOCA1)

Aslan Gaisumov
Aslan Gaisumov, People of No Consequence, 2016.

For the first Riga International Biennial of Contemporary Art, curator Katarina Gregos has chosen to view Latvia as ‘the center of the world,’ where other regions and nationalities become satellites. This is refreshing, for the Baltics have previously been considered to have a peripheral status. More »

Johannes Heldén, “The Exploding Book”

Johannes Heldén
Johannes Heldén, Clouds, 2017.

As one enters the space temporarily designated for Swedish artist and poet Johannes Heldén’s The Exploding Book at Konstakademin’s in Stockholm, one detects that Heldén is receptive to nuance; each creative gesture confirms his dedication to both text and image, expressed with equitable consideration. More »

Malin Gabriella Nordin, “Floating from Within”

Malin Gabriella Nordin, Veil of Dreams, 2017. Image: Gallery Steinsland Berliner.

Stockholm-based artist Malin Gabriella Nordin is one of many Swedish women artists who resort to the basics – or perhaps the old ways, meaning they’re not particularly interested in the digital. More »

“Survival Kit 9”

Andris Eglītis, Laboratory of Poetic Research, 2017. Image: Jacquelyn Davis.

The 9th edition of Survival Kit is orchestrated by a small team of Baltic and Scandinavian curators: Jonatan Habib Engqvist, Solvita Krese and Inga Lāce. All possess a background in organizing independently and within the confines of institutions, which may be their strong point—their fluidity. More »

The 9th Momentum Biennial

Jenna Sutela, Sporulating Paragraph, 2017. Image: Momentum 9.

Momentum 9, taking place in the industrial town of Moss, Norway, is being curated by Ulrika Flink, Ilari Laamanen, Jacob Lillemose, Gunhild Moe, and Jón B.K. Ransu, who together represent the Scandinavian region. With this biennial’s focus on ‘alienation’, the curators joined forces to determine how alien processes and entities are infused in our lives through technological, ecological and social transformations. More »

Klas Eriksson, “Vet din mamma var du e?”

Klas Eriksson
Klas Eriksson, Evidence of Patchwork, 2017. Image: Göteborgs Konsthall.

Swedish artist Klas Eriksson has developed a practice rooted in examining subcultures via works in public spaces and spontaneous performances. With an interest in how power flows and how crowds function, the artist attempts to unpack sociopolitical dynamics using playful tactics. More »

Lovisa Ringborg, “Night Remains”

Lovisa Ringborg
Lovisa Ringborg, Fountain, 2017. Image: Cecilia Hillström Gallery.

In Lovisa Ringborg’s second exhibition at this gallery, the artist upholds the argument that displaying a set of harmonious works can be more potent than a plethora of free-floating entities. More »

Przemek Pyszczek, “1989”

Przemek Pyszczek
Przemek Pyszczek, Public Relief No 6, 2016. Image: Gallery Belenius.

Polish-born, Canadian-raised, Berlin-based artist Przemek Pyszczek displays new works which are primarily sculptural and mixed media, with stints into collage. More »