Supermarket Art Magazine #6

issue#6

2006: ak28, BLOT, Candyland, CRAC, Fiberartsweden, ID:I Galleri, Konstnärernas centralköp, Konstnärshuset, Nationalgalleriet, Studio 44. 2007: Galleri Box, Candyland, Cirkulationscentralen, Consortium, Dunk!, France Fiction, Galleri 54, ID:I Galleri, Koh-i-noor, Lifebomb, Low Salt Gallery, Marienborg, Nationalgalleriet, Studio 44, Tegen 2, 300m3 Art Space, Verkligheten, ak28, BKF, BUS, Canal, Chto Delat, CRAC, Edmund Piper/Berliner Kunstsalon, Ersta Konsthall, Fiberartsweden, Good TV, IKK, Konstnärernas centralköp, KRO, NKF, Paletten, Pineapple Videobar, SITE Magazine, SOMETIMES, Torpedo Bookstore, Twochange. 2008: Alma Enterprises, Galleri Barbara Hansen/van Eijk’s,Bastard, Galleri Box, Candyland, Cirkulationscentralen, Co-Lab, Dunk!, f.a.i.t., Galleri 54, Fiberartsweden, Formverk,The WhiteTube/The G.U.N. Ladies, ID:I Galleri, Kabine, Kultivator, Dyestad, Lifebomb, Nationalgalleriet, P/////AKT, Piper/Sabela, RCCAAQ Quebec, Sculptors Guild, Spanien 19C, Studio 44, szu szu, Tegen2, Unten Drunter, Wyspa, BUS, CRAC, Hjärnstorm, KRO, Konstnärshuset/SKF, NKF Swedish section, Paletten, Sjön. 2009: Galleri 54, Abandoned Gallery, ABC Gallery, Alma Löv, Barbur, Galleri Box, Candyland, Carla Brew Gallery, Centre for Visual Introsp.ection, CirkulationsCentralen, DUNK!, Echo, Fiberartsweden, Formverk, FrideyMickel, Huuto, ID:I Galleri, Galleria Just, Turku, Koncentrat, Konstepidemin, Kultivator, Kuten, Laundry, Lokal_30, Malt, Microwesten, Nationalgalleriet, Nest, P/////AKT, Project Space 1646, RaketaGalleri Rostrum, Space Poetry, Spanien 19C, Spark, Sprinkler, Studio 44, Galleri Syster, Tegen 2, Titanik / Arte, Twochange, Unten Drunter, Botnik Studios, noCUBE, V8 Plattform, Verkligheten, Art in Office, Nya Digitala Bildverkstaden, Filmform, Global Stone Workshop, Hjärnstorm, KC Öst, Konstperspektiv, KRO/KIF, Live Action, Nordic Art Association, Nurope. 2010:00130Gallery Helsinki, Galleri 54, Galleri 69, Alpineum Produzentengalerie, A.M.180 Collective, Art On Armitage, Art Video Screening, Articule, Artillerie, ArtMobile, Microwesten, Biro Beograd, Brickworks, Candyland, Caravansarai, CFF – Centrum för fotografi, CirkulationsCentralen, Gallery Crymo, De Service Garage, Fiberartsweden, FIT freie internationale tankstelle, FixC Cooperative, Formverk, Fylkingen, Global Stone Workshop, Harrington Mill Studios, Galleria Huuto, ID:I Galleri, Inquietart, Kilen Art Group, Konsthall ö, Galleri Konstepidemin, Konstnärshuset, Kultivator, Kultur am Nauener Platz, Malt, Microwesten, MUU gallery, Nationalgalleriet, Nest, Plan3, Project Dice/Galerie Kleefeld, Project Space 1646, QWERTY, R.E.P., Rajatila Gallery, Seven Seven Contemporary Art, Skånes Konstförening, Studio 44, Galleri Syster,Tegen 2,Titanik Gallery,Transit, V8 Plattform, Velcome, wip:sthlm, Galeria Wschodnia, X-ray at the Perseverance, Biondibooks, [the] Evidence, Hjärnstorm, KRO/KIF/Tidningen Konstnären, Konstperspektiv, NKF Swedish section, Paletten, V.art. 2011: 00130Gallery Helsinki, 1646, A.M.180 gallery, ACOSS, Alpineum Produzentengalerie, ART ON ARMITAGE, art:screen, artillerie, ArtMobile,ARTSPACE,Candyland,CARAVANSARAI,CFF–Centrumförfotografi,CHIOSC,OberlihtAssociation,CirkulationsCentralen, Club Electro Putere, De Service Garage, De Zwarte Ruyter, DÍÓNÝSÍA residency, Entrée, Escuela de Vagabundos, FIT freie internationale tankstelle, Five Hundred Dollars, Formverk (art zone), Fullersta Bio Konsthall, Galeria Biała, Galleri 54, Galleri Box, Galleri Maskinen, Galleria Huuto, GalleriaKONE, Gallery IME, Gocart Gallery, HMK {HotelMariaKapel}, ID:I Galleri, In Focus: African and Nordic Art in Collaboration, KNIPSU, Konstnärshuset, Konstverket/Taidevirasto, KULTIVATOR, LO AND BEHOLD, Microwesten, MOCA London, Mustarinda Artists In Residency, MUU galleria, Nationalgalleriet, Office d’Art Contemporain, Oksasenkatu 11, Open Place, Photographic Gallery Hippolyte, Propeller Island, rosalux, Sant Marc, Skånes konstförening, Skulptörförbundet, small projects, Stacion – Center for Contemporary Art Prishtina, Studio 44, TEGEN 2, TEMA, Treignac Projet, ZET foundation, ArtSceneTrondheim, DKTUS, Filmform, Konstperspektiv, KRO/KIF, No Budget Performance, NKF Nordic Art Association Finland, NKF Nordic Art Association Sweden. 2012: A.M.180 collective, Alpineum Produzentengalerie, Argument Vertoningsruimte, Art Container, ART LAB Gnesta, art:screen, ArtMobile, Blank Projects, Bristol Diving School, Candyland, CFF – Centrum för fotografi, CirkulationsCentralen, Duplex10m2, Ed Video Media Arts Centre, FELTspace, FOTOGALERIE WIEN, Fundacja Salony, galeria de muerte, Galleri 69, galleri bergman, Galleria Huuto, Galleria Rajatila, GalleriaKONE, Gocart Gallery, GRAD, European Centre for Culture and Debate, Greylight Projects, ID:I Galleri, IS-projects+SNO+ParisCONCRET, Kallio Kunsthalle, KNIPSU, Konstn.rshuset SKF, KONTORprojects, Kultur am Nauener Platz e.V., Kunsthuis SYB, Kurant Visningsrom, Lo and Behold, Mantova Eyes, Milkshake Agency, moba Banatska, Modern Fuel Artist-Run Centre, MUU galleria, Nationalgalleriet, Nest, OFF LIMITS, OFIS, Photographic Gallery Hippolyte, Plan B, Ptarmigan, QWERTY, rainbowartsproject, rosalux, Sant Marc, Scibase, SERDE, Shift Collaborative Studio, SIC, small projects, Studio 44, Superclub Gallery, T.ACT, TEGEN 2, Third Belgrade, Totaldobze, Toves Galleri, Tupajumi foundation, Udstillingsstedet Spanien19C, Unit One Gallery, Verkligheten, Volt, ZET foundation, Zeta Galeri, ZOLDER MUSEUM, Artyčok.TV, Graffitifrämjandet, Konstnärernas Kollektivverkstad, Konstnärscentrum Öst, Konstperspektiv, KRO/KIF, Kulturtidskriften Cora, Nordic Art Association, Nordic Art Association, Tidskriften Hjärnstorm. 2013: 1646, 2B Gallery, A.M.180 collective, ALISN, Alpineum Produzentengalerie, Ars Auttoinen, Art Lab Gnesta, Art On Armitage, Artellewa Art Space, Artists’ Association of Lapland, Ateljén Hea, blank projects, Blue Oyster, Candyland, CFF – Centrum för fotografi, CirkulationsCentralen, Dienstgebäude, Duplex10m2, Ed Video Media Arts Centre, Espacio Tangente, Evil Son, Formverk (art zone), fragment S, Galeria Szara, Galleri Box, Galleri Konstepidemin, Galleri Maskinen, Galleri Se Konst, Galleri Syster, Galleri Verkligheten, Galleria Huuto, Galleria Sculptor, Gocart Gallery, GRAD, Grafiska Sällskapet/The Swedish Printmakers’ Association, Green Is Gold, Grimmuseum, Gudran Association for Art and Development, Heavy Merry Finland foundation, HMK {Hotel MariaKapel}, ID:I Galleri, IS-projects, JCA DE KOK, Kallio Kunsthalle, Kings ARI, Konstnärshuset, Kultivator, Le Cube – independent art room, Lo and Behold, Margaris Foundation/les yper yper, Microwesten, Milkshake Agency, MUU galleria, Nationalgalleriet, Nest, Office d’Art Contemporain, Or Gallery, pietmondriaan. com, rainbowartsproject, Sant Marc, Studio 44, Superclub Gallery and Studios, T-Gallery, t.act presented by KUNSTtransit, Tegen2, The M( )esum, The Museum of Forgetting, Toolbox, Totaldobze, TPTP, Transient Projects To People, Tupajumi foundation, ZeroStation, Zeta Galeri, Zona, Ў gallery. 2014: 00130Gallery Helsinki, 1646, 3:e våningen / 3rd floor, AADK Centro Negra, AllArtNow, Alpineum Produzentengalerie, A.M.180 Collective, Art On Armitage, Artellewa Art Space, Artists’ Association of Oulu, Ateljén Hea, Atlantic House, Bhotsun Art, Galleri Box, Candyland, CCA Tbilisi, CirkulationsCentralen, Daily Temporary, Detroit Stockholm, Duplex100m2, Ed Video Media Arts Centre, Galeria Entropia, Extra Muros / Pol’N, Fiber Art Sweden, Filmverkstaden, fragment S, Gocart Gallery, Grafik i Väst, Grafiska Sällskapet, Grüntaler9, Gudran, Harp Art Lab, Hjärnstorm, Galleria Huuto, ID:I Galleri, Kallio Kunsthalle, Kunstenaarsinitiatief |elders, Kunstschlager, Lateral ArtSpace, Galleri LOKOMOTIV, Galleri Maskinen, Mnky Bizz Group, Museolaboratorio, The Museum of Forgetting, MUU galleria, Nationalgalleriet, Gallery Nectar/GeoAIR, Nest, Occupy Space, OK Corral Exhibition Space, Oonagh Young Gallery, Ormston House, PAPER, Peek-a-Boo Gallery (Gotham Studios Inc), Plan B, Platform, QWERTY, Rajatila Gallery, Galleria Sculptor, Galleri Se Konst, Slakthusateljérna, Studio 44, S. Y. L . A. N T E N H E I M, TAL, Tegen2, The Room Below, Tupajumi foundation, Galleri Verkligheten, Galleria VISU, Water tower art fest, Zeta Gallery, Ў gallery, Konstkonsulenterna i Sverige, Konstnärernas Kollektivverkstad (KKV), Konstnärscentrum Öst, Konstperspektiv, KRO/KIF, Kulturtidskriften Cora, Nordic Art Association Finland (NKF), Nordic Art Association Sweden (NKF), OEI, Sveriges Allmänna Konstförening (SAK). 2015: 1646, Galleri 54, Al-Mahatta Gallery, AllArtNow, Alpineum Produzentengalerie, A.M. 180 collective, Antena Estudio, Art On Armitage, Artellewa Art Space, Axel Obiger, AXENÉO7, Bang Art Now Centre, Galleri Box, Candyland, CirkulationsCentralen, Club Solo, Detroit Stockholm, Dienstgebäude, Duplex100m2, EULENGASSE, Filmverkstaden, Gocart Gallery, Grafiska Sällskapet, hangmenProjects, ID:I Galleri, interviewroom11, Galleri Konstepidemin, Kunsthuis SYB, Köttinspektionen, Lateral ArtSpace, Miza Galeri, Museum of Contemporary Cuts, ¬¬¬MUU galleria, Nafasi Art Space, Open Place, Ormston House, PARAZIT, Parkingallery, Pasaj, Photographic Centre Peri, Pink Cube, Plan B, sant marc, Galleria Sculptor, Sever-7, Silverado, Studio44, Tegen 2, The Room Below, Titanik Gallery, Udstillingsstedet TYS, Urgente, Various Artists, Galleri Verkligheten, Verkstad: rum för konst, Ў gallery of contemporary art, Bilaga – limited editions, Konstkonsulenterna i Sverige, Konstnärernas Kollektivverkstad Konstperspektiv, Konstpool, NKF Nordic Art Association FinlandPlattform, Tidskriften Hjärnstorm

Artist: Molly Steven

www.bildupphovsratt.se

Bildupphovsrätt (Visual Copyright Society in Sweden) represents more than 90,000 visual artists, from around the world, in copyright issues. We protect your rights and the generation of incomes.

EDITORIAL TEAM EDITORIAL STAFF IZABELLA BORZECKA PONTUS RAUD ANDREAS RIBBUNG MEGGI SANDELL EDITORIAL COORDINATOR KAJSA ÅHLANDER PERSSON CONTRIBUTING WRITERS IRENE DE CRAEN, MEGGI SANDELL, PONTUS RAUD, ANDREAS RIBBUNG, IZABELLA BORZECKA CONTRIBUTING ARTISTS & PHOTOGRAPHERS Simon Berg (www.simonberg.com), Malou Bergman (www.maloubergman.se), Izabella Borzecka, Valentin Brutaru, Somei Chan, Nadja Ekman, Anna Ekros (annaekros. com), Joakim Erixon Flodman (www.erixonflodman.portfoliobox.se), José Figueroa (www.josefigueroa.se), Ann Frössén, Björn G Lindahl, Kristina Keyser (www. kristinakeyserphotography.com), Besik Kurashvili (www.kurashvili.com), Heidi Marthinsen, Gunnar Nehls, Fatima Olsson, Luc Pages (luc.pages.free.fr), Mathias Persson, Kenneth Pils, Pontus Raud, Andreas Ribbung, Denis Romanovski, Sarah Teheranian, Kim Ventura (www.kimventura.com), Hendrik Zeitler (www.hendrikzeitler.com) GRAPHIC DESIGN EVA BEIERHEIMER TRANSLATION, LANGUAGE EDITING AND PROOFREADING STUART MAYES ADVERTISING SALES NADJA EKMAN ADVERTISING CONTACT AD@SUPERMARKETARTFAIR.COM ECONOMY MEGGI SANDELL, PETRA MELIN INTERNATIONAL DISTRIBUTION NEWSTAND DISTRIBUTION AVAILABLE THROUGH PINEAPPLE MEDIA/SH CIRCULATION PINEAPPLE MEDIA LTD., 172 NORTHERN PARADE, HILSEA, PORTSMOUTH, HAMPSHIRE, P02 9LT, UK, WWW.PINEAPPLE-MEDIA.COM/ TEL: +44 (0) 2392787970 PRINTING PRINTON TRUKIKODA LTD PUBLISHER PONTUS RAUD

Cover image: Pontus Raud, 2016

artist-run art magazine 1

Supermarket staff and volunteers throught the years: 2006 Pontus Raud, Andreas Ribbung, Árni Gudmundsson, Anna Selander, Tobias Sjödin, Lena Gustavsson, Anneli Wallin, Petter Hellsing, Carina Routsalainen, Michael Ellburg, Alvaro Campo, Joyce Ip, Roberto N Peyre 2007 Pontus Raud, Andreas Ribbung, Árni Gudmundsson, Anna Selander, Tobias Sjödin, Petter Hellsing, Emma Egnér, Louise Andersson, Meggi Sandell, Emma Hammarén, Bill Rubino, Stina Ahlman, Eva Lotta Holm Flach, Diana Kaur, Giovanni Naves, Filippa von Krusenstjerna, Carina Routsalainen, Michael Ellburg, Henrik Eriksson 2008 Pontus Raud, Andreas Ribbung, Meggi Sandell, Emma Egnér, Tobias Sjödin, Árni Gudmundsson, Petter Hellsing, Emma Hammarén, Stina Edblom, Peggy Gallert, Victor Hugo Mondragon, Ola Marklund, Joakim Samson, Gabriel Agut, Bill Rubino, Carina Ruotsalainen, Louise Andersson, Stina Ahlman, Gerd Karin Andersson, Evert Ekros, Jessica Natasja Loutchko, Lenka Jonesson Deker, Paul Jonesson Deker, Siv Johansson, Daniel Roy, Maria Saveland, Aneta Szylak, Steve Turner, Mattias Larson, Gerd Karin Andersson, Helena Izos, Edvard Derkert, Anna Ekros, Gustav Broms, Örjan Wallert, Nadja Ekman, Fatima Olsson, Alvaro Campo, Hasse Lindroth, Helene von Bahr, Malou Bergman, Eka Acosta 2009 Pontus Raud, Andreas Ribbung, Meggi Sandell, Stina Ahlman, Emma Egnér, Emma Hammarén, Kenneth Pils, Tobias Sjödin, Virlani Hallberg, Lotta Döbling, Maria Saveland, Anna Selander, Erik Sigerud, Steve Turner, Martin Wickström, Peggy Gallert, Stina Edblom, Mats Gus Gustavsson, Thomas Aglo, Anna Ekros, Evert Ekros, Fatima Olsson, Rikard Fåhraeus, Molly Zetterberg, Carina Redtzer, Annika Rengfelt, Louise Andersson, Helena Burman, Sofia Romberg, Karin Kempa, Bettina Edgren, Lisa Edblom, Anna-Karin Axelsson, Mareike Müller, Petter Hellsing, Peter Svedberg, Gunnar Nehls, Victor Hugo Mondragon, Ola Marklund, Gabriel Agut, Mattias Larson, Helena Izos, Edvard Derkert, Gustav Broms, Örjan Wallert, Jean Ploteau, Hasse Lindroth, Dan Wedegren, Stefano Beccari, Alexander De Cuveland, Jakob Fogelqvist, Dan Svensson, Dan Wirén, Dror Feiler, Fredrik Lindberg, Damir Niksic, Torsten Jurell 2010 Pontus Raud, Andreas Ribbung, Meggi Sandell, Emma Egnér, Tobias Sjödin, Kenneth Pils, Carin Persson, Emma Hammarén, James Foote, Richard G Carlsson, Stina Ahlman, Olle Essvik, Emmeli Rhodin, Jannike Simonsson, Magdalena Szyjakowska, Emelie Arendorff, Karin Aringer, Izabella Borzecka, Helena Burman & SUPER TV team, Kristina Chalmain, Bettina Edgren, Anna Ekros, Evert Ekros, Helen Engström, Jakob Fogelquist, James Foote, Cecilia Jonsson, Elena Jover Casanovas, Pia Lasell, Ola Marklund, Lena Olofsson, Fatima Olsson, Evelina Rasmussen, Emmeli Rhodin, Magdalena Roupe Zotterman, Vera Sekely, Jannike Simonsson, Oskar Widell, Laura Zilionyte 2011 Pontus Raud, Andreas Ribbung, Meggi Sandell, Jannike Simonsson, Izabella Borzecka, Anne Aufdembrinke, Írena Sólveig Steindórsdóttir, Katharina Büchel, Magda Lipka Falk, James Foote, James Blake, Tore Danielsson, Bongi Jarne McDermott, Rickard Griffith Carlsson, Kenneth Pils, Emelie Carlén, Tobias Sjödin, Sara Dynesius, Anna-Karin Sandström, Syed Ali Afraz, Jakob Anckarsvärd, Karin Aringer, Saga Axberg Svensson, Oscar Capezio, Tore Danielsson, Rojin Eini, Ewert Ekros, Ida Engblom, Sanna-Lisa Gesang-Gottowt, Anna-Maria Hilborn, Anna-Karin Holtz, Cissi Hultman, Emelie Höglund, Gediminas Jakovickas, Julia Johansen, Frida Johansson, Cecilia Jonsson, Elin Jonsson, Diana Kaur, Sophie Koch, Henriette Kockum, Pia Laselle, Katarina Lindqvist, Dris Mhammedi, Richard Mosesson, Emma Nilsson, Martina Näsman, Anna Oldne, Fatima Olsson, Liv Pettersson, Maria von Schantz, Markus Schmidt, Malin Stengård, Sandra Sundström, Vera Székely, Pär Söderlund, Sarah Tehranian, Julia Therén, Ewantija Dominika Toufexi, Claudia Lai Wa Tsang, Anna Wennerhed 2012 Pontus Raud, Andreas Ribbung, Meggi Sandell, Jannike Simonsson, Izabella Borzecka, Kenneth Pils, Randy Jämtlid, Christina Wenger, Katharina Büchel, Emelie Carlén, Åsa Louise Mauvais, Stuart Mayes, James Foote, Sheena Malone, Bongi Jarne McDermott, Rickard Griffith Carlsson, Jakob Ankarsvärd, Axel Aaro, Hanna Abrahamsson, Syed Ali Afraz, Aurora Bergh Edenborg, Ioana Bacanu, Cecilia Bivald, Josefin Borg, Valentin Brutaru, Patricia Cukrowska, Clara Dagh, Lina Dzibricka, Sofie Edman, Ewert Ekros, Nelson Gatsimbazi, Sanna-Lisa Gesang-Gottowt, Anna-Maria Hilborn, Mathilda Hogg, Gediminas Jakovickas, Oriana Kolokotronis Johansson, Cecilia Jonsson, Riika Kevo, Sophie Koch, Maria Kramar, Pia Laselle, Veera Lumme, Liva Isaksson Lundin, Margareta Marza, Nick Mo, Richard Mosesson, Hanna Källebo Neikter, Melina Reid, Sarah Ritch, Clara Simonsson Hoffman, Varpu Sipilä, Victoria Skogsberg, Írena Sólveig Steindórsdóttir, Eugene Sundelius von Rosen, Vera Székely, Pär Söderlund, Viveca Tessier, Malin Trotzig, Erica Wennerholm, Micaela Wernberg Andersson 2013 Pontus Raud, Andreas Ribbung, Meggi Sandell, Jannike Simonsson, Izabella Borzecka, Christina Wenger, Anna Oldne, Sheena Malone, Sanna-Lisa Gesang Gottowt, Erica Wennerholm, Sarie Nijboer, Molly Carnestedt, Kenneth Pils, Johanna Larson, Rickard Griffith Carlsson, Emelie Carlén, Malin Trotzig, Stuart Mayes, James Foote, Stephen Turner, James Blake, Lara Szabo Greisman, Nadja Ekman, Alathea Evans, Ali Afraz, Anna Wallin, Annina Koskiola, Aurora Bergh, Aurora Hjalmarsson, Beatrice Johansson, Björn G Lindahl, David Oliveira, Desiree Klingestam, Elisabeth Geijer, Emma Frid, Emma NathorstBöös, Ewert Ekros, Hanna Abrahamsson, Helena Calmfors, Helena Cambell-Westlind, Helena Wessberg, Henrik Sjöberg, Ingrid Wittbom, Isabella Kalén, Jakob Anckarsvärd, Joakim Erixon Flodman, Julia Lennartsson, Katarina Evasdotter Birath, Katarina Lindqvist, Katri Bergdahl, Klara Mattsson, Lena Flodman, Lina Dzibricka, Lina Johdet, Linnea Roukolainen, Liva Isaksson Lundin, Mattias Larson, Mikaela Kjellin, My Valkama, Oriana Kolokotronis Johansson, Pella Myrstener, Pär Söderlund, Richard Mosesson, Sandrina Cerda, Samuel Ågren, Silvia Lohfink, Sofia von Schwerin, Simon Berg, So Mei Chan, Sonali Singh, Sonja Nettelbladt, Sunna Hansdottir, Symelia Metridou, Tahiya Niskala, Varpu Sipilä, Vera Székely, Veronica Johansson, Viveca Tessie 2014 Pontus Raud, Andreas Ribbung, Meggi Sandell, Izabella Borzecka, Mathilda Hogg, Elisabeth Geijer, Christina Wenger, Björn G Lindahl, Katarina Lindqvist, Sanna-Lisa Gesang-Gottowt, Írena Steindórsdótir, Molly Carnestedt, John W Fail, Johanna Larson, Annelie Wallin, Stuart Mayes, James Foote, James Blake, Richard Griffith Carlsson, Stephen Turner, Bill Rubino, Sheena Malone, Nadja Ekman, Kim Rundqvist, Ida Arsine Bellarian, Clara Axner, Maja Backström, Ida Arsine Bellarian, Paola Bruna, Katarina Evasdotter Birath, Helena Björnesjö, Ella Effendy, Duone Ekane, Sorousch Elmi, Ida Gille, Andreas Nordh Hansson, Bodil Hasselgren, Sofia Hällberg, Arild Ingvaldson, Niklas Isaksson, Julia Johanssen, Frida Jonsson, Isabella Kalén, Elina Karlberg, Andrea Sjögren Karlsson, Dante Llor, Lovis Lundh, Richard Mosesson, Monika Musovic, Emma Nelsson, Luna Nilsdotter, Ann-Sofie Pedersen, Nicole Prevezanou, Hanna Romin, Kajsa Sandström, Marc Savior, Ida Serdén, Molly Sjögren, Charles L. Sjölander, Hedvig Sjölin, Karin Swaij, Vera Székely, Pär Söderlund, Frida Tiger, Lovisa Vasseur, Kristina Weegar, Helena Campell-Westlind, Sara Yasdani, Rasmus Albertsen, Lotse Arkhang, Mats Bergsmeden, Cecilia Bivald, Evert Ekros, Joakim Erixon Flodman, Lena Flodman, Lennart Carlheim Gyllensköld, Petter Hellsing, Maria Högbacke, Pia Isaksson, Anders Jansson, Besik Kurashvili, Maria Luotsarinen, Claes Magnus Langenborg, Ola Marklund, Luc Pages, Jean Ploteau, Mona Peterson, Patrik Qvist, Bill Rubino, Malin Ståhl, Sarah Tehranian, Paula Urbano, Kim Ventura, Anders Örnberg 2015 Pontus Raud, Andreas Ribbung, Meggi Sandell, Izabella Borzecka, Mathilda Hogg, Kajsa Åhlander Persson, Alathea Evans, Björn G Lindahl, Katarina Lindqvist, Luna Nilsdotter, Elisabeth Geijer, Katarina Evasdotter Birath, Kajsa Sandström, Julia Ahl, Molly Carnestedt, John W Fail, Eva Beierheimer, James Foote, Stuart Mayes, Nadja Ekman, Amanda Rönnberg, Charles L Sjölander, Christoffer Malmsten, Elina Ylhäisi, Ella Effendy, Ella Tammisto, Ellen Klintenberg Gedda, Erika Hjort, Fedrica Ometto, Frida Tiger, Georg Nordmark, Golara Vahidimehr, Grace Hewitt, Heidi Marthinsen, Helena Björnesjö, Hilda Larsson, Iris Alexandrov, Jakob Anckarsvärd, Jean Ploteau, Jenny Norberg, Joakim Erixon Flodman, Kim Ventura, Lena Flodman, Lili Beke, Luc Pagès, Luna Nilsdotter, Maria Anevret, Maria Nordvall, Marika Johansson, Matilda Sjöblom, Mathias Persson, Mattias Larson, Nina Ekberg, Paulina Granat, Petter Hellsing, Pär Söderlund, Sara Brant Lundin, Sarah Vecchietti, Sofia Zwahlen, Sophia Persson, Soroush Elmi, Torgny Hjort, Torgny Larsson, Tove Ljung 2

CONTENTS Editorial....5

Ten years of struggle and success – from hell and back

Minimarket 2006....8 Konstnärshuset

Supermarket 2007....12 Konstnärshuset

Supermarket 2008....19 Enskilda Galleriet

Supermarket 2009....26 Clarion Hotel Stockholm

Supermarket 2010–2014....34 Kulturhuset

Supermarket 2015....50 Svarta huset

‘Reinventing Independence’....56 by Irene de Craen

International exchanges....60

Subject: konstmässa?? Date: Fri, 20 Jan 2006 14:43:13 +0100 From: Andreas Ribbung <andreas@ribbung.com>

Eventuellt blir det en ”MiniMarket” i en ny lokal i Konstnärshuset samtidigt som konstmässan Market i Konstakademin. Idén kläcktes igår, så det kanske blir ändringar.

TEN YEARS OF STRUGGLE AND SUCCESS From hell and back

Ten years ago we had no idea that Supermarket would evolve into an international art event that would return year after year, that would create networks and contacts between artists around the world, and that would involve a countless number of people in realising this huge project. The opportunity to start it all arose in the vacuum that had developed in the Stockholm art scene, where artists felt that they could either be selected by the existing art world authorities or be left out

in the periphery. The spark that lit the fire can be stated in one short sentence: it was the idea to take control of our own situation as artists – to do it ourselves. Ever present was the market’s cynical philosophy, where profit and demand controlled everything and that overshadowed the idea of contemporary art as an expressive arena for other ideas and values to take place and be explored. We were tired of finding ourselves at the bottom of the art world’s dominant hierarchy and to be constantly seen in relation to art’s economic worth. These feelings were further intensified when a new commercial art fair opened its doors in 2006. They used a strong rhetoric to assert both their own and art’s power in economic terms.

We artists saw this as a perfect opportunity to play with the art fair’s format, to challenge, criticise, debate, and ultimately to develop it. By creating our own art fair we could position ourselves in relation to the commercial art fair’s values, and at the same time break from them and represent something clearly other. ‘Art as object’ has always been a concept that market tenderly nurtures, and which most people expect to see when they visit a fair. We decided to create a type of art fair where oppositions would collide – and ten years later we see that it is still a useful and relevant strategy. However this gave rise to a lot of internal discussions about our self-image. We were artists, not for profit, free spirits... What do we gain from consciously placing ourselves in relation to a market that we specifically wanted to get away from? This is an issue that is ever present. Going from a little playful happening to being something that is perceived by some as an institution, we have – over the years – accumulated a lot of experience about the artist-run activities that are constantly popping up and disappearing around the world. Right from the beginning we focused on cooperation and networking between artists: bringing together artists from different countries over one week and enabling them to work together. We found this to be a source of unimaginable synergies.

The artist-run scene is not based primarily on money nor the desire to be profit making: it is about autonomy. Illustration: Pontus Raud

Even if this often only occurs for a short period of time (and is relative) the belief in independence is of great importance for the artist-run project. Artist-run galleries usually do not have big financial muscles to flex and often operates very locally, but in some places an artist-run gallery is the only space for contemporary art. In certain countries that lack a developed infrastructure for contemporary art the artist-run gallery can be the only watering hole for the culturally engaged. Often it is these artist-initiatives that take responsibility for creating conditions for experimentation and innovation.

To highlight these aspects of the artist-run scene – on the artists’ own terms – has always been Supermarket’s core aim. Our selection for the fair has always been based on an assessment of each gallery’s activities, aims and local roots, rather than on their curation of exhibitions. This enables them to maintain their independence within the framework of Supermarket, it also opens up other expressions and perspectives, and lets other voices be heard and met. After ten years, we see that the artist-run scene is still operating under the same premise: it functions primarily locally and is very underfunded, and yet at the same time international cooperation between artist-initiatives has increased through exchange exhibitions, residencies, and several new artist-run art fairs around the world. Since it started Supermarket has been described as a chaotic creative mess, something that not infrequently has been the cause of strong criticism from various quarters. Commercial art fairs the world over quietly deal with their business of trading aesthetic art objects that are transported by professional art handlers, in contrast our visitors are amazed at the political activism that artists unpack from the suitcases that they themselves carry to the fair – artists that are dealing with an ever-changing world. At times it has been a tricky, or even impossible, for some of our invited artists to get to Stockholm, and it will not be easier in the coming years. Many have recounted how it is to be an artist when war rages – explaining that it becomes a non-existence due to the very real difficulties of being an artist when society is in political chaos. As Amira Hanafi puts it “for me, everything I was working on, had worked on, was political. In fact, every detail in life was political. Above

all, the very choice to be an artist and a poet, was political.”1) Over the years we have worked with various institutions to include spaces from remote countries and even those from countries that are in conflict. This process will also not become easier over the coming years as several players have reduced resources. Mobility has been curtailed and Europe now has a perimeter fence topped with barbed wire. When we started Supermarket we did not know that an artist-run project could be something so big and internationally visible. We hope we have helped to highlight and emphasise the artist-run scene and that more has been learned about different artist-run initiatives around the world. A visionary thinking around a creative and artistic scene has been created. This visionary thinking has also permeated the development of the fair itself where, through strong commitment, we developed both good organisational structures, and, in addition to the exhibition stands and networking opportunities, we have established ambitious performance and seminar programmes and an internationally distributed magazine. How we as a project operate and develop in relation to the art world agendas is constantly being renegotiated. Over the years we have always had different views within the project team and it is this that keeps the debate alive. This is Supermarket’s strength and challenge, which still after ten years

makes it exciting, dynamic, and vital. In this anniversary edition of the magazine we invite you to walk down the memory lane with us and enjoy seing Supermarket’s progress over the years! Finally, a big thank you to current and former members of the project team who steadfastly over ten years, underpaid and with put-upon families, made all these exceptional art fairs possible. Together we’ve done hard labour, laughed and argued; travelled to other countries, visited lots of artist-run galleries; sat in many meetings and solved the big and small problems, and along the way we learned to perform magic with our knees.2) Hanafi Amira, ‘On not making art in the revolution’, S upermarket Art Magazine Issue # 3, 2013, p.41 1)

Swedish idiom for being creative with nothing.

The Supermarket 2016 team (from the left): Christina Wenger, Luna Nilsdotter, Izabella Borzecka, Pontus Raud, Andreas Ribbung, Petra Melin, Kajsa Åhlander Persson, Katarina Evasdotter Birath, Meggi Sandell. (Missing: Felicia Gränd, Björn G Lindahl, Lena Flodman, Alice Maselnikova, Bill Rubino, John W Fail, Eva Beierheimer, Stuart Mayes)

KONSTNÄRS HUSET 2006–2007 SUPERMARKET’s precedor Minimarket started in February 2006 as a reaction to a new commercial art fair called Market. Minimarket was held at Konstnärshuset (The Artists’ House), an Art Nouveau palace in the centre of Stockholm.

Minimarket 2007, photo: Andreas Ribbung

> From: ”Pontus Raud” Date: January 20, 2006 11:09:44 AM GMT+01:00 > To: To: tobias, carina, lena, alvaro, anneli, arni, mikael, andreas > Subject: Mini-market > > Det är grönt ljus från styrelsen på konstnärshuset, som tycker det är en jätterolig ide. jag föreslår minsta möjliga motståndets lag.

> Det kommer bli rörigt och stökigt men roligt om vi inte håller för höga pretantioner.

The day after that energy-filled meeting we emailed each other, and with a hangover some of us wondered whether yesterdayâ&#x20AC;&#x2122;s ideas were no more than a joke or whether we would actually implement Minimarket? There, just then, we could cowardly back away and avoid the troublesome mountain climbing that a new project entails. But the idea sounded like such crazy fun that we could not let it go. We had already begun to plan for hilarious spoofs of all the usual art fair ingredients: minimal stalls but with artists instead of gallery owners, signage where the three rooms would be called Hall A, B and C, absurd announcements on loudspeakers, a mad fair director who would open the exhibition all the time and so on. We had so much fun that we did not stop planning until late at night.

Magnus Wassborg, ‘Fan’ (Macintosh), Candyland’s (toilet) booth, photo: Andreas Ribbung

We were ten galleries and a few other artists’ initiatives who each decided to give fifty euro for construction and other costs. We had to hurry because Market (the commercial art fair) would open its doors in two weeks and we wanted to open our fair at the same time.

As befits an art fair, we decided to have an artist of the year and chose Renate Bauer, who had been silently papering Stockholm’s street furniture and lampposts with her frantically scribbled texts since she left the Royal Academy of Fine Art in the late 70s. She was an artist that no gallery would touch but she was someone that we artists respected and wanted to highlight.

Pontus Raud presents the Artist of the year Renate Bauer (also the background image)

Location: Konstnärshuset (The Artists’ House) Participating galleries: 10, all from Stockholm. Supermarket’s precedor Minimarket started in February 2006 as a reaction to a new commercial art fair called Market. AK28, BLOT, CANDYLAND, CRAC, FIBERARTSWEDEN, ID:I GALLERI, KONSTNÄRERNAS CENTRALKÖP, KONSTNÄRSHUSET, NATIONALGALLERIET, STUDIO 44

2006 mini market ‘Pottkanten’, Teresia Oweson

Photos Minimarket 2007: Andreas Ribbung

The new commercial art fair’s rhetoric was that they had the best galleries and sold the most. It was their exclusionary attitude that had angered us – artists who were exhibiting there were not necessarily even invited to the opening! A well known art critic was not let in so he went to Minimarket instead and wrote about our inclusive attitude that filled the crowded booths to bursting. There were a lot of people, and a lot of the media, at Minimarket who liked our slacker attitude. We became an alternative to the exclusive art world represented by Market. We decided there and then that next year we would become Supermarket and we would take over the whole building.

Photo: Gunnar Nehls

Carina Gardefjord and Gunilla Poignant, Fiber Art Sweden, Hall C Booth 04

From Frans Josef Petersson’s report from the seminar ‘All light on us’, organised by IKK, Institute for artists and art mediators, held at KKV Monumental in Malmö 30.9–2.10 2006: A discussion followed in which several participants were skeptical to ‘the fair format’, and wondered why the artist-run initatives should copy a form developed for commercial galleries and their need to attract collectors and sell art. This discussion was remarkable, as artist-run initiatives always been all about embracing some form of organisation (gallery, magazine) and make it theirs. The controversial in this case might be that it so clearly approaches the commercial art sector, something which was obviously taboo among many of the seminar participants.

Date: Sat, February 4, 2006 09:29:06 +0100 From: lena gustavsson <lena_g@hotmail.com> To: Andreas Ribbung <andreas@ribbung.com> CC: carina, staffan, alvaro, anneli, arni, michael, pontus,tobias, petter lyckat lyckat är ordet. Jag funderar på att det kanske vore bra med minimarket hemsida/domän, som vi pratade om förut. Det alla verkar gilla är just Mini - Vi kanske bara ska tränga in fler saker till nästa gång, och inte bli super, utan spara mini- ? vi ses / lena

2007 SUPER MARKET Location: Konstnärshuset (The Artists’ House) Participating galleries: 17 After a great response, Minimarket turned into Supermarket and took place in the entire building. A side programme was created, consisting of seminars, screenings, performances and presentations concerning current issues of the artist-run art scene. The first catalogue was made, including a history of artist-run spaces in Sweden.

GALLERI BOX, CANDYLAND, CIRKULATIONSCENTRALEN, CONSORTIUM, DUNK!, FRANCE FICTION, GALLERI 54, ID:I GALLERI, KOH-I-NOOR, LIFEBOMB, LOW SALT GALLERY, MARIENBORG, NATIONALGALLERIET, STUDIO 44, TEGEN 2, 300M3 ART SPACE, VERKLIGHETEN, AK28, BKF, BUS, CANAL, CHTO DELAT, CRAC, EDMUND PIPER/BERLINER KUNSTSALON, ERSTA KONSTHALL, FIBERARTSWEDEN, GOOD TV, IKK, KONSTNÄRERNAS CENTRALKÖP, KRO, NKF, PALETTEN, PINEAPPLE VIDEOBAR, SITE MAGAZINE, SOMETIMES, TORPEDO BOOKSTORE, TWOCHANGE

12 12

Daniel Westlund and Árni Gudmundsson in front of Konstnärshuset photo: Andreas Ribbung

We rode on our success with Minimarket and, after lots of ifs and buts, the mangement board at Konstnärshuset (the Artists’ Association’s premises) said yes – we could do this new and bigger version of the fair. We immediately began to think of how to use every space in the building.

We had use of the exhibition rooms on two floors, and in the ‘Lounge’ where we held Minimarket the previous year we decided to have smaller presentations and artist talks. We wanted to invite exhibitors from other cities and other countries. We all got in touch with our various contacts in order to find other artist-run organisations and initiatives across Europe. We decided not to spend money on renting an office but held our first meetings at a nearby café. The discussions were heated: should we be called ‘Super’ or should we continue to be the ‘Mini’? Would we do a serious art fair or do something completely new? Was the fair format itself unavoidably commercial? Was it a ‘festival’ that we wanted to do? In the beginning everything and anything was possible and it was hard to choose what way to go. Petter Hellsing, Andreas Ribbung with daughter Freja, Pontus Raud, Diana Kaur, Tobias Sjödin, photo: Anna Selander

Any discussions concerning money immediately became explosive. Can we charge? Early on we decided that it would cost three hundred euro to participate, but should the galleries that we ourselves represented pay? Many exhibitors volunteered to help with the building to avoid the participation fee. In the end, we had to say that everyone without exception needed to pay – no questions! It was one of those decisions that ultimately meant that the project was sustainable. “But we are not for profit!!” Those words echoed when we suggested that we would charge admission to Supermarket in 2007. It immediately became an impassioned discussion about money and why we do art projects.

We had many discussions about how we should present Supermarket, and about our relationship to the other two art fairs in the city. Would we be in opposition – an ‘alternative’, or would we say that we just added our part of the art scene – the artist-run, to the already visible institutional and commerical scenes?

Photos: Andreas Ribbung 14

Meggi Sandell started as a volunteer at Supermarket in 2007 and soon became indispensable in the working group. Today she is a project manager together with Pontus Raud and Andreas Ribbung.

Jakob Eklund, ‘Pet’, C-print, 100x70 cm, 2006

Nina Bondeson, ‘Brodös med hjälphund’

We decided to make a catalogue. First we wondered whether some authority in the art world would like to write about the artist-run scene. When we asked just such a person we were stunned as he laughed: “You guys are just friends who drink red wine and give each other shows! There is no selection and so there is no quality. I do not see any point in writing about it.” That attitude showed us the distrust of artists’ professionalism that existed at that time, which together with a lack of confidence had kept the artists ‘in their place’. So we did it ourselves.

After Supermarket 2007, we sat in the café and wondered, “What’s going to happen now?” Some of us wanted to continue while others dropped out. Our large committee became a smaller group. And as Konstnärshuset proved too small for the large crowds we needed to find a new venue.

CHARLES AND RAY EAMES/

17 APRIL - 04 SEPTEMBER 2016 TIS 11-20, ONS-SÖN 11-18 WWW.BILDMUSEET.UMU.SE 17

Enskilda Galleriet Location: Enskilda Galleriet Participating galleries: 37 Supermarket was held in a run-down industrial space in Kungsholmen, in central Stockholm. Artists’ initiatives from 17 different cities around the world were participating.

‘Enskilda Galleriet’ is a large premises on Kungsholmen that was used for parties and fashion events. The manager there had a name that brought to mind an old pirate and charged a truly painful rent. This turned out to be a very costly experience.

ALMA ENTERPRISES, GALLERI BARBARA HANSEN/ VAN EIJK’S,BASTARD, GALLERI BOX, CANDY LAND,CIRKULATIONSCENTRALEN, CO-LAB, DUNK!, F.A.I.T., GALLERI 54, FIBERARTSWEDEN, FORMVERK, THE WHITE TUBE/THE G.U.N. LADIES, ID:I GALLERI, KABINE, KULTIVATOR, DYESTAD, LIFEBOMB, NATIONALGALLERIET, P/////AKT, PIPER/ SABELA, RCCAAQ QUEBEC, SCULPTORS GUILD, SPANIEN 19C, STUDIO 44, SZU SZU, TEGEN2, UNTEN DRUNTER, WYSPA, BUS, CRAC, HJÄRNSTORM, KRO, KONSTNÄRSHUSET/SKF, NKF SWEDISH SECTION, PALETTEN, SJÖN

19 19

When we were at KonstnĂ¤rshuset in 2007 we had literally built the exhibition ourselves with a small team of artists â&#x20AC;&#x201C; and we were so proud of the walls that we made and erected! Now at Enskilda Galleriet we were going to have to build three times as much wall space. We got it all done by the skin of our teeth: we built the 400 meters of wall, painted all of them white, we arranged the power, and organised lighting with industrial lamps that we ourselves bought, but we got it done and all in the space of two days. The only downside was that after this we walked around the exhibition like zombies!

Photos: Kenneth Pils and Andreas Ribbung

Björn Perborg, ‘Suitcase Studies’, Galleri Box, Gothenburg photo: Hendrik Zeitler

DUNK!, Copenhagen photo: Andreas Ribbung

Szu szu, Warsaw photo: Kenneth Pils

Fredrik Svensson, ‘Förtöjning’ 21 Unten Drunter, Malmö

photos: Hendrik Zeitler

‘Excersis’ by Maria Heimer Åkerlund was a performance that was based on the ideas of an exchange between dance and military training. They held a conducted preview with us before it was presented at Moderna Museet.

Spanien 19C, Aarhus

Kultivator, Dyestad, Öland photo: Andreas Ribbung

Wyspa, Gdansk photo: Kenneth Pils

We started Supermarket Talks as an unbiased place for panel discussions, presentations, video screenings and performances.

‘Why artist-run?’, panel discussion moderated by Robert Stasinski. Bastien Gilbert, RCAAQ, Quebec, Edmund Piper, Berliner Kunstsalon, Nienke Vijlbrief, P/////AKT, Amsterdam, Magdalena Kownacka, F.A.I.T., Krakow, Benedict Tomlinson, Alma Enterprises, London, 23 Jerelyn Hanrahan, The Sculptors Guild, New York, Pontus Raud, Supermarket, Stockholm.

This feels so wrong! The sense of dis-pleasure was great amongst the project team when we tore down the fair and had no option but to toss building materials worth almost ten thousand euro in to a skip. There was much discussion about changing our ways of working to become more ecologically and environmentally responsible.

24 Illustration: Pontus Raud

BONNIERSKONSTHALL COLLECTED WORKS! 30 YEARS WITH THE MARIA BONNIER DAHLIN FOUNDATION 22 MAY 28 AUG INSOMNIA 24 SEP 22 JAN

BONNIERSKONSTHALL.SE FREE ADMISSION 25

CLARION HOTEL STOCKHOLM Location: Clarion Hotel Stockholm Participating galleries: 50 Theme: Art of the future The venue was a newly built first-class designer hotel. Artists’ initiatives from 26 different cities around the world were participating.

GALLERI 54, ABANDONED GALLERY, ABC GALLERY, ALMA LÖV, BARBUR, GALLERI BOX, CANDYLAND, CARLA BREW GALLERY, CENTRE FOR VISUAL INTROSP.ECTION, CIRKULATIONSCENTRALEN, DUNK!, ECHO, FIBERARTSWEDEN, FORMVERK, FRIDEYMICKEL, HUUTO, ID:I GALLERI, GALLERIA JUST, TURKU, KONCENTRAT, KONSTEPIDEMIN, KULTIVATOR, KUTEN, LAUNDRY, LOKAL_30, MALT, MICROWESTEN, NATIONALGALLERIET, NEST, P/////AKT, PROJECT SPACE 1646, RAKETAGALLERI ROSTRUM, SPACE POETRY, SPANIEN 19C, SPARK, SPRINKLER, STUDIO 44, GALLERI SYSTER, TEGEN 2, TITANIK / ARTE, TWOCHANGE, UNTEN DRUNTER, BOTNIK STUDIOS, NOCUBE, V8 PLATTFORM, VERKLIGHETEN, ART IN OFFICE, NYA DIGITALA BILDVERKSTADEN, FILMFORM, GLOBAL STONE WORKSHOP, HJÄRNSTORM, KC ÖST, KONSTPERSPEKTIV, KRO/KIF, LIVE ACTION, NORDIC ART ASSOCIATION, NUROPE

Emma Egnér and Stina Ahlman together with a hotel staff member at the Clarion Hotel counter. photo Kenneth Pils

2009 In 2009 SUPERMARKET moved to a newly built first-class designer hotel, The Clarion Hotel Stockholm. A theme for the TALKS programme was introduced, this first year it was Art of the future.

Photo: Ann FrĂśssĂŠn

We licked our wounds after Supermarket 2008 and got better organised, but where could we have the next fair? The four-star designer hotel Clarion Stockholm had since its launch promoted itself through contemporary art. They invited us to a meeting over a luxury hotel breakfast and said they wanted to collaborate with us. We were astonished and accepted but were also a little frightened by the idea.

Supermarket 2009, photo Kenneth27 Pils

1ST FLOOR

2ND FLOOR In the autumn we realised that there were a lot of new applicants to Supermarket. The ripples had begun to spread out across the water. For the first time we were faced with the difficult task of having to make selections and say no to applicants even if they fulfilled our criteria. We began to learn that the initial hard work of supporting the invited galleries’ searches for funding, meant that we could bring in exhibitors from more and more countries. Some farsighted embassies and cultural institutes saw the value in their countries being represented in this context.

UNI - the monetary project’, Candyland’s booth, photo: Malou Bergman

Video installation by Alexandra Werlich and Matthijs Rensman, 1646, the Hague

The former principle art fair in Stockholm had just ‘thrown in the towel’ and quite unexpectedly with our 55 galleries we were the largest art fair. All of a sudden we were taken seriously. We were an artist-run art fair with chaos and creativity in a professional setting of a luxury hotel and everyone was surprised that it worked so well. It was a great clash between a fashionably designed hotel and trashy offspaces. Supermarket was not like the conferences that the hotel often hosted – Supermarket was something completely different.

Jan Mioduszewski, ‘Horse Monument’, performance, Lokal_30, Warsaw, photo Kenneth Pils

Exhibitors began to seize the opportunity to create interactive projects at their stands, where the audience was invited to participate in various ways, this continued to be a feature typical of Supermarket.

Now the fair had grown so much that we did not even think about building walls ourselves, instead we rented exhibition walls just like all the other art fairs. The hotel didn’t have an elevator big enough to take the exhibition walls, so we called our colleagues all across the city to come help carry 200 heavy wall sections up the stairs.

Petter Hellsing and Hasse Lindroth volunteering, photo Kenneth Pils

Thumbs up from Bengt Tornvall, director of Konstmässan, the former principle art fair in Stockholm, photo: Kenneth Pils

UNI - the monetary project’, Candyland’s booth, photo: Malou Bergman

Dream market – a children’s workshop and guided tours for kids, were organised by Maria Saveland and Anna Selander.

Maria Saveland and Anna Selander, ‘Dream market’

Angelica Fojtuch, ‘3kropki’, performance. Lokal_30, Warsaw

That year performances were going on everywhere: Angelica Fojtuch’s performance lasted for several hours as she slowly snaked across the floor tightly wrapped in bandages. Residents passed in wonder on the way to their hotel rooms.

The booth of Titanik, Turku, photo: Kenneth Pils

Galleri 54 from Gothenburg celebrated their 60 year anniversary as an exhibition space, serving cake and coffee in their booth

6 Installation by Gunnar Sรถder, ID:I Galleri, Stockholm, photo Kenneth Pils

When the rowdy boisterous art project met the hospitality industry it was, of course, the meeting of two very different cultures with completely different economic circumstances and perspectives. And we decided, feeling satisfied, to go our separate ways.

31 Illustration: Pontus Raud

MALMO KONSTHALL

KULTUR HUSET 2010–2014 Location: Kulturhuset (The City’s Cultural Centre) Participating galleries: 66–88 Kulturhuset is located at Sergels Torg in the very centre of Stockholm, and since its opening in 1974 Kulturhuset has offered culture in all imaginable shapes. SUPERMARKET worked as an independent event taking over two floors of this popular cultural venue.

“You have such huge artistic cred, so we really want you to come here”, said the then head of Kulturhuset (Stockholm’s cultural centre) and ushered in a new period for our art fair. He had already shown interest in the project before 2009 and now we resumed the negotiations. Along with the head of exhibitions the courageous decision was taken to let in our unruly project. We successfully scooped two half floors and could expand even more! The advantages of the premises were that they were already designed for exhibitions, and they have a central location making it easy for a broad audience to get to. The huge cargo lift effortlessly enabled installing the exhibition walls – we could even take up a car and a caravan to the exhibition!

‘Oscillating Absence’ a kinetic sculpture by Paula Urbano,

34 outside Kulturhuset, 2013, photo: Somei Chan

Kulturhuset, photo: Andreas Ribbung 2010 00130GALLERY HELSINKI, GALLERI 54, GALLERI 69, ALPINEUM PRODUZENTENGALERIE, A.M.180 COLLECTIVE, ART ON ARMITAGE, ART VIDEO SCREENING, ARTICULE, ARTILLERIE, ARTMOBILE, MICROWESTEN, BIRO BEOGRAD, BRICKWORKS, CANDYLAND, CARAVANSARAI, CFF – CENTRUM FÖR FOTOGRAFI, CIRKULATIONSCENTRALEN, GALLERY CRYMO, DE SERVICE GARAGE, 2011 00130GALLERY HELSINKI, 1646, A.M.180 GALLERY, ACOSS, ALPINEUM PRODUZENTENGALERIE, ART ON ARMITAGE, ART:SCREEN, ARTILLERIE, ARTMOBILE, ARTSPACE, CANDYLAND, CARAVANSARAI, CFF – CENTRUM FÖR FOTOGRAFI, CHIOSC, OBERLIHT ASSOCIATION, CIRKULATIONSCENTRALEN, CLUB ELECTRO PUTERE, DE SERVICE GARAGE, DE ZWARTE RUYTER, DÍÓNÝSÍA RESIDENCY, ENTRÉE, ESCUELA DE VAGABUNDOS, FIT FREIE INTERNATIONALE TANKSTELLE, FIVE HUNDRED DOLLARS, FORMVERK (ART ZONE), FULLERSTA BIO KONSTHALL, GALERIA BIAŁA, GALLERI 54, GALLERI BOX, GALLERI MASKINEN, GALLERIA HUUTO, GALLERIAKONE, GALLERY IME, GOCART GALLERY, HMK {HOTELMARIAKAPEL}, ID:I GALLERI, IN FOCUS: AFRICAN AND NORDIC ART IN COLLABORATION, KNIPSU, KONSTNÄRSHUSET, KONSTVERKET/ TAIDEVIRASTO, KULTIVATOR, LO AND BEHOLD, MICROWESTEN, MOCA LONDON, MUSTARINDA ARTISTS IN RESIDENCY, MUU GALLERIA, NATIONALGALLERIET, OFFICE D’ART CONTEMPORAIN, OKSASENKATU 11, OPEN PLACE, PHOTOGRAPHIC GALLERY HIPPOLYTE, PROPELLER ISLAND, ROSALUX, SANT MARC, SKÅNES KONSTFÖRENING, SKULPTÖRFÖRBUNDET, SMALL PROJECTS, STACION – CENTER FOR CONTEMPORARY ART PRISHTINA, STUDIO 44, TEGEN 2, TEMA, TREIGNAC PROJET, ZET FOUNDATION, ARTSCENETRONDHEIM, DKTUS, FILMFORM, KONSTPERSPEKTIV, KRO/KIF, NO BUDGET PERFORMANCE, NKF NORDIC ART ASSOCIATION FINLAND, NKF NORDIC ART ASSOCIATION SWEDEN 2012 A.M.180 COLLECTIVE, ALPINEUM PRODUZENTENGALERIE, ARGUMENT VERTONINGSRUIMTE, ART CONTAINER, ART LAB GNESTA, ART:SCREEN, ARTMOBILE, BLANK PROJECTS, BRISTOL DIVING SCHOOL, CANDYLAND, CFF – CENTRUM FÖR FOTOGRAFI, CIRKULATIONSCENTRALEN, DUPLEX10M2, ED VIDEO MEDIA ARTS CENTRE, FELTSPACE, FOTOGALERIE WIEN, FUNDACJA SALONY, GALERIA DE MUERTE, GALLERI 69, GALLERI BERGMAN, GALLERIA HUUTO, GALLERIA RAJATILA, GALLERIAKONE, GOCART GALLERY, GRAD, EUROPEAN CENTRE FOR CULTURE AND DEBATE, GREYLIGHT PROJECTS, ID:I GALLERI, IS-PROJECTS+SNO+PARISCONCRET, KALLIO KUNSTHALLE, KNIPSU, KONSTN.RSHUSET SKF, KONTORPROJECTS, KULTUR AM NAUENER PLATZ E.V., KUNSTHUIS SYB, KURANT VISNINGSROM, LO AND BEHOLD, MANTOVA EYES, MILKSHAKE AGENCY, MOBA BANATSKA, MODERN FUEL ARTIST-RUN CENTRE, MUU GALLERIA, NATIONALGALLERIET, NEST, OFF LIMITS, OFIS, PHOTOGRAPHIC GALLERY HIPPOLYTE, PLAN B, PTARMIGAN, QWERTY, RAINBOWARTSPROJECT, ROSALUX, SANT MARC, SCIBASE, SERDE, SHIFT COLLABORATIVE STUDIO, SIC, SMALL PROJECTS, STUDIO 44, SUPERCLUB GALLERY, T.ACT, TEGEN 2, THIRD BELGRADE, TOTALDOBZE, TOVES GALLERI, TUPAJUMI FOUNDATION, UDSTILLINGSSTEDET SPANIEN19C, UNIT ONE GALLERY, VERKLIGHETEN, VOLT, ZET FOUNDATION, ZETA GALERI, ZOLDER MUSEUM, ARTYČOK.TV, GRAFFITIFRÄMJANDET, KONSTNÄRERNAS KOLLEKTIVVERKSTAD, KONSTNÄRSCENTRUM ÖST, KONSTPERSPEKTIV, KRO/ KIF, KULTURTIDSKRIFTEN CORA, NORDIC ART ASSOCIATION, NORDIC ART ASSOCIATION, TIDSKRIFTEN HJÄRNSTORM

2013 1646, 2B GALLERY, A.M.180 COLLECTIVE, ALISN, ALPINEUM PRODUZENTENGALERIE, ARS AUTTOINEN, ART LAB GNESTA, ART ON ARMITAGE, ARTELLEWA ART SPACE, ARTISTS’ ASSOCIATION OF LAPLAND, ATELJÉN HEA, BLANK PROJECTS, BLUE OYSTER, CANDYLAND, CFF – CENTRUM FÖR FOTOGRAFI, CIRKULATIONSCENTRALEN, DIENSTGEBÄUDE, DUPLEX10M2, ED VIDEO MEDIA ARTS CENTRE, ESPACIO TANGENTE, EVIL SON, FORMVERK (ART ZONE), FRAGMENT S, GALERIA SZARA, GALLERI BOX, GALLERI KONSTEPIDEMIN, GALLERI MASKINEN, GALLERI SE KONST, GALLERI SYSTER, GALLERI VERKLIGHETEN, GALLERIA HUUTO, GALLERIA SCULPTOR, GOCART GALLERY, GRAD, GRAFISKA SÄLLSKAPET/THE SWEDISH PRINTMAKERS’ ASSOCIATION, GREEN IS GOLD, GRIMMUSEUM, GUDRAN ASSOCIATION FOR ART AND DEVELOPMENT, HEAVY MERRY FINLAND FOUNDATION, HMK {HOTEL MARIAKAPEL}, ID:I GALLERI, IS-PROJECTS, JCA DE KOK, KALLIO KUNSTHALLE, KINGS ARI, KONSTNÄRSHUSET, KULTIVATOR, LE CUBE – INDEPENDENT ART ROOM, LO AND BEHOLD, MARGARIS FOUNDATION/LES YPER YPER, MICROWESTEN, MILKSHAKE AGENCY, MUU GALLERIA, NATIONALGALLERIET, NEST, OFFICE D’ART CONTEMPORAIN, OR GALLERY, PIETMONDRIAAN.COM, RAINBOWARTSPROJECT, SANT MARC, STUDIO 44, SUPERCLUB GALLERY AND STUDIOS, T-GALLERY, T.ACT PRESENTED BY KUNSTTRANSIT, TEGEN2, THE M( )ESUM, THE MUSEUM OF FORGETTING, TOOLBOX, TOTALDOBZE, TPTP, TRANSIENT PROJECTS TO PEOPLE, TUPAJUMI FOUNDATION, ZEROSTATION, ZETA GALERI, ZONA, Ў GALLERY 2014 00130GALLERY HELSINKI, 1646, 3:E VÅNINGEN / 3RD FLOOR, AADK CENTRO NEGRA, ALLARTNOW, ALPINEUM PRODUZENTENGALERIE, A.M.180 COLLECTIVE, ART ON ARMITAGE, ARTELLEWA ART SPACE, ARTISTS’ ASSOCIATION OF OULU, ATELJÉN HEA, ATLANTIC HOUSE, BHOTSUN ART, GALLERI BOX, CANDYLAND, CCA TBILISI, CIRKULATIONSCENTRALEN, DAILY TEMPORARY, DETROIT STOCKHOLM, DUPLEX100M2, ED VIDEO MEDIA ARTS CENTRE, GALERIA ENTROPIA, EXTRA MUROS / POL’N, FIBER ART SWEDEN, FILMVERKSTADEN, FRAGMENT S, GOCART GALLERY, GRAFIK I VÄST, GRAFISKA SÄLLSKAPET, GRÜNTALER9, GUDRAN, HARP ART LAB, HJÄRNSTORM, GALLERIA HUUTO, ID:I GALLERI, KALLIO KUNSTHALLE, KUNSTENAARSINITIATIEF |ELDERS, KUNSTSCHLAGER, LATERAL ARTSPACE, GALLERI LOKOMOTIV, GALLERI MASKINEN, MNKY BIZZ GROUP, MUSEOLABORATORIO, THE MUSEUM OF FORGETTING, MUU GALLERIA, NATIONALGALLERIET, GALLERY NECTAR/GEOAIR, NEST, OCCUPY SPACE, OK CORRAL EXHIBITION SPACE, OONAGH YOUNG GALLERY, ORMSTON HOUSE, PAPER, PEEK-A-BOO GALLERY (GOTHAM STUDIOS INC), PLAN B, PLATFORM, QWERTY, RAJATILA GALLERY, GALLERIA SCULPTOR, GALLERI SE KONST, SLAKTHUSATELJÉRNA, STUDIO 44, S. Y. L. A. NTENHEIM, TAL, TEGEN2, THE ROOM BELOW, TUPAJUMI FOUNDATION, GALLERI VERKLIGHETEN, GALLERIA VISU, WATER TOWER ART FEST, ZETA GALLERY, Ў GALLERY, KONSTKONSULENTERNA I SVERIGE, KONSTNÄRERNAS KOLLEKTIVVERKSTAD (KKV), KONSTNÄRSCENTRUM ÖST, KONSTPERSPEKTIV, KRO/KIF, KULTURTIDSKRIFTEN CORA, NORDIC ART ASSOCIATION FINLAND (NKF), NORDIC ART ASSOCIATION SWEDEN (NKF), OEI, SVERIGES ALLMÄNNA KONSTFÖRENING (SAK)

Andreas Ribbung and a member of Kulturhuset’s technical staff, 2011, photo: Somei Chan

Our quick and fast acting small project team was suddenly inside a large institution with a slow agenda and rigid structures. It was a completely new way of working, and involved many people in different roles to cooperate with.

Photo: Andreas Ribbung

We were in Stockholm’s absolute centre, in one of the most famous buildings in Sweden. Applications from foreign exhibitors just grew and grew. We added the suffix Stockholm Independent Art Fair, mainly to communicate with those who did not know what ‘artist-run’ meant. We chose the term ‘independent’ because we wanted people to associate our art fair with the autonomy of the independent music scene.

Photo: JosĂŠ Figueroa

Since the art fair takes place over an intensive week there were few who understood that we work a whole year to organise Supermarket. We are a small working team of between three and five people in the beginning who set the guidelines for the upcoming fair. Then people come in to the project gradually as the need arises. When the art fair opens its doors we have about 70 people who keep the wheels rolling.

The first project manager from Kulturhusetâ&#x20AC;&#x2122;s side soon hit the wall. We realised that our little art fair had become a large complex machine that created chaos and disarray. We had 80 galleries from 30 countries participating and it was high time to create new organisational structures.

Photo: Besik Kurashvili

installation of Supermarket 2010-14

Volunteers and Jannike Simonsson, project coordinator in 2011, photo: Somei Chan

Photos: Besik Kurashvili, Valentin Brutaro, Simon Berg, Andreas Ribbung and Somei Chan

After every fair we had an inspection by the heads of Kulturhuset. The floors were sacred and were closely eyed by the building manager. Often we had to get down on our hands and knees, and with fingernails and bits of rag, rub away small white paint splashes or tape residue over the thousand square meters of floors. It was a healthy reminder that we are still only artists â&#x20AC;&#x201C; who do everything including the shitty jobs!

As Supermarket’s visitor numbers could now soar, the possibility was created to carry out crazy ideas that we had not previously even dreamed of. In the beginning we had sold about 400 catalogues at each fair but when we arrived at Kulturhuset we sold many times more. We decided that next year we would create an international art magazine focusing on the artist-run scene. It was a way to create something long-lasting because the Supermarket fair is somewhat like a firework – with its awe inspiring explosion of energy vanishing almost as soon as it appears. Both visitors and exhibitors could take the magazine away with them, and it could be distributed worldwide. “How the hell do you make a magazine?” We bought a stack of international art magazines from the newsagents and began to brainstorm. The first issue was a mishmash of all sorts of things, somewhere that art, fashion and philosophy become a kind of playful porridge. Then we became a little smarter and took advantage of the fact that we were a fair for artist-run projects. It became more overseas reportage and writers from the scenes that we preferred.

Supermarket 2012, photo: Kenneth Pils

Supermarket 2014, photo: Besik Kurashvili

Jock Mooney, ‘Klot’, Five Hundred Dollars, London, photo: José Figueroa

‘My wörst’, Nationalgalleriet, Stockholm presents Galerie Bernsteinzimmer, Nürnberg, 2011, photo: José Figueroa

Harp Art Lab, Harplinge, 2014, Besik Kurashvili

Juan Andres Milanes Benito, ‘Cold War’, Galleri Se Konst, Falun, photo: Simon Berg

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Jan Cardell, ‘Hejarklacksmaskinen’, Plan3, Kristianstad, 2010, photo: Fatima Olsson

Cabello/Carceller, ‘6 Euro Budget’, Off Limits, Madrid, 2012, photo: Valentin Brutaro

Police car, installation by Cristian Sievers, Kilen Art Group, Luleå, photo: Andreas Ribbung

‘The Wedding Between Art & Agriculture’, Kultivator, Dyestad, Öland photo: Anna Ekros

Heli Ryhänen, Galleria Sculptor, Helsinki, photo: Somei Chan

Güüti, ‘Tattoo dictionary’, Kallio Kunsthalle, Helsinki, photo: Somei Chan

Art Container, Tallinn, 2012, photo: Kenneth Pils

Valeria Montti Colque, ‘La Jardinera’, No budget performance, 2011, photo: José Figueroa

Jakub Nepraš, ‘Fossil’, videopainting, Candyland, Stockholm, 2013, photo: Somei Chan

Vladimir Us and Vadim Tiganas serve borscht, Chiosc / Oberliht Association, Chişinău, 2011, photo: José Figueroa

Henrik Ekesiöö, ‘Torkel’

A smell of meatballs and gravy spread through the fair. Some artist-initiatives had joined forces and organised ‘The First Swedish–Turkish ‘The Swedish–Turkish Meatball Eating Contest’, Caravansarai, Istanbul, 2010. Meatball Eating Contest’. The The winner Adam Klimczak from winner ate 55 meatballs, and Galeria Wschodnia, Łódź, still wanted to keep eating. photo: Niclas Hallberg

In order to reach beyond the venue, and to those who were unable to visit Stockholm, Supermarket started experimenting with different kinds of web broad-casting, ‘Super TV’, ranging from mobile camera excerpts uploaded to Bambuser, to ‘talk shows’ and interviews filmed with professional equipment.

Kalle Turakka Purhonen’s performance ‘Vernissage Bodybuilder’, Galleria Huuto, Helsinki, 2011, photo: José Figueroa

Performance by Helena Johard, 2010, photo: Jakob Fogelquist

Lola Akinmade Åkerström interviewed by Helena Burman, Super TV, 2013, photo: Somei Chan

Bulgaria vs Turkey wrestling game in meatballs and grayv, performance by Árni Gudmundsson, Cristian Rieloff, Anne Weshinskey and Niclas Hallberg, 2011 photo: Niclas Hallberg

Torbjörn Berg and Alvaro Campo, ‘Remote Controlled Artist’ photo: Kristina Keyser

Hyun Joo Min, photo: Somei Chan

Från: m.e@kulturhuset.stockholm.se Skickat: den 25 januari 2013 13:45 Till: l.b.l@kulturhuset.stockholm.se Ämne: SV: Koka soppa??? Supermarket Hej! Bitte sa något om att Super market nu igen. jag lite förvånad, vi det inte skulle hända

Olga Prokhorova, photo: Somei Chan

det skulle kokas soppa på Stämmer det? I så fall är sa ju redan förra året att igen!

‘Bread on bread’ by Stina Engman and Malin Andersson, photo: Somei Chan

Från: b.w@kulturhuset.stockholm.se Skickat: den 9 januari 2013 14:32 Till: l.b.l@kulturhuset.stockholm.se Ämne: SV: Önskemål och frågor fr Supermarket

Audience waiting for Bill Drummond, 2010, photo: Anna Ekros

100 kg mjöl och 50 liter vatten är inte bra att ha i Hörsalen. Varken Janne, jag eller Maths vill ha det där. Kan dom tänka om?

The Talks programme was now full with debates and discussions and we wondered about starting a new stage to accommodate the increasing number of performance pieces. We put a red spot on the exhibition map and said that here on this – Red Spot – is the performance stage, and we put a big round red carpet there. The red spot grew to become its own stage with its own programme.

Audience at Zirkus Loko-motiv, ‘A sculptural staging of mass analysis – Bed-Sitting’, photo: Somei Chan

The way that the stage and seating was set up for Red Spot meant that it developed towards performance art that bordered on dance, mime, music and theatre. We were inspired to create an ambitious stage programme, which was realised through the hard work of our staff and the performance artists themselves, as well as Kulturhuset’s technicians who were a bunch of old rock‘n’roll dudes who enjoyed working with these stagecrafts.

Paul Dunca, ‘Incubus Cryptmaw’, photo: Valentin Brutaru

“No, no, no! You must not hang a curtain of VHS tapes there!! If someone goes by and sparks-up their cigarette lighter it can catch fire! It will burn like napalm and the glass panels will explode.” “Those artists from Moldova must not heat up beetroot soup in their exhibition booth! The steam from the cooker will trigger the sprinkler system!” Kulturhusets health and safety policy often came into conflict with artistic freedom.

Alan Emerson Hicks, photo: Somei Chan

Chuya Chia, ‘Smiling piece’, No-Budget Performance, photo: Denis Romanovski

Supermarket Talks, which mainly consisted of panel discussions, developed in collaboration with, among others, Swedish Exhibition Agency, Swedish Radio and national artists’ organisations.

Dror Feiler, ‘Agitatorium’, a ‘no fun stand-up’, 2014, photo: Sarah Teheranian

‘Fake Finns and Wannabe Swedes’, collaboration with PALS, New Art Contact and PAiN, 2013: Lovisa Johansson, Dror Feiler, Tomasz Szrama, Olga Prokhorova, Hiroko Tsuchimoto, Baaba Jakeh Chande, Dorinel Marc, Willem Wilhelmus, Rasoul Nejadmehr, Esmeralda Moberg, Denis Romanovski, Katri Shaller, Nongkran Jaw Panmongkol photo: Somei Chan

Supermarket Talks, ‘Activism and Contemporary art’ Bedri Baykam and Marla Bendini, photo: Valentin Brutaru

46 46

Trio Electromondo on stage at the opening party at Kulturhuset 2010. Valter Kinbom, Johan Söderberg and Andrés Sierra, VJs Alvaro Campo and Mattias Larson. photo: Nadja Ekman

We discovered that we had created a platform for international networking that resulted in as many collaborations outside of Sweden as within. To acknowledge and extend this we launched ‘Supermarket Meetings’ – organised and focused short meetings for small groups of participants. Over the years these networking and knowledge exchange meetings were to develop into an important part of the fair.

-------- Ursprungligt meddelande -------Ämne: Supermarket - Kulturhuset Stadsteatern Datum: Wed, 16 Apr 2014 13:44:45 +0200 Från: Benny Fredriksson <benny. fredriksson@stadsteatern. stockholm.se> Hej! Som vi lovade kommer nu besked till er angående Supermarket 2015. Vi har beslutat att inte samarbeta kring mässan nästa år. Konst och designområdet i Kulturhuset Stadsteatern är inne i en expansiv fas och vi ser inte att vi har plats för Supermarket denna gång. Med vänliga hälsningar, Benny

photo: Valentin Brutaru

Benny Fredriksson VD/CEO Kulturhuset Stadsteatern Telefon: +46 (0)8-506 20 314 Växel: +46 (0)8-506 20 100 kulturhusetstadsteatern.se

16 apr 2014 kl. 13.55 skrev Izabella Borzecka: Jävlar!!! :O

16 apr 2014 kl. 14:38 skrev Meggi Sandell: Sweet säger jag, nu får vi äntligen tänka nytt! Meggi

16 apr 2014 kl 14.44 skrev Andreas Ribbung: Ja det är väl på sätt och vis bra för oss.

16 apr 2014 kl 20.40 skrev Pontus Raud:

Due to a major reorganisation in which the running of Kulturhuset was taken over by Stadsteatern (the City Theatre), the arrangement of Supermarket became problematic and we saw that our days at Kulturhuset were numbered. The creation of a big public limited company was a huge shakeup for the staff of former Kulturhuset. We, who had previously created chaos, suddenly represented continuity when we returned that last year. We had to look for a new venue for the coming year. It was a bit scary to be back at ‘square one’, but we were strengthened by the knowledge that renewal was important. Years at Kulturhuset had begun to merge together. Would we stagnate? Now there was a great challenge ahead of us. New risks, and new opportunities to invent something new again!

Jag för min del blir skitsur på Allianshusets attityd..... Fan, låt dem bygga sin egen fet-djupa grav och jag hoppas att alla konstnärer nästa år står på kanten och kissar ner i avgrunden.

MYCKET

Katarina Bonnevier Mariana Alves Thérèse Kristiansson Luftslott - när vi bygger den stad vi vill leva i 26 februari - 3 april

Maria Friberg MARIA BAJT 8 januari - 21 februari 2016 15 april - 29 maj

PETER JOHANSSON 10 juni - 21 augusti

8 Norrtälje konsthall Norrtälje konsthall

Galles gränd 7, www.norrtalje.se/konsthall

Galles gränd 7 www.norrtalje.se/konsthall

13/2-28/8 2016 Amara Por Dios, Bigert & Bergström, Olle Bonniér, Johanna Byström Sims, Åsa Cederqvist, Jacob Dahlgren, Sara-Vide Ericson, Jens Fänge, Annika von Hausswolff, Erik Hedman, Matti Kallioinen, Katarina Löfström, Janina Nilsson, Bella Rune, Liv Strand, Ruben Wätte, Bengt O. Österblom

www.norrkopingskonstmuseum.se

SVARTA HUSET 2015

Location: Svarta Huset (The Black House) Participating galleries: 64 Theme: Representation/Invisibility In 2015 Supermarket took place in Svarta huset, at Telefonplan, an inner suburb of Stockholm. It was smaller but still as international as before. The rough enviroment and tighter exhibition architecture was appreciated.

1646, GALLERI 54, AL-MAHATTA GALLERY, ALLARTNOW, ALPINEUM PRODUZENTENGALERIE, A.M. 180 COLLECTIVE, ANTENA ESTUDIO, ART ON ARMITAGE, ARTELLEWA ART SPACE, AXEL OBIGER, AXENÉO7, BANG ART NOW CENTRE, GALLERI BOX, CANDYLAND, CIRKULATIONSCENTRALEN, CLUB SOLO, DETROIT STOCKHOLM, DIENSTGEBÄUDE, DUPLEX100M2, EULENGASSE, FILMVERKSTADEN, GOCART GALLERY, GRAFISKA SÄLLSKAPET, HANGMENPROJECTS, ID:I GALLERI, INTERVIEWROOM11, GALLERI KONSTEPIDEMIN, KUNSTHUIS SYB, KÖTTINSPEKTIONEN, LATERAL ARTSPACE, MIZA GALERI, MUSEUM OF CONTEMPORARY CUTS, MUU GALLERIA, NAFASI ART SPACE, OPEN PLACE, ORMSTON HOUSE, PARAZIT, PARKINGALLERY, PASAJ, PHOTOGRAPHIC CENTRE PERI, PINK CUBE, PLAN B, SANT MARC, GALLERIA SCULPTOR, SEVER-7, SILVERADO, STUDIO44, TEGEN 2, THE ROOM BELOW, TITANIK GALLERY, UDSTILLINGSSTEDET TYS, URGENTE, VARIOUS ARTISTS, GALLERI VERKLIGHETEN, VERKSTAD: RUM FÖR KONST, Ў GALLERY OF CONTEMPORARY ART, BILAGA – LIMITED EDITIONS, KONSTKONSULENTERNA I SVERIGE, KONSTNÄRERNAS KOLLEKTIVVERKSTAD KONSTPERSPEKTIV, KONSTPOOL, NKF NORDIC ART ASSOCIATION FINLAND, PLATTFORM, TIDSKRIFTEN HJÄRNSTORM

Photographic Centre Peri, Turku, photo: Luc Pages

To find a venue that is at about 1500 square metres for a short-term project at a decent price is next to impossible in Stockholm. In the end we found the demolition threatened Svarta huset at Telefonplan, an inner suburb of Stockholm. It is part of the old LM Ericsson plant which is also where the Konstfack College of Arts, Crafts and Design is. It took a lot to get the gutted premises in order but it was a great feeling of independence to rent an empty room and not be inside an institution. We built up a labyrinthine fair, which was appreciated by all, even though it was smaller and narrower. We also moved the exhibition to April instead of February. Over all the years we had invited a lot of people from warmer countries to Swedenâ&#x20AC;&#x2122;s coldest time of the year. Now at least spring was in the air!

Urgente, Buenos Aires, photo: Luc Pages

Parazit, Saint Petersburg and Hangmen Projects, Stockholm, photo: Luc Pages

The dough was back as a performance and also the mad declarations over the speaker system. We reclaimed some of the playfulness of Minimarket when we were on our own again.

Heidi Edström [ingentinget], ‘Cumbersome Dough’, photo: Joakim Erixon Flodman

51 52

Hannah Harkes, Mari Prekup (GRAFOROTICA), Grafodroom, Tallinn, photo: Kim Ventura

Opera Factory Sessions, ‘Hot – a Swedish Circus on Merciful Inferno’ (Alannah Robins and Evert Ekros), photo: Kim Ventura

In order to create the opportunity for more people to participate in the networking, seminars and meetings, and be part of Supermarket without necessarily exhibiting, we introduced an experimental programme for Professional Networking Participants. For the tenth anniversary of the fair around twenty artists; mostly active as curators, art consultants, or those engaged with an arts organisation, were selected for an initial run.

Kirsty Kross, ‘Coral Trout Marathon’, photo: Kim Ventura

Panel: ‘Konstkritik och makt’, Alex Rodallec, Nicholas Ringskog Ferrada-Noli, Arazo Arif, Anders Olofsson, Sara Abdollahi, photo: Mathias Persson

52 53

Photo: Kim Ventura

Photo: Heidi Marthinsen

An unforeseen event: Supermarket was subjected to burglary. Photo: Björn G Lindahl

‘Modern Art Desserts’, Silverado, Poznań, photo: Kim Ventura

Elin Wikström (with Supermarket volunteer Torgny Larsson), Galleri Konstepidemin, Gothenburg, photo: Kim Ventura

Shana Moulton ‘Mindplace thoughtstream’, 1646, The Hague, photo: Joakim Erixon Flodman

Valeria Montti Colque, installation at Hjärnstorm’s presentation stand, photo: Luc Pages

Works by Mahmoud Dayoub and Nisrine Boukhari, Allartnow, Damascus, photo: Joakim Erixon Flodman

Relay drawing, (Helena Pehrsson), ID:I Galleri, Stockholm, photo: Heidi Marthinsen

Reinventing Independence By Irene de Craen

For ten years now independent art spaces1) from all over Europe and the rest of the world have flocked to Stockholm once a year to take part in a collective happening of experimental contemporary visual art. Migrating through different locations throughout the Swedish capital, Supermarket has shown year after year that its core concept, based on earlier examples such as Kunstvlaai in Amsterdam and Berliner Kunstsalon in Berlin, is a winning formula. What started out modest in form, but with big ambitions in mind, soon turned into Scandinavia’s largest art fair, surpassing its commercial counterpart Market after only four years. With the move to a smaller venue at Svarta Huset last year’s edition of Supermarket was more modest in size but more than kept its international identity: showcasing 56 art spaces from 30 different countries around the globe.2) Quite an astonishing evolution from when there were just ten exhibitors who were all from Sweden in 2006. In its turn, Supermarket’s success has become an inspiration for artists elsewhere to start similar events of their own, contributing to the ever expanding and strengthening global networks of independent art practices. The year 2016 marks the tenth anniversary of Supermarket, and thus serves as a good moment to reflect on Supermarket in particular as well as the development of the independent art fair in general. Although the concept of the contemporary alternative art fair has seen a wide expansion in the last decade, the idea of the independently organised art show can be said to go all the way back to the nineteenth century, when in 1863 a number of artists organised their own show in reaction to being rejected for the official Paris Salon: the Salon des Refusés. Interestingly, while obliviously lots has changed in the art world since this first counter-exhibition, it was said that, similar to Supermarket and other such fairs, ‘the Salon des Refusés was in fact an agglomeration of disparate examples, the conspicuous presence of the independents gave it the cast of a unified show revealing characteristic features.’3)

Looking at different independent art fairs nowadays there cannot be said to be one distinctive style or form being represented throughout, but rather a cacophony of voices that because of their underlying similarity in spirit and intentions show a more or less common conclusion. On the other hand, as we will see, it is no longer so easy to say that these intentions are necessarily contrary to the ‘official’ presentations of art in the same way the early counterexhibitions were. 56

Closer to home, the 1960s and 70s saw a growth in numbers and influence of independent art spaces, arguably becoming the main influence for the contemporary art that we see in museums today. Back then, ‘the avant-garde field and the art business sector were still separate from one another [...]. And yet avant-garde proponents and the alternative art spaces, [...], were to pave the way for the triumphal progress of present-day art.’4) Following directly from these examples are the independent spaces of today, although reacting to a wholly different set of social and political models. And as the independent strategy becomes a more well known way of operating, the question arises as to whether there is such a thing as a global strategy that unites it. For at least the beginnings of most independent spaces usually arise as a reaction to a very local issue, ‘from a feeling or idea among artists and other insiders that what is offered by the ‘official’ art scene is not sufficient. Besides the studio or academy as a place of production and gathering, every artist is looking for a platform in order to present, experiment and be in touch with an audience and peers. Artist-run initiatives play an important role because they provide a counterweight to the market-driven commercial art world. In addition, the initiators are often more aware of contemporary developments and are able to respond quicker. Because of their small organizational structure and the absence of economic motives, they can also take more risks and are often the first to discover (or create) new ‘trends’.5) Whether it is through cause or effect of the recent increase of independent spaces for art, it is now more than ever before that these spaces are organised, forming a strong international network that in several ways bypasses their reactionary past.

For as the artistic methods of self-organisation are swallowed up by institutions, and counterculture becomes mainstream, the current global scene of self-organisation, can no longer simply be defined by an opposing dichotomy. Added to this is the fact that nowadays there exists a myriad of forms between the large official institutions, commercial galleries, and no budget artists’ initiatives, each with different levels and combinations of financial, experimental, sociallyengaged and critical forms and motivations, that more often than not are making a demarcation between ‘official’ and ‘counter-culture’ virtually impossible. And so this raises the question of how the independent scene can (if at all) be defined, develop into the future and maintain its vanguard position.

In this question, the independent art fair forms an interesting case in point because in their set up and form, they clearly mirror their commercial counterpart, blurring the boundary between profit and non-profit through different approaches to this existing format. Art fairs like Supermarket are solely focused on alternative spaces, having experimentation and networking as their prime agenda, although selling work is also welcomed. Other independent fairs, such as The Others Art Fair in Turin or POPPOSITIONS in Brussels, consciously choose a mix of commercial and non-profit spaces. Here, at least one of the objectives is clearly to sell, and reach an audience of collectors with their usually lower priced artworks, while at the same time the ‘economic practice of the fair is being challenged.’6) And lastly there is the kind of fair, for instance Unfair in Amsterdam, that bypasses art spaces – non-profit or profit – altogether and presents only the artists. Here the work can be sold too, but 100% of sales go to the artists. In more cases than not, besides borrowing the format, independent fairs (still) take place simultaneously with the local commercial fair, while at the same time commercial fairs have started including ‘non-profit’ sections, showing that instead of offering a straightforward alternative to mainstream art practices and market, an interdependency is in fact more the case. Although because of this development the alternative art scene seems to have lost a great deal of its revolutionary legacy by its assimilation of, and into, the market, this development simply stems from a realisation that ‘it is no longer possible to be anti-institutional, as the art institution is essentially everything and everyone who recognises art as art.’7) When the task of institutional critique has become obsolete, than perhaps the new task is the re-definition of criticality from within. Not being able to escape the institution, forces artists to think in terms of a strengthening of their own culture within the larger system through better organisation and the forming of global networks. The challenge is therefore to find new means of production, presentation and discussion of art, that are not defined by relational terms but still suppose another system than the prevailing one. Art fairs such as Supermarket with its focus on presentation and international exchange can play a role in this rhizome that has the potential to go beyond any form of hierarchy or dichotomy. Following the concept of the rhizome as described by Gilles Deleuze and Felix Guattari, the global networks of independent spaces start (and end) from the middle, rather than the outside or margin of society. Leaving behind their historic beginnings and causality, they shoot off in different directions, unable to be defined by one or the multiple. And when having the networks of independent spaces, with each its own local concerns and aesthetics, in mind, how fitting Deleuze and Guattari’s definition of the rhizome becomes: ‘Unlike the tree, the rhizome is not the object of reproduction: neither external reproduction as imagetree nor internal reproduction as tree-structure. The rhizome is an antigenealogy. It is a short-term memory, or antimemory. The rhizome operates by variation, expansion, conquest, capture, offshoots.

Unlike the graphic arts, drawing, or photography, unlike tracings, the rhizome pertains to a map that must be produced, constructed, a map that is always detachable, connectable, reversible, modifiable, and has multiple entryways and exits and its own lines of flight.’ During the ten years of Supermarket many other art fairs and events, some enduring while others ceasing to exist after a single event, that have sprung up and taken root which include amongst others; Universam in Russia, What a mess! Art Fair in Norway, Platforms Project Art Athina in Greece, and Art Fair Suomi Platform in Finland. These ‘offshoots’ can all be seen as creating their ‘own line of flight’, making the genealogy of events irrelevant, because they are connected on a horizontal, rather than a vertical, plain. Considering this, it is no longer of any importance to discern between so-called independent, institutional, or commercial art spaces, as the rhizome makes thinking in hierarchies obsolete. This reflection and concentration inwards and towards each other as opposed to outwards and towards the larger prevailing systems can be thought of as a result of the dismantling of the structures that in the past made it possible to develop a critical relationship to artistic practice. So instead of fighting a dichotomy, it has become imperative to embrace the rhizomatic structure of the global networks. Similarly, instead of attempting to define the function and legitimacy of the alternative art fair and its expanding popularity, realise that they are not an answer to a question, nor a response to a desire, but a question in themselves of how to relate contemporary art practices to the structures that it cannot escape from. There, from the centre, it moves in every direction.

Author’s own English text. Irene de Craen received a BA from the Royal Academy of Fine Arts in The Hague and a BA and MA (cum laude) Art History, Recent Era, from the University of Amsterdam. She is currently artistic director at Hotel Maria Kapel in Hoorn, a freelance editor and writer, and active board member of Platform BK (Platform for Visual Arts). She has contributed to national and international magazines and websites among others Metropolis M, and Frieze, as well as being a contributing author and editor for Mister Motley and Tubelight. In 2011 and 2012 she was a curator at FATFORM in Amsterdam Southeast. Personal interests and objects of study include artists’ initiatives, visual culture, anthropology, epistemology, the archive, art from pre-history, fetishism and magic. In addition, she watches too much television and really likes cats.

Although the terminology is ambiguous, it is not the topic of this text. Therefore terms such as ‘independent’, ‘self-organised’, ‘artist-run’, and ‘alternative’ are used interchangeably throughout. 2) www.supermarketartfair.com/exhibitors/2015 3) Boime, Albert. ‘The Salon des Refusés and the Evolution of Modern Art’. www.albertboime.com/articles/12.pdf : 414. 4) Detterer, Gabriele, Maurizio Nannucci, eds. Artist-Run Spaces. Zurich: JRP|Ringier, 2012: 6. 5) Craen, Irene de . ‘Onafhankelijk Mexico’. Metropolis M, no. 2 (april-mei 2014): 16-18. Translated by the author. 6) www.poppositions.com/#!manifesto/cjtc 7) Borgen, Maibritt. ‘The inner and outer form of self-organisation’. In: Hebert, Stine, and Anne Szefer Karlsen, eds. Self-Organised. London: Hordaland Art Centre, 2013: 45. 1)

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One can look at artists’ initiatives on the internet, but websites do not always give a true picture of the activities or organisation: a solo project can look like an organisation, a non-profit artist-run space like a commercial gallery, texts might be incomprehensible if they are not in English etc. So that we understand our world better we have done some research trips and initiated a number of collaborative projects that have given us an international perspective

International exchanges When the wind blows down the hill the tree slowly spins around, as if in a dance. ‘Invisible Streams,FrenchPavilion’byAurélienCornutand Paul Le Bras at Art Villa Garikula, Georgia. Photo: Pontus Raud

Research trips Between 2011 and 2013 we conducted a stakeholder collaboration with the gallery Blank Projects in Cape Town, a fairly well established gallery started by an artist. They were to act as mentors for a new artist-run exhibition space, which in itself was not an unproblematic task. A venue near the ‘mother gallery’ was rented and three different groups of young artists organised exhibitions at the ‘Evil Son’ space during the period. One group went on to start the studio collective and project space Atlantic House that participated in Supermarket following year. We have collaborated with numerous artists’ initiatives from Russia, Belarus, Ukraine, Moldova, Georgia, Serbia, Bosnia and Herzegovina, Albania, Syria, Palestine and Egypt under Creative Force, the Swedish Institute’s programme for the cultural promotion of democracy and human rights. In this way Supermarket has hopefully created a fruitful context where, inspired by each other, artists have been free to pursue their activities outside the home environment and to create new networks and collaborations. Table Mountain, Cape Town

Colin ‘Bushman’ Meyer, ‘Cage’, performance at Greatmore Studios, ArtWalk, Cape Town Art Week 2012

Visit at the Center of Contemporary Art, Tbilisi, 2013

Performance event, Reykjavík, 2012

Pontus Raud and Meggi Sandell with Jusuf Hadžifejzovic at Charlama Depot, Sarajevo, 2011

All pictures are taken by Andreas Ribbung, if nothing else is mentioned.

Other fairs While preparing the first Supermarket we made study trips to Berlin and Amsterdam to be inspired by two predecessors: Berliner Kunstsalon and Kunstvlaai. Together with another newly established art fair, Alt_cph in Copenhagen, we streamlined our concept by not having stands for individual artists. Kunstvlaai have also changed to this way of working. As Supermarket has become established, we in our turn have inspired others to start similar art fairs in other cities. ‘Universam’ was an artist-run art fair in Moscow which was initiated by, among others, ABC Gallery with Supermarket 2009 as the direct source of inspiration. 31 galleries and groups mainly from Russia exhibited at ‘Universam’, where the walls were built of stacked cardboard boxes. In the southern Swedish town of Värnamo ‘V.art’ – an event for artistrun galleries – was held on two occasions, in 2009 and 2011. 2012 saw ‘Belgrade Art Fair’ take place in a centrally located cultural centre in Belgrade – an event where performance art became the main focus. The initiative came from Formverk from Eskilstuna,

who participated in Supermarket for many years, along with the local initiative Moba. The organisers of ‘What a mess’ in Fredrikstad, Norway visited us for their research and presented their art fair in 2012 which is memorable for its spectacular exhibition architecture consisting of a huge cardboard tube construction with tensioned screens as display areas. Since 2013, the Art-Athina art fair has included the Platforms Project section, based on the experience Lo and Behold (Athens) had when they participated in Supermarket. In the light of the economic crisis, they have been able to see the value of using the exhibition format non-commercially. This major art fair is held in a large sports complex from the 2004 Olympics, and on the balcony there are shows of a mix of international artist-run galleries and local artist collectives. For many years in Helsinki two artists’ organisations, Muu and the Photographic Artists’ Association, have organised a major annual member exhibition called Art Fair Suomi. In 2015 an international section was created with artist-run galleries at the fair under the name AFS’15 Platform.

Universam, art fair in Moscow in 2009, photo: Pontus Raud

‘Only Serbia’, performance by Marko Bogdanovic, Belgrade Art Fair, 2012

‘What a mess’, art fair in Fredrikstad, Norway, 2012 , photo: Karin Häll

Art Fair Suomi Platform, Cable Factory, Helsinki, 2015

AIM – Artists’ Initiatives’ Meetings In 2010 we initiated a meeting in Berlin with the aim to form a network and invited nine artists’ initiatives from various countries in Europe. We established a network for the exchange of knowledge and experience that we call AIM – Artists’ Initiatives’ Meetings. The participants come from completely different types of artists’ initiatives, it can therefore be beneficial to discuss common issues arising from different starting points and perspectives. The network currently consists of partners from Sweden, Norway, Denmark, Netherlands, Spain, Switzerland, Bulgaria, Lithuania, Latvia and Finland, and has organised small conferences in Copenhagen, Binissalem in Mallorca, Helsinki, Athens, Grobina and Riga, in addition to those held every year in conjunction with Supermarket. AIM was invited to organise a conference in Wroclaw, European Capital of Culture 2016, for a discussion with Polish artist-run galleries, and to inspire young artists about working together to find strategies to meet tough cultural climates.

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AIM Latvia, Matthias Roth biking in Totaldobze Art Centre’s temporary space, Riga, 2014, photo: Izabella Borzecka AIM Athens, meeting in Art Athina, 2014

AIM Mallorca, meeting in Can Gelabert, Binissalem, 2012

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