Here is the Summer Public at Liljevalchs
Full screen
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Don’t know Why I like what I call gulls (it is probably something else), but I think there is something with their attitude. Their way of standing and sparkle. To party and shout. I project a lot of human behavior and expressions on them, transform them. Anthropomorphism, attributing animals and natural human characteristics is more than just fantastic creation, it is also something that you do to make the world whole.
At least I think so. And before Lars Jonssons Solid bird images, which are now shown in the large halls of Liljevalch, returns the idea that it is something that everyone does. Certainly, it is a kind of portrait that Jonsson has made, and everything – from the detailed sketches that can fill a whole foundation wall in the largest hall to the larger paintings where the birds can be in their elements – breath contact.
The bird books of Lars Jonsson are expected to be the country and the worldwide in many bookshelves, and this summer’s exhibition is an audience. Together with the other two that opened at the same time, it gets somewhat darker about it, which is about tenderness, about nature and the climate, about the species that have become rare.
On the side Jonsson gives Lundahl & Seitl the work “River Biography”. A 45 minutes of experience with sound, proximity, trust – the old relationship between stone and water becomes a quiet walk in soft darkness.
The last one in the rocket with three internship is “Komätta – a pioneering free zone for women”. It was the female civilian school in Fogelstad that built the free zone, and “Komätta” was called the fantasy municipality that was made to practice checking and pursuing politics. The exhibition is a bit confusing double for its content: a cultural historical archive part, where photos and publications appear, and an artistic, where history, women, the ideas are processed and developed by artistic hand. The two songs are presented with each other intertwined, and what becomes interesting in this context and the place Liljevalchs is the bird city -feminine view of its time.
For peace, both Because the absence of war and “peace with nature” was an important leading star, especially for Elin Wägner And Elisabeth Tamm who founded the school together with the school Honorine HermelinThe Ada Nilsson And Christmas in Hesselgren. Tamm had the estate, Hermelin was an educator and director. When the school was started in 1925, women had just fought for voting rights and adequate citizenship. Liljevalchs was fairly new, the world was quite young and healthy after war and revolution.
Now it was time for the women to act: to train themselves, to wake up politically, learn to use soft ways to use the earth. Above all, the latter, the idea of letting the earth rest, went to the tree, lived.
Komenmätta, ok, yes, looks a bit of Goofy, but “come to moderation” is an understandable ideal, a Christian virtue, even where his different contradictions were seen as the deadly sin. I interpret the reaction of the Fogelstad -women who, on the one hand, wisely small -scale, patiently reformist and also to a certain extent revolutionary. On the other hand, very idealistic – but could they be? The peace fight, they lost, but the participants in learning to run a municipality, prepare women to sit in municipalities, through role play, themselves “comfortable”, is brilliant and must have given a value for a long time. I can think of Fogelstad when time is strangled in education.
So why have The group and school have always bored me?
Is it for the sectarian sparkle in the eyes of someone who is not bored?
Is it because separatism, which is quite difficult, and is enchanted by the Fogelstad women?
I suspect it later. Moreover, I have always seen them as for liberal and good – -off.
But even more important now is what Fogelstad can mean at a time when both feminism and peace movement are in a weak, pressure and perhaps in a time of renewal.
The women’s movement has always embraced more than just the disorders of women who suffer from other movements. What does not seem to have existed with the Fogelstad -women were interested in identities. They were probably a bit strange, Fogelstad today, I hope, not excluded from transvrouwen or let themselves be divided by such a question. The world was on fire. Instead of inside, they looked outside.
It can be That is why, and their feminist background and contemporary, they also attract so many artists to investigate and rebuild artists, artists who participate in “Komtttta”: Åsa ElzénThe Oliva PenterThe Åsa SonjasdotterThe Petra BauerThe Susanne Ewerlöf And Other Sunna. There seems to have been an openness, a feeling of the practical nature of the world, in which it is exciting to dig around.
“KOMOåtta” is a pressed summer view (parallel and in collaboration with the Kin Museum in Kiruna) that is already falling on 10 August. It doesn’t have to look quickly at Lars Jonsson’s seductive bird painting. But we live in a world where “peace with the earth” has been replaced by “maximum growth” and where forest must be fertilized to achieve climate goals in the short term (long -term cause more problems). At the same time, the three -point woodpecker seems to have disappeared from Uppland. After all, it is worse than the festive seagulls wake you up at night.
Art Pod: In fact
The art of destroying art
31:26
