Exhibition catalogue: Ingen rök utan eld. Shout Fire! (2018)

About the exhibition 1 September - 18 November

INGEN RÖK UTAN ELD. SHOUT FIRE! Mary Coble, Annika Lundgren, Felipe Mujica, Joar Nango, Carla Zaccagnini 1 September - 18 November 2018 Curator Mariangela Méndez Prencke

The circle is a repeated motif and a widely used metaphor in human culture, signifying an embrace, the circle of life, the feminine, the strength of a group, a lavvo, a sacred drum... and so on. The Sun, also a circle, symbolizes strong creative energy and fire. And fire, in turn, is a force best kept flowing steadily, rather than allowed to flare out of control. When humans domesticated fire hundreds of thousands years ago, they gained control over a powerful, transformative and seemingly limitless force.

To gather in a circle to share the word is a cultural practice of collective communication, self-organization and decision making, employed by indigenous communities in the Amazonas as much as groups in innumerable classroom or parliament meetings, knitting or reading circles across the world. Stories shared around the fire, the table, or while crafting, are just as important as any official written history. Knowledge passes on from one person to another, one generation to the next, from mouth to mouth, or hand to hand. In oral transmission, knowledge transforms in the process, gathering, learning and enriching from the elements that impact and affect people’s everyday life.

To shout is to send out the voice with the fullest volume, wanting to reach at a distance. Just as smoke can indicate a fire, the shout highlights anticipation, illuminates change and possible transformation; like the first cry of a newborn, the shout comes as a renewal or revelation. Under the glare of a threatening fire, a shout is a call for attention. However, to shout “fire!” in a crowded place when there is no visible fire, is a disruption of the circle, a dissipation of the group, but also an action with the potential of a re-encounter in the middle of distress. For in those moments of rupture, people find themselves as a new entity, with agency and potency they didn’t know they had until then.

These nested concepts - the circle, fire, craft, the word, conversation and the shout, have ignited and inspired the title of this exhibition, Ingen rök utan eld. Shout Fire!, expressions which serve to call attention,

to alert and activate us in this moment of impending shadows and an emergent darkness. Vigorous revolutions slowly fade into oblivion or stagnation if the flame is not kept alive. By symbolically sending out smoke signals, by shouting fire! we want to share with you a series of artworks and a program with the purpose to ignite hope; to sustain the belief that what we all do matters even though how and when it may matter, who and what it may impact, are not things we can anticipate.

Ingen rök utan eld. Shout Fire! is an exhibition in collaboration with artists Mary Coble, Annika Lundgren, Felipe Mujica, Joar Nango and Carla Zaccagnini. With additional performances by Oskar Bråne & Karl Bergh, Erdem Gündüz and Echo Morgan in collaboration with Live Action Göteborg, and contributions by Folkuniversitet, Nordiska Folkhögskolan, Nätverkstan, Skogen and the school classes that take part in our program during the fall season.

Including commissioned projects in combination with already existing works, Ingen rök utan eld. Shout Fire! brings forward current concerns on cultural autonomy, democracy, activism, and civil courage. Artworks that invoke the power of the word, that encourage conversations and exchange; actions that engage the body, the voice, techniques that gather collective knowledge, and questions that need to be asked anew, remind us that power comes from the margins, that things do change, and we can play a role in that change if we act.

Contained and self-assured, the circle is also a hierarchical model. To open the circle to a choir of unique voices, to make it porous to include other languages, other forms of knowledge, even corners, are ways of kicking the dot of the established order. To shout fire! is to disrupt the circle, is to remember our diversity, is to acknowledge that adversity is a lot like a revolution when it comes to disruption and improvisation: it gives us new roles and the powerful sense that now anything is possible.

The sleeping giant is one name for the public; when it wakes up, when we wake up, we are no longer only the public: we are civil society, the super power whose nonviolent means are sometimes, for a shining moment, more powerful than violence, more powerful than regimes and armies.

Rebecca Solnit, Hope in the Dark

– Mariangela Méndez Prencke

ABOUT THE WORKS Ground floor and 2nd floor/The Cathedral

FELIPE MUJICA There Are No More Exotic Countries in Latin America, 2018 Fabric, embroidery, yarn

The embroidery work of the curtains was produced in a workshop conducted by Felipe Mujica and Johanna Unzueta, with the participation of: Calle Andersson, Rachel Barron, Agneta Eliasson, Brita Huggert, Anna Lo Huntington, Katia Ibarra, Charlotte Juhlin, Zdenka Kalisky / Kvinnocenter: Bergsjön, Anna-Katrin Karlsson, Naomi Mignone, Maria Nyman, Anita Rådberg, Ellen Skatvenstedt, Gunnel Svensson, Kolbrún Inga Söring, Marie-Louise Thomasson, Anders Walfridson.

For Felipe Mujica these hanging fabrics are curtains, not flags, not banners. They hang in space, float, and sometimes move… they are non-paintings, and sometimes are almost architecture. The fabric has a weight, a texture, a feel... Mujica is mostly interested in the fragility, permeability, lightness and presence of fabric as material. Also in handcraft and the domestic dimension involved in the process of making them.

Mujica’s approach to craft the curtains is one of exchange: he supplies the designs and fabric and fabricators supply their knowledge and skills for the embroidery. They can affect the work’s outcome by deciding color combinations, embroidery styles, specific sewing techniques, and so on.

The resulting embroidered drawings contain hours of energy. The stitches also hold their knowledge and culture, some of their thoughts and spirit, all transferred through their hands in to the work.

The curtains in There Are No More Exotic Countries in Latin America can be moved by the viewer, they slide to the sides or can spin in their axis. Sometimes it seems as if they are breathing. This happens when they move slightly in response to any change in air circulation, or because a spectator passed nearby. For Mujica, this movement is as if the work is in constant crisis. They are an illusion of democracy,

in relation to what they allow of interactivity and movement on the part of the public. The curtains’ behavior is conditioned to their location in space, its relation to other works or even atmospheric factors. These curtains contain as little information as possible, and yet, are open to receiving as much information imaginable: ranging from the personal to the socio-political. Curtains can be seen as a sort of drawing, a monochrome painting of geometric abstraction, a textile woven by collective participation, by the machine that sews and the hand that stitches – in There Are No More Exotic Countries in Latin America as shadows of utopian ideas. foot note:

The illegibility and inaccessibility of modern abstract art has been seen by some, as a sign of escapism. Ineffective in raising social consciousness.

Unable to reflect the social realities affecting our lives. But, according to others, imagination has to serve superior demands of a higher cause, and what artists need more than anything, is freedom from any form of interference, governmental or otherwise, for if arts program is dictated from above, it can be manipulated for propagandistic purposes, and could only lose its critical revolutionary edge. However, the critical edge of art comes with a sacrifice: losing the attention of the majority. A cultural cold war has been declared and an iron curtain has been drawn to some of these abstract forms that had separated from representation.

However art is not the single realm of abstraction. Politicians, in talking about potential face-threatening acts or politically risky topics, avoid the obvious and communicate indirectly. This obliqueness in communication is expressed through evasion, circumlocution, innuendoes, metaphors, etc.

FELIPE MUJICA (Santiago, Chile, 1974) studied art at the Universidad Católica de Chile. Just out of art school, in 1997, he co-founded with Diego Fernández and José Luis Villablanca the artist run space Galería Chilena (GCH), which operated between 1999 and 2005, first as nomadic and commercial art gallery and later as a collaborative art project, a curatorial “experiment”. In early 2000 Mujica moved to New York City where he currently lives and works.

Parallel and interrelated to his own work Mujica has organized and produced many collaborative projects, which include mostly exhibitions and the editing, design and publishing of books. Central to his art practice is abstraction as a language that makes possible other conversations. Mujica’s work has been exhibited internationally in China, France, Germany, Italy, Sweden, Switzerland, USA, Brazil, Chile, Colombia, Guatemala and México. Mujica participated in Incerteza viva, 32nd Bienal de São Paulo, São Paulo (2016) among other biennials. For the fall of 2018 Mujica is preparing work for Nunca fuimos contemporaneos, Bienal Femsa, curated by Daniel GarzaUsubiaga, to be held in several venues in the historic city of Zacatecas, Mexico.

Ground floor and 2nd floor/The Cathedral

CARLA ZACCAGNINI Alfabeto Fonético Aplicado VIII [Applied Phonetic Alphabet VIII], 2010-18 32 anodized 30 x 70 cm aluminum plates

With the help of Akio Aoki, Amilcar Packer, Birger Lipinski, Geir Haraldseth, Katharina Schlieben, Laercio Redondo, Lucas Lenglet, Olivia Plender, Raghavendra Rao, Runo Lagomarsino, Santiago Garcia Navarro, Sophia Tabatazde, Tatiana Larkina, Tove Storch and Unnar Örn

Alfabeto Fonético Aplicado VIII [Applied Phonetic Alphabet VIII]

by Carla Zaccagnini

The spelling alphabets, internationally used and recognized, originate from the two world wars of the twentieth century. These acrophonic alphabets (in which a word represents its initial letter) are used to avoid misinterpretations and keep errors to the minimum. It is not easy to find words that can be pronounced and decodified in different languages.

Currently, the most used of these is the international radiotelephony spelling alphabet known as the OTAN phonetic alphabet which is used by civil aviation companies and radio amateurs throughout the planet.

Nonetheless, the OTAN alphabet comprises a considerable number of words that clearly allude to Anglo-Saxon culture: from Foxtrot and Golf to Whisky and Yankee. Ironically enough, Juliet and Romeo (characters condemned to a tragic finale due to miscommunication) are also included.

Carla Zaccagnini produced the Phonetic Alphabet as a proposition to create a new spelling alphabet, that would include words of international significance, even if their pronunciation must be adapted to the phonetics of each different language. Some of the selected words, derived from Greek or Latin, were initially mythological or scientific concepts but ended up being used daily (such as Atlas or Flora); others are so specific to a certain culture that they tend to be used every time a reference to their connotation is needed (such as Harem or Ninja); and some seem to have become transnational due to the necessity of them being recognized by foreigners anywhere (such as Camping or Taxi).

The Phonetic Alphabet presented here is the eighth applied version and it codifies a phrase of Mary Richardson, political activist and member of the British suffragette movement, who helped women gain the right to vote in 1918 and 1928: “I care more for justice than I do for art”.

CARLA ZACCAGNINI, completed her Masters in Poéticas Visuais at the Universidade de São Paulo in 2004, and is now Professor of Conceptual and Contextual Practices at the Royal Danish Academy of Fine Arts. She has taken part in group shows at LACMA (Los Angeles); Guggenheim Museum (New York); Museo Reina Sofía (Madrid); Malmö Konstmuseum (Malmö); MAM (São Paulo), among others. Some of her most recent solo shows were at Van Abbemuseum (Eindoven); Firstsite (Colchester); MASP (São Paulo). She has been in residency at 18th Street (Santa Monica), Künstlerhaus Bethanien (Berlin) and IASPIS (Stockholm), among others. Her work has been featured in the compendiums Cream 3 and Art Cities of the Future, and she is represented by Galeria Vermelho (São Paulo). Carla Zaccagnini lives and works in Malmö and São Paulo.

2nd floor/The Cathedral

JOAR NANGO European Everything, 2017

Neon, metal, wood, fur, textile and sound installation 8-channel sound installation realized by the Sámi composer Anders Rimpi Text work E (playing on a flatscreen monitor) is written by the poet Martijn in’t Veld Other contributors to the project include: Uyarakq + Tarrak (rap), Wimme Saari (yoik), Elin Mar Øyen Vister (soundscape), Sigbjørn Skåden (writer), Håvard Arnhoff/FFB (architecture), Isak Samuel Hætta (sound/instrument maker), Tanya Busse (video artist), Adrian Gaspar (musician), and other European craftsmen and -women

Various elements of different kinds, organized in a loosely circular form around a speech podium, constitute Joar Nango’s proposition for a parliament.

A parliament in the sense of a conference space, conceived for the discussion of public affairs. In this parliament, the words European and Everything go together. There is nothing that might be taken as exclusively or truly European and yet, everything is.

Joar Nango’s installation, commissioned by the exhibition Documenta 14, began as a journey that crossed Europe from the very north of Norway to south of Greece. In this journey, he chose a transversal path that connected forgotten, neglected, and ignored corners of a vast territory. Nango drove more than 7000 kilometers and it took him 2 months, stopping in places where often particular craft works were brought forward to him, like the elements that shape this installation: material testimonies, proofs of other existent economies based on the exchange of knowledge, the trade of skills, the repurposing of scrap, and, not the least, generosity and improvisation (the capacity to change) as the very means of survival.

Joar Nango’s “travelling theater” foregrounded –along the journey and during the exhibition time itself in both venues (Athens and Kassel)— Roma people, feminists, artists and indigenous voices. For the reinstallation of the piece at Röda Sten Konsthall, Nango wants to explore how architectural spaces shape discourse, how they affect dialogue and how we speak and listen. Thus, he has created an open, seemingly chaotic space, organically organized, designed to be inviting rather than intimidating, encouraging people to take the stand and use the podium freely, to talk and hear.

Nango has shaped his parliament as an open and circular space for us to meet anew under new premises. Indeed, the word parliament is linked to the old French word, parlement, which refers to discussion, meeting, negotiation, or assembly. Parlement in turn originates from parler, which signifies to speak, to find the word with which to construct community.

Joar Nango is one of few practicing Sami architects, a tradition of architecture founded in the mobile, the provisional and impermanent, in skills learned and practiced on the move. European Everything, with a stage, crafted from materials and techniques of Indigenous peoples from around the world, is made to be mobile. Joar Nango’s piece dwells on the borderless nation; it assumes the permanent motion of the migrant, and of his nomadic indigenous ancestors in open paths and fields free of borders and fences.

JOAR NANGO Documentation of European Everything, 2017

Video installation with sound, documenting the car trip made on a 1996 Mercedes Sprinter, from Tromsö to Athens in March 2017, and from there to Kassel in May of the same year.

The project was commissioned by Documenta 14. Co-funded by Arts Council Norway, Sámiraddi/Sami Council, Sparebank, Norske Billedkunstnere, Office of Contemporary Art, Fritt Ord, and the Sami Parliament of Norway.

JOAR NANGO is of Sami origin, a practicing artist and architect with a degree in architecture from NTNU in Norway. Nango works with site-specific installations, public interventions, performative works and self-made publications, often exploring the boundaries between architecture, design and visual art. Thematically, his work often relates to questions of indigenous identity, often through investigating the oppositions and contradictions in contemporary architecture and society. Recently, he has worked on the theme of The Modern Sámi Space through, amongst other things, a self-published zine series entitled Sámi Huksendáidda: the Fanzine, the design project Sámi Shelters and the mixtape/clothing project Land & Language. He is also a founding member of the architecture collective FFB, which works with temporary installations and public projects in urban contexts. Nango’s work has been exhibited internationally in Ukraine, Finland, Sweden, Canada, China, Russia, Colombia and Bolivia. In 2017, he was one of the participating artists in Documenta 14. He is currently involved in setting up a network of Sami architects across Sápmi.

2nd floor/The Cathedral

MARY COBLE PULSE, 2016-2018

Live performance on November 10, at 7 pm. Starting at Röda Sten Konsthall rooftop.

A workshop in preparation for the performance will be held on November 3 (3 pm - 6 pm), and November 7 (6 pm – 9 pm) at Röda Sten Konsthall.

A series of Morse Code messages will be transmitted from the rooftop of Röda Sten Konsthall to collaborators positioned strategically throughout Gothenburg, who will then relay the message on, using their own light source. The morsed messages will be composed of chants used in recent and current protests and fights for civil rights.

There will be an open call for collaborators to the performance.

Collaborators will attend a workshop to discuss current responses to the election results and urgencies felt by those living in and around Gothenburg. Together with the artist, the group will come up with the series of chants that will be morsed out by the participants in the performance. Coble will be the person morsing out the text and the collaborators will be following the artist lead.

Photo: Henry Chan From the live performance PULSE, 2016

Examples of protest chants that were sent out by Morse Code light signals at an earlier PULSE performance include: One voice; Resistance is justified, when people are occupied; Who’s streets, our streets; The people are rising, no more compromising; Black Lives Matter; Police brutality-shut it down, mass incarceration-shut it down; For those who can’t we raise our fists; No hate, no fear, refuges are welcome here.

PULSE (2016) was commissioned and presented as part of MONOMYTHS a yearlong project conceived and curated by Jess Dobkin and Shannon Cochran, through the FADO Performance Art Centre.

PULSE and the work PULSING are in recognition of the Queer Latinx lives lost and those lives forever changed as a result of the 2016 Pulse Nightclub shooting in Orlando, Florida.

2nd floor/The Cathedral

MARY COBLE PULSING Gothenburg, 2018 Site-specific LED light installation pulsingingothenburg.tumblr.com

PULSING Gothenburg is a site-specific LED light installation that uses Morse Code as a method of visually transmitting textual messages into a series of light signals.

On the PULSING Gothenburg website, the Gothenburg community and beyond are invited to write a civil rights chant, a lyric from a protest song or a verse from a poem of resistance or any other calls for action that they are empowered by. A maximum of 500 characters can be entered in Arabic, Danish, English, Greek, Hebrew, Persian, Swedish.

This text will be translated in real time into a Morse Code light pulsing from a window at Röda Sten Konsthall.

PULSING is a project initiated by artist and activist Mary Coble that has been developed in collaboration with nuclear engineer, energy activist and programmer Nick Touran. This project would have not been possible without his knowledge, curiosity, enthusiasm and support.

You can visit his website at partofthething.com

HOW DOES THIS WORK? ••• Go to the PULSING Gothenburg website: https://pulsingingothenburg.tumblr.com ••• In the indicated space, type in a civil rights chant, a lyric from a protest song or a verse from a poem of resistance or any other calls for action that you are empowered by and want to share with others.

••• A maximum of 500 characters can be entered in Arabic, Danish, English, Greek, Hebrew, Persian or Swedish. Any text that can be perceived as discriminatory or hatespeech will not be accepted.

••• A program designed by Nick Touran will translate this text in real time into Morse Code light pulsing from a window of Röda Sten Konsthall and will join the chorus of previous and future voices of resistances in the archive of the PULSING project as well as in the city of Gothenburg – then and now.

••• There is an “International” Morse Code - however it is based on the Latin alphabet.

Therefore, the website will be using not only International Morse Code but also Arabic, Greek, Hebrew and Persian Morse Code along with characters specific to Swedish and Danish.

INTERNATIONAL MORSE CODE

1. The length of a dot is one unit.

2. A dash is three units.

3. The space between parts of the same letter is one unit.

4. The space between letters is three units.

5. The space between words is seven units.

A•– B–••• C–•–• D–•• E• F••–• G––• H••••

I•• J•––– K–•– L•–•• M–– N–• O––– P•––•

Q––•– R•–• S••• T– U••– V•••– W•–– X–••–

Y–•–– Z––•• One voice – – – –• • •••––––••–• –• •

2nd and 3rd floor

MARY COBLE We are Here, 2017/18

Photographic installation with more than 250, A3 images on found wood

The photographic installation We are Here (2017/18) is based on traces from the Women’s March on Washington held in Washington, DC on January 21, 2017. This was an intersectional march organized and led by women that occurred the day after Donald Trump’s presidential inauguration. This work reflects Coble’s meticulous, on foot, documentation of the fences surrounding the White House as marchers piled their protest signs around the parameter.

The individual pieces of We are Here can be moved around in the space and potentially be reactivated in another context.

We are Here by Mary Coble

Each individual work of the We are Here installation is available in exchange for a donation of 200 SEK to the Ingen människa är illegal/ No human is illegal organization. The artist Mary Coble will collect and transfer all contributions at the end of the exhibition. The network No human is illegal works practically and politically with refugees’ and migrants’ rights. For more information visit their web page: www.ingenillegal.org

HOW DOES THIS WORK? You can donate by swishing 200 SEK to: 076 345 45 06. Please include in your swish message, the number of the piece you will take.

••• In the back of each work are one sticker, write your name and phone number on it.

••• Remember the number of the work you want.

••• Give the number of the work you want to the person working in the front desk of Röda Sten Konsthall.

••• Make your donation by swishing or by paying cash.

••• Collect your new work on the final week of the exhibition: from the 13th to the 18th of November (on Röda Sten Konsthall’s regular opening hours).

MARY COBLE is an artist, activist and educator working mainly with live art, installation and photography. Coble aims to manifest problems of bodily, societal and symbolic orders particularly focusing on issues of social injustice and normative boundaries. Recurrent themes in Coble’s practice revolve around queer feminist politics, play, failure and intersectional activism. Often working site-specifically, research-based and collectively, the use of activist strategies is integral to Coble’s ways of working. Coble has had group and solo shows in Denmark, Germany, Norway, Scotland, Sweden and USA. Born in North Carolina, USA, Coble currently lives and works in Gothenburg, Sweden. Coble has been an educator for over 17 years and is a Senior Lecturer in Fine Art, Valand Academy, Gothenburg University.

2nd floor/The Cathedral

ANNIKA LUNDGREN United We Stand (Part II) - Democracy and Negotiation, 2018 Performance

Duration: 30 minutes The performance will be presented live on two occasions: September 1 (2.30 pm) and September 9th (6.00 pm) in Röda Sten Konsthall’s “Cathedral” space.

This performance is made with the participation of 14 volunteers that have contributed with their time and voices to form a speaking choir: Yosuf Akbary, Karl Bergh, Mary Coble, Gunilla Grundström, Cizzi Grönkvist, Jan-Erik Lundström, Mariangela Méndez Prencke, Petra Modigh, Felipe Mujica, Maria Nyman, Ellen Olaison, Eva Sik, Jessica Sörenson, Shukrullah Yaghubi.

In United We Stand (Part II) – Democracy and Negotiation, Annika Lundgren has produced a set of scores to be interpreted live by a speaking choir. A group of volunteers has the task to shout assigned lines, according to scores that correspond to opinion polls made among voters between September 2014 and September 2018 and reflect the political debate during the past term of office. The graphics chart the opinions in topics such as health care, school and education, unemployment/work, finance, geriatric care, immigration/integration, environment/climate, law and order, state pensions, and defense.

The choir is asked to repeat four sentences selected from the Swedish Parliament definition of democracy: Demokrati handlar om människors lika värde och rättigheter.

I Sverige finns rättigheterna angivna i grundlagen.

All offentlig makt utgår från folket.

Rätten att rösta är en förutsättning för demokrati.

The number of voices included in the choir will vary during the performance, responding to the pattern elicited from the artist’s score.

On some occasions, only one or few voices will speak while others remain silent. In addition to this live performance, Annika Lundgren also shows a video presentation describing the implementation of the righthand traffic transition in Sweden in 1967.

This presentation will be projected in the 4th floor of Röda Sten Konsthall throughout the exhibition period.

3rd floor

CARLA ZACCAGNINI In Order of Appearance, 2013-2018 Partially covered original newspapers 8 pieces, variable dimensions

For Ingen rök utan eld. Shout Fire!, Carla Zaccagnini presents a new part of her ongoing project Elements of Beauty, a research about the stories of the attacks on works of art made by the WSPU – the militant association for women suffrage – in their struggle in 1913 for women’s right to vote.

The suffragettes had in previous years attacked communications systems by cutting telegraph lines, throwing acid into mail boxes, or inscribing the sentence “votes for women” onto coins and then putting them back into circulation. Carla Zaccagnini is intrigued by these actions that were questioning what is shown and what is hidden, and the relation between public and private, clearly manifested in their choreographed destruction of display windows in 1912 in central London. The breaking of glass is part of the attacks on art works that implied breaking of vitrines or protective glass in museums. Glass is as well a material in Zaccagnini’s new work, In Order of Appearance.

In In Order of Appearance she presents original newspapers that reported about the actions of image destruction performed in museums and galleries by the suffragettes. These partially covered newspaper articles, protected under glass sheets, are edited in a way to bring forth how the news were reported and constructed and how, thus, reality was – and still is – shaped.

With this work, Carla Zaccagnini asks again for our complicity by making us rethink the way certain stories reach us. The work illuminate the choices journalists made when selecting words to refer to the women that perpetrated these acts. For Zaccagnini, it is important to ask anew: What image of women and what portrait of power were at stake in this moment? What kind of information on their struggle did these articles provide? How much these ways of reporting have contributed to the perpetuation of the status quo?

4th floor

ANNIKA LUNDGREN United We Stand (Part I) - The Great Swedish Transition, 2018 Video presentation

Source: Public Domain

Duration: 14 minutes

On Sunday, September 3, 1967, Sweden changed from driving on the left-hand side of the road to driving on the right. This day is known as H-day. H stands for Högertrafikomläggningen (the Right-Hand Traffic Diversion).

Preparing the country for the change was a costly and complicated mission. After only 3 years of preparation (less than an election period), at 4.50 am on H-day, all vehicles on the road were instructed to come to a halt. They were then directed to move carefully from the left side of the road to the right and wait. At the stroke of 5.00 am, following a radio countdown, an announcement was made — “Sweden now has right-hand driving” — and traffic was allowed to resume.

In United We Stand (Part I), Annika Lundgren presents us in a conventional slide show, that does not rule out irony, the transition from left to right traffic in Sweden in 1967. A successful, collective simultaneous transition from one system to another, in contrast with the permanent negotiations of democracy.

This slide show presentation complements – and will be shown connected to – a live choir-piece that will be presented at specific dates.

ANNIKA LUNDGREN is an artist, former professor in Fine Art at Valand Academy and presently artistic director, together with Johan Forsman, at Skogen, a platform for performance art in Gothenburg. Lundgren’s artistic practice consists of text- and time-based works where narrative, political and performative elements are central, materialized in a series of ”speech-works” that combined poetic and political address. Her recent work Winter is coming - On Spirits and Populists examines the relation between occult spiritualism and the new wave of right wing populism that has emerged in the current political landscape. This work was shown during 2017-2018 as a performance and an installation in Prague, Gothenburg, and Aarhus.

Tuesday, Thursday & Friday 12-5pm Wednesday 12-8pm Saturday & Sunday 12-6pm