Seminar: 26 October, 11 am -4 pm in Botkyrka konsthall, Tumba. The exhibition takes place in Zöhre Alici’s bathroom in Fittja, and in Botkyrka konsthall.
The exhibition opens with a seminar in Botkyrka konsthall on 26 October, 11 am – 4 pm.
11.00 Welcome by Anneli Bäckman, curator at Botkyrka konsthall
11.15 Introduction to One Million to One by
Aleksandra Wasilkowska, architect and artist
12.00 Wet n’ Wild: Dr. Katarina Bonnevier,
architect, artist and research presents perspectives on bathrooms.
13.00 Lunch by Botkyrka Womens’ Resource Centre
14.00 Presentations by artists and architects:
Naomi Draper, Agnes Mohlin, Luis Filipe Rocha, Aleksandra Wasilkowska and Magda Wegrzyn.
15.15 Artists and architects in conversation with Zöhre Alici whose bathroom has become the exhibition space for One Million to One.
16.00 End of seminar.
One Million to One is an exhibition that takes place in the most private room of a home – the bathroom – and that is dedicated to one person alone. The exhibition challenges notions of ‘audience’ and ‘artwork’ in which the exhibition is usually the final destination of an artwork, a point where the work is presented to a broader audience. The art experience is usually intended for as many as possible. In One Million to One, the artists reverse Duchamp’s Fountain gesture in which an everyday object, a urinal, was reformulated into an artwork. Instead the artwork returns to the bathroom and becomes an exclusive object, hidden from the view of the broad public. Art is not eternal – it changes and vanishes, melting into our everyday lives with their invisible rituals and taboos. Or, as Stephen Hicks summarizes Duchamp’s message: ‘Art is something you piss on.’
The period between 1965 and 1974 saw a new phase in Sweden’s architectural history: the Million Programme (Miljonprogrammet). More than one million homes were produced in a very short space of time to meet the great shortage of housing at the time. It was a project based on a utopian dream of a good life for all but many of the areas it produced were soon drawn into a negative light and have increasingly earned a bad reputation.
Fittja was developed as part of the Million Programme in the southern suburbs of Stockholm in keeping with the architecture based on the modernistic paradigm: mass production, segregated spaces and standardized architecture.
In the project One Million to One we reverse the modernistic paradigm where society is perceived as a mass that can be controlled and easily repaired by master plans and rational arguments. Our strategy is to switch from large-scale to micro, unique and intimate gestures, from a million to one.
The starting-point for our work was the critical view on an existing context and tactics already produced. Our aim was not to invent or produce new knowledge but to reinterpret and add another layer to an already existing frame. During our residency, research and meetings with local artists and architects we discovered the publication SUPERFITTJA, an archive of artistic and architectural works dealing with different aspects of Fittja. The majority of the projects presented in the publication refer to the ideas of the sixties and seventies, like the utopias formulated by the influential architecture firm Superstudio; a dream of finding big solutions through the analysis of patterns, structures, flows and rules. The only project that focused on the human aspects and personal history was a work by Astrid Stenberg Linner called Meeting Zöhre, which, instead of analyzing buildings, focused on one person: ‘I have been working with Zöhre as an architect, redrawing her apartment. I did not find spectacular architectural dreams. I found out that the basic standards are very low and that she dreams of a clean bathroom.’
Continuing with this dream of a ‘clean bathroom’, our project can be considered as an additional layer on previous matter, a site-specific installation or exhibition as a gift from five independent artists to Zöhre. We consider Zöhre a one-person audience and we devote our work uniquely to her private view.
Zöhre has worked and lived with her family in Fittja for forty years but just like a large part of the population of Fittja she was born elsewhere – in Kulu, a small town in central Turkey. According to Slavoj Žižek the history and the shape of the toilet could be a reflection of national identity as well as being ideological – and the way we use it may reflect an entire society. Through the toilet and the bathroom – the smallest part of our domestic space – we want to rethink the notion of modern architecture, progress and regression, rituals of purification and modernist hygienic arguments; we are also looking for hybrid identities where different taboos, rituals, habits and cultures meet and the social protocol is shaped by this intimate space.
Locis is collaborative arts programme between Leitrim County Council Arts Office, which is the arts department of a rural local authority in Ireland; the Centre of Contemporary Art in Toruń, which is an arts centre in a large provincial town in Poland; and Residence Botkyrka, which is an artists’ residency programme in a suburb of Sweden’s capital city.More about Locis.
Locis and Residence Botkyrka invited Aleksandra Wasilkowska, architect and artist from Poland, to lead a residency workshop together with 4 artists and architects from Poland, Ireland and Sweden during the summer of 2014.
26 Oct. – 23 Nov. 2014
Bathroom in Fittja
& in Botkyrka konsthall, Tumba
Luis Filipe Rocha
Leitrim County Council, Ireland
The Centre of Contemporary Art Znaki Czasu in Torun, Poland
Residence Botkyrka, Sweden
EU Culture Programme
The Polish Institute
Opening: 25 October, 3 – 6 pm, the Cube in Fittja.
Exhibition period: 25 October – 23 November.
During the spring of 2014 Jakob Wiklander and Nils Sandström have investigated the parallel stories about Fittja, both narratives from the inside and the outside and what relations these might have to the built
environment. Many stories mainly existing outside of Fittja have had a one-sided focus, which risks many of the specific qualities and potentials of the area to become overlooked.
Through the photogenic quality of its houses Fittja has often become a backdrop and a projection surface when discussing a certain kind of societal matters in general. Media have sought to turn a form of architecture into its symbol, when signaling a certain kind of narrative. This type of narrative presents itself as an argument with an established foundation, when using this symbol language for its discussion. This project seeks ways and methods to infiltrate and destabilise these simplified versions of reality.
With this as a starting point this projekt has sought to imagine a typological extension of the family of house types in Fittja, which would be situated beyond the reach of the stigmatizing debate about the environments stemming from the Million Programme era. The addition is not meant to be a response to a certain need, but rather as a mean to work in tune with the existing housing, in order to investigate qualities and generate a deeper understandning of this type of environment.
To achieve unison with the existing character of the neighborhood the typological extension has derived its groundwork from stories from the area, as well from the inhabitants of today as from plans that were never realised. This in order to investigate a perspective on this type of environment, to gain a better understanding of its presuppositions for the future.
Exhibition opening hours:
Saturday 8 Nov. 1 – 4 pm
Sunday 16 Nov. 1 – 4 pm
Sunday 23 Nov. 1 – 4 pm
To book a viewing outside of the opening hours, contact:
25 Oct. – 23 Nov. 2014
The Cube, Fittja
Thurs. 2 Oct, 4 – 7 pm, the Fittja Kitchen
WORKSHOP: ideas for the future kitchen, make your own kitchen towel together with Anne Pfennig and Anna Jönsson.
Fri. 3 Oct, kl. 10 am – 2 pm, start at the Cube
TALK & WALK: with Giulia Fiocca and Lorenzo Romito from Stalker (IT) organized together with Peter Lang, Mejan Arc, KKH (In English) For more information.
Weekend 4 – 5 Oct. 1 – 4 pm
Junior Residence collect ideas about the Fittja Kitchen and introduces the New Biennail, James Webb’s video work Le Marché Oriental is shown in the Cube.
Thurs. 9 Oct. 4 – 9, the Fittja Kitchen
WORKSHOP: what would you like to build in connection to the Fittja Kitchen? Gandalf Adelbrandt, artist and carpenter, explore the possibilities of your ideas.
Fri. 10 Oct. 10 am -12.45 pm, the Cube
Double lecture by Professor Peter Lang, Mejan Arc, KKH and Professor Markus Bader from raumlaborberlin.
Peter Lang will present his on-going work on diagramming and categorising living contexts. Putting together an urban pattern language on the spaces of mass rallies, border zones, sleeper zones, slip zones and time vaults.
Markus Bader will present recent works by raumlaborberlin.
All talks in English.
In collaboration with the Royal Institute of Art in Stockholm och KTH – School of Architecture, and with support from Goethe-Institut Schweden.
When the New Biennial for Art and Architecture in Botkyrka opens on Saturday the 13th of September, at Botkyrka konsthall in Tumba and in Fittja, it’s with a focus on the intersection between contemporary art and architecture en route to a new art institution. Botkyrka konsthall will open a space for contemporary art in Fittja after five years of running the residence programme, Residence Botkyrka. With an apartment in Fittja as their base, artists and architects have over the past few years created site-specific works that explore the possibilities of Sweden’s Million Programme (the plan to build one million housing units during the years 1965–75 in Sweden).
In connection with the 14th International Architecture Biennale, Botkyrka konsthall presented the Fittja Pavilion in Venice, where its residency artists and architects presented artworks, ideas and models that now take new forms for the New Biennial for Art and Architecture in Botkyrka. The Fittja Pavilion in Venice, which goes on until 7 September, has had several thousand international visitors and was mentioned in the magazine Domus as one of the most interesting exhibitions linked to the architecture biennial.
Botkyrka konsthall in Fittja is a place that extends through a borough and a housing area. Sometimes the spaces are pre-existing buildings – like the Cube above Ungdomens Hus, or momentarily housed in association premises. In other cases art is presented in the public space or in temporary buildings such as the kitchen container from Cape Town that will be Botkyrka konsthall’s first addition in the form of new architecture in Fittja. Botkyrka konsthall in Fittja is an arts institution that is open to future practices of contemporary art and architecture; it is an institution that grows organically, that operates internationally through the local context and that produces new knowledge rather than representing the already existing.
Botkyrka konsthall’s kitchen container that will be activated by OPENrestaurant and Ayhan Aydin along with local initiatives, will be joined by another container in the autumn, which will take the form of a changeable project space. The reworked containers were designed by the architect Michael Orchard and will be placed directly below Fittja’s subway station, facing the meadow. During the New Biennial for Art and Architecture, artworks and projects by participating artists and architects will be presented there as well as in other sites around Fittja.
Pia Sandström will make a temporary display of the artists’ books project Labyrint Press, which will continuously be updated with new work, most recently with Karl-Jonas Winqvist’s music blogg Music for Xaba and Lorenzo Nasimbeni’s spatial illustration of a future library. Mako Ishizuka will perform and document a welcoming ceremony for the new container site and the new space for contemporary art. Jelena Rundqvist and Aron Kullander-Östling will create the improvised fanzine Sumlen that takes its point of departure from the area and the processes that occur in connection with the opening of the New Biennial. Elena Mazzi’s large-scale installation Reflecting Venice will be integrated with the containers in the course of the spring. The work is an advanced interplay of art, ecology and technology for which the artist has worked with physicists from Isomorph Production. During the New Biennial, visitors get to see the drawings that the installation is based on, as well as a video piece. The art and agriculture collective Kultivator has designed closed system compost toilet for the Fittja Kitchen that will presented through a workshop.
In the Cube above Ungdomens Hus, James Webb’s video installation Le Marché Oriental (2008) can be seen. The artwork is set in a disused Apartheid-era shopping mall in Cape Town’s infamous District Six, a few weeks before it was torn down to make way for luxury apartments. District Six’s Sheikh Mogamat Moerat from the area’s mosque sings the adhan (call to prayer) in the derelict building.
Botkyrkas konsthall’s educational studio presents the work of Junior Residence and Påhittiga Konstkollot:
5 ytor 5 berättelser [5 surfaces 5 stories] is a Junior Residence Dream Team project that showcases the voices and expressions of the youth regarding change in Botkyrka. Dream Team transformed and activated the Fittja Pavilion during the architecture biennial in Venice and during the New Biennial for Art and Architecture they will guide visitors around the exhibition and Fittja. Transformations, a slide show documenting the creative process in Venice, will be shown in the studio at the Multicultural Centre on Saturday, 13 September. The sound artwork Soundtrack of Fittja can be heard on the Internet as well as at a variety of sites in Fittja. In the Påhittiga Konstkollot’s work Alla får ta plats! [Everyone may be heard!] twelve chairs have been set out in Fittja, giving the youth a forum to express themselves.
In Botkyrka konsthall Johanna Billing’s video I’m gonna live anyhow until I die (2012) will be shown in Sweden for the first time. The point of departure of the artwork that is set in Rome is a project that was arranged to celebrate Italy’s 150 years of unification and that was produced in a collaboration between MAC, Belfast and Fondazione Sandretto re Rebaudengo, Turin from 2010 to 2012. The main characters in I’m gonna live anyhow until I die are five children that seem to be curious time travellers of sorts on a journey through the streets of Rome.
Tor Lindstrand’s intricate thought experiment Towards an Institution, a multimedia collage of ideas and questions aimed at opening up for a conversation on architecture and art institutions as the driving forces behind processes of change is also presented at Botkyrka konsthall. Tor Lindstrand has also invited the architect duo DK-CM and in collaboration with students from the KTH School of Architecture.
13 Sept. – 12 Oct. 2014
Botkyrka konsthall, Tumba
Fittja Kitchen Container
The Cube, Fittja
and at various locations
Mats Andersson (Sweden), Ayhan Aydin (Sweden), Johanna Billing (Sweden), DK-CM (UK/Portugal), Döne Delibas (Sweden), Derek Gripper (South Africa), Mako Ishizuka (Japan/Sweden), Junior Residence (Sweden), Aron Kullander-Östling (Sweden), Kultivator (Sweden), Thomas Liljenberg (Sweden), Tor Lindstrand (Sweden), Elena Mazzi (Italy), Militza Monteverde (Sweden), Lorenzo Nassimbeni (South Africa), OPENrestaurant (USA), Michael Orchard (South Africa), Jelena Rundqvist (Sweden), Bo Samuelsson (Sweden), Pia Sandström (Sweden), James Webb (South Africa), Jakob Wiklander (Sweden), Karl-Jonas Winqvist (Sweden), Steuart Wright (South Africa), Tarek Zaki (Egypt), and others.
Katrin Behdjou Arshi
Miriam Andersson Blecher
KTH – School of Architecture
the Multicultural Centre
Botkyrka Womens’ Resource
Swedish Arts Council
Gertrude & Ivar Philipsons Stiftelse
Photo: Simon Berg
Som en del i den Nya biennalen för konst & arkitektur visas Johanna Billings videoverk I’m gonna live anyhow until …
Som en del i den Nya biennalen för konst & arkitektur visas Johanna Billings videoverk I’m gonna live anyhow until i die , 2012, i Sverige för första gången. I Utställningen i Botkyrka konsthall visas även Tor Lindstrands installation Mot en institution / Toward an Institution.
Vernissage: lördag 13 september, kl. 12-15 i Botkyrka konsthall (introduktion kl. 13). Buss till Fittja kl. 14.30. Program i Fittja kl. 15-19 (introduktion vid kökscontainern “Fittjaköket” kl. 15).
Johanna Billing’s videos weave together music, movement and rhythm and place subtle emphasis on the individual within representations of changing societies. In her work Billing in part directs the participants, and in part puts in place a series of improvisations around the notion of performance and the possibility it holds to explore issues of the public and the private. The participants in Johanna’s videos all play themselves but take part in staged situations that oscillate between documentary and fiction, as a multi-layered interpretation of a place.
I’m gonna live anyhow until I die, 2012, is a video work, set in Rome, that has it’s origins in a project to mark the 150th anniversary of the Unification of Italy, co-commissioned by the MAC, Belfast and Fondazione Sandretto Re Rebaudengo, Turin during 2010-2012.
The protagonists of I’m gonna live anyhow until I die are five children who seem to perform time travel as their inquisitiveness takes them on a journey around the streets of Rome, seemingly doing what they like, having abandoned their parents at the restaurant, “Al Biondo Tevere” i. After running through the park of the Roman Aqueduct, a courtyard in the 1930s working class district of Testaccio, and Ostia’s Seadrome, the children finally arrive in an empty school in the centre of Rome, where time seems to have stood still. The old classroom has been turned into storage, here they begin to play around with the obsolete pedagogical tools and technological instruments that they find, as if they are trying to understand what to do with them or what they could be used for. Little by little, each child begins to compose black blots on sheets of drawing paper folded in half, creating blots that resemble those of the Rorschach test.
Harnessing her research methods, Billing used her exploratory approach to identify place and event in Rome, Lazio that she used as source material, and the work came to draw inspiration from a mix of traditions such as Italian Neorealism, documentary filmmaking, improvisation and pedagogical as well as psycho analytical workshop techniques. Visiting Rome during the demonstrations against University reforms in autumn 2010, Billing focuses the work on the future of the younger generation and the populist political will which has been undermining the education system. The work is at the same time haunted by the daily life and death of Pier Paolo Pasolini who expressed a series of thoughts about Italy, anticipating the social and cultural changes that would sweep the country at the end of the 1970s, and parts of the scenes in the video are situated in his locality. The project is in some ways also a loving tribute to pedagogical heroes such as Bruno Munari and his tactile workshops for kids, as well as championing the early tradition of Italian filmmakers, who in their often biographical films about the 40s and 50s, focused on the freedom of children exploring their city as a way to reflect upon historical and the societal changes.
The accompanying musical soundtrack, featuring a Romany violin, upright bass and whistling, include improvised interpretations of the songs Cariocinesi and Mechanics, (originally written by the Italian progressive experimentalist Franco Battiato), and here arranged by Billing, serve as a homage to Battiato and his classic concept album Foetus from 1972. And during this 16 minute imaginary musical journey that moves freely in between genres, time and place, the use of the indefinite loop – which has come to characterize the openness of the structure in Billing’s practice – always brings both protagonists and viewers into the present and “real” again. The final result, is as with many of Billing’s films, a product of an editing process, created with meticulous care, that puts equal focus on the visual material as on the sound recordings and gives special attention to details of physical movements and gestures and the activities taking place not only around the centre of the action.
Featuring: Palma Biadene, Eufrasia De Mattia, Andrea Folchi, Rocco Ciardo
Leonardo Faiella, Elena Lera & Gabriele Folchi, Pietro Faiella & Liliana Massari, Francesca Valentiini, Roberta Sprizzi & Alessandro, Chimera Poppi, Cecilia Canziani and Davide Ferri
Director of photography: Manne Lindwall
Second Camera operator: Tiziano Casanova
Sound recordist: Enrico Lenarduzzi
Still Photographer and assistant: Lauren Brincat
Editing: Johanna Billing
Musical soundtrack recordings: Interpretations based on ”Cariocinesi” and ”Mechanics” (originally written and performed by Franco Battiato, from the album ”Fetus”, 1972, Bla Bla records Italy) Arranged by Johanna Billing along with musicians Andreas Söderström (whistling, guitar, percussion, synthesizer, pump organ), Patric Thorman (upright bass, electric bass, piano, vibraphone, percussion), Jonna Sandell (violin) , Karl-Jonas Winqvist (glockenspiel, fender rhodes, cembalo, cymbals) and Christian Gabel (drums). Recorded and mixed by Christian Gabel at Cobra Studio.
Sound mix: Joachim Ekermann, Helter Skelter
Color grading: Swiss, Stockholm
Blu Ray production: Filmtech, Stockholm
Project coordination: Cecilia Canziani and Stefano Collicelli Cagol
Produced by Fondazione Sandretto Re Rebaudengo and The Mac, Belfast, with support from Iaspis, the Swedish Arts Grants Committee’s international programme.
Special thanks to: Ristorante ”Il Biondo Tevere”, Roma, Scuola Carlo Urbani, Roma, Fondazione Giuliani, Roma, Adrienne Drake, Chimera Poppi, Davide Ferri, Cecilia Canziani, Lauren Brincat, Daniella Gallo, Roberto Panzironi, Angelo Forestan, Swiss, Stockholm, Filmtech, stockholm
13 sept. – 12 okt. 2014
Botkyrka konsthall, Tumba
Mats Andersson (Sverige), Ayhan Aydin (Sverige), Johanna Billing (Sverige), DK-CM (Storbritannien), Döne Delibas (Sverige), Derek Gripper (Sydafrika), Mako Ishizuka (Japan/Sverige), Junior Residence (Sverige), Aron Kullander-Östling (Sverige), Kultivator (Sverige), Thomas Liljenberg (Sverige), Tor Lindstrand (Sverige), Elena Mazzi (Italien), Militza Monteverde (Sverige), Lorenzo Nassimbeni (Sydafrika), OPENrestaurant (USA), Michael Orchard (Sydafrika), Jelena Rundqvist (Sverige), Bo Samuelsson (Sverige), Pia Sandström (Sverige), James Webb (Sydafrika), Jakob Wiklander (Sverige), Karl-Jonas Winqvist (Sverige), Steuart Wright (Sydafrika), Tarek Zaki (Egypten), m.fl.
Katrin Behdjou Arshi
Miriam Andersson Blecher
KTH – Arkitekturskolan
MED STÖD FRÅN:
Gertrude & Ivar Philipsons Stiftelse
Foto: Tor Lindstrand
Upcoming Programme in the Fittja Pavilion
2 & 4 September
Workshop (including an excursion with canoes in the lagoon, and cooking in Serra dei Giardini) with Elena Mazzi, Living Device Lab (Chiara Buffa e Giulia Marabini). Escursioni alofile is a workshop that offers an immersion in salt-tolerant landscapes brackish lagoon of Venice, the salt marshes of the north lagoon. Habitat are apparently barren, completely flat horizon, which grow on minimal height variations ranging from average sea level just 40 cm above the water surface. Through a kaiak navigation the workshop aims to trace these beautiful and fragile strips of land crossed by currents and tides, from the contributions of sand and sediments to start rediscovering them as keepers of valuable resources. We will explore the ecological complexity that characterizes them and they will investigate the potential of food through the collection of edible native plants. The tour and the collection will be documented through a video that will be screened at the Serra dei Giardini on the 4th of September and for the occasion it will be served a meal prepared with halophytes collected from the salt marshes.
40 EURO/per person. For more information contact: email@example.com
In collaboration with Associazione Canoista Arcobaleno, La vivandiera video di Elena Fedeli.
Matti Bye and John Henriksson in Tona Serenad presents a concert and a film during the evening of the 3:rd September at the Fittja Pavilion. Free of charge.
The Birth of A Moving Image
During the film festival in Venice, the Fittja Pavilion is presenting Sweden’s most celebrated silent film musician, Matti Bye, and musician John Henriksson improvising to the film Birth of A Moving Image by David Giese. The film is a visual re-mix of the 1-minute film “Danse Serpentine” from the year 1900, using only material from the original 35mm reel.
In The Fittja Pavilion the visitor can also explore video works by Johanna Billing and James Webb. The concert by Matti Bye and John Henriksson in the Fittja Pavilion is part of the Song Cycles productions network, a network between small record labels and contemporary art venues created by the record label Tona Serenad and Botkyrka konsthall.
The Fittja Pavilion was listed by the Magazine Domus as one of the most interesting exhibitions during the Architecture Biennale in Venice. Read the article here.
What role can an art institution play in our times? What can it become? As a way of launching the New Biennial of Art and Architecture, Botkyrka konsthall presents the Fittja Pavilion in Venice.
Can the Million Programme (the plan to build one million housing units during the years 1965–75 in Sweden) with its modernist grand-scale planning, and its weakly defined public spaces, be reevaluated? Can it even bring about another kind of contemporary art?
On 13 September, Botkyrka konsthall inaugurates the New Biennial of Art and Architecture in Botkyrka. It is a way of researching how a new kind of art institution can grow from the specific qualities of northern Botkyrka, the modernist housing complexes that make up part
of the southern suburbs of the greater Stockholm area.
Botkyrka konsthall has been running the context-specific residency programme Residence Botkyrka in the neighbourhood of Fittja since 2009. The new institution grows from the knowledge produced by artists, architects, thinkers and curators from within the residency programme, in close collaboration with the community of Fittja, whose inhabitants come from 161 nations around the world, and a rich cultural life consisting of many cultural associations and religious centres. Botkyrka konsthall in Fittja is an arts institution that is open to future practices of contemporary art and architecture; it is an institution that grows organically, that operates internationally through the local context and that produces new knowledge rather than representing the already existing.
On 7 June, the Fittja Pavilion in Serra dei Giardini and in Cini-Venier Naval Institute opens in conjunction to the 14th International Architecture Biennale in Venice. The curator of the biennale, Rem Koolhaas, has called for a closer look on modernism (1914-2014) in the biennale exhibition entitled Fundamentals. In the Fittja Pavilion participating architects and artists reevaluate the architecture and city planning of the 1960s and 1970s in Sweden. In the exhibition the research from Fittja is presented in extensive artistic and architectural research projects, inspiring artists, architects and activists from Sweden, South Africa, Great Britain, the United States and Japan to work together. The Fittja Pavilion presents artistic productions and projects that have been preceded by an extensive time of context-specific research and collaborations in Fittja through Residence Botkyrka. A number of the works in the pavilion will become permanent public art works and public interventions in Fittja through the New Biennial for Art and Architecture in Botkyrka.
Many of the participants of the Fittja Pavilion have been inspired by the philosopher and farmer Masanobu Fukuoka in their thinking about how a new arts institution can be built through the element of chance and unexpected encounters.
“Human knowledge and effort expand and grow increasingly complex and wasteful without limit. We need to halt this expansion, to converge, simplify, and reduce our knowledge and effort. This is in keeping with the laws of nature. Natural farming is more than just a revolution in agricultural techniques. It is the practical foundation of a spiritual movement, of a revolution to change the way man lives.”
(p29, Fukuoka, Natural Farming, 1985)
One ancient technique that Fukuoka has revived is the ‘seed ball’ – a mixture of seeds encased in clay and dry compost. Fukuoka used these seed balls for dispersing rice seed on his farm, but he also suggested that they could be used for re-greening arid lands. In
the Fittja Pavilion several artists have been inspired by Fukuoka’s thinking. The seed balls thus become an image of the many possibilities that the future holds if we let go of our preconceived notions and linear thinking.
Joanna Sandell, curator
Artists and architects: Johanna Billing (Sweden), DK-CM (UK), Derek Gripper (South Africa) + Lindy Roy (South Africa/US), Mako Ishizuka (Japan), Junior Residence (Sweden), Kultivator (Sweden) + Stu Wright (South Africa), Tor Lindstrand + students from KTH School of Architecture (Sweden), Elena Mazzi (Italy), Lorenzo Nassimbeni (South Africa), OPENrestaurant (US) + Ayhan Aydin (Sweden), Jelena Rundqvist + Aron Kullander Östlind (Sweden), Pia Sandström (Sweden), Spridd (Sweden), James Webb (South Africa), Karl-Jonas Winqvist (Sweden)
The Fittja Pavilion is organised by Botkyrka konsthall in collaboration with Microclima project, Venice, the Nordic Pavilion through the Swedish Centre for Architecture and Design, KTH – School of Architecture, Serra dei Giardini, Cini-Venier Naval Institute, Martin Rørtoft (Second Eyes) and with support from Iaspis, Elise Jaffe + Jeffrey Brown, Botkyrkabyggen, Swedish Arts Council, Kulturbryggan and Holosonics.
5 – 6 June, 12 – 6pm
Press & Preview of the Fittja Pavilion
Serra dei Giardini, Venice
Cini-Venier Naval Institute, Venice
5 June, 6 – 11pm
Opening party at Serra dei Giardini
6 June, 4-6 pm
Seminar ”Contemporary approaches to the late modernist architecture”, Fittja Pavilion, Serra dei Giardini, Venice.
Junior Residence “Dream Team” is showing the Fittja Pavilion.
5 youths from Botkyrka are making themselves heard in the public spaces of Botkyrka and out in the world.
+46 (0)708 136070
7 June – 7 September
Serra dei Giardini, Venice
Cini-Venier Naval Institute, Venice
Johanna Billing (Sweden), DK-CM (UK), Derek Gripper (South Africa) + Lindy Roy (South Africa/US), Mako Ishizuka (Japan), Junior Residence (Sweden), Kultivator (Sweden) + Stu Wright (South Africa), Tor Lindstrand + students from KTH School of Architecture (Sweden), Elena Mazzi (Italy), Lorenzo Nassimbeni (South Africa), OPENrestaurant (US) + Ayhan Aydin (Sweden), Jelena Rundqvist + Aron Kullander Östlind (Sweden), Pia Sandström (Sweden), Spridd (Sweden), James Webb (South Africa), Karl-Jonas Winqvist (Sweden).
Microclima project, Venice
Nordic Pavilion through the Swedish Centre for Architecture and Design
KTH – School of Architecture
Serra dei Giardini
Cini-Venier Naval Institute
Martin Rørtoft (curator, Second Eyes)
WITH SUPPORT FROM:
Elise Jaffe + Jeffrey Brown
Swedish Arts Council
Photo: Toward an Institution, Tor Lindstrand
“The places where we live are continuously imposed on us. In reality the space in which we operate can only exist as a mental model that is continuously modified through experience. It is necessary to find the form that is born out of our experience instead of by imposed schemes.”
Instructions for the use of the city, Ugo La Pietra, 1978
Here we present the work by a group of students from the KTH School of Architecture, over the last year we have worked on different projects in and around Fittja.
Fittja, like so many neighbourhoods from the million-program, is surrounded by preconceived ideas regarding social, spatial and architectural qualities and has been heavily criticized since its implementation. Our aim with this work has been to gain a deeper knowledge about the potentials of areas such as northern Botkyrka, and hopefully produce material that allows for a better understanding about the specific conditions that we operate in.
Context is not static and it is not only a place as architects often tend to think, it exist in every stage of the development of a project. Context is also a spread in an architectural magazine, typologies being taught by professors, visual clichés about space being televised daily, customs translated into law, economical-political agreements, exhibitions and so on. Every new project also modifies all efforts trying to contextualize it, producing new mutated contexts. This exhibition is about tracing these complex ecologies that defines our built environment and the practices involved in creating them. The aim is to critically engage with the discipline and praxis of architecture – understood as the production of rarefied buildings and urban structures – into shifting networks of spatial practices that includes various forms of intervention.
During this year we have seen that the official image of Fittja obscures many other possible readings, through the work parallel observations about Fittja has emerged. Our collective knowledge consists of fragments ranging from construction and tectonics to everyday observations and has produced a series of different proposals. This heterogeneous collection of statistic data, voices of local actors and speculations about the archaeology of the future forms the basis for ways to make visible outlines of a new Fittja. A place driven by many actors and trajectories, a place where other realities become possible to imagine. Through the format of an exhibition new understandings about architecture can hopefully emerge. This work should be read more as a collective research than a group show of individual parts, a strategy of how to produce work under the umbrella of a shared name.
This exhibition SUPERFITTJA is not primarily about documentation and presentation but as much about the production of knowledge, both about finding ways to understand our contemporary city but also to imagine what it could become.
28 May – 30 August
Teachers and students at KTH School of Architecture
Siri Edling Helmers
Viktor Zapata Ekemark
Gusten Eriksson Hemström
Elsa Smeds Johansson
The second edition of LOCIS in 2014 will be thematically oriented towards exploration of our physical, social and political environment and alternative or self organized forms of artistic and social interaction.
Being located in places where artistic communities share the need for having a high degree of cultural activity and exchange, this collaborative project offers an opportunity to contemplate how artists help us consider new possibilities for social organization, our understanding of place, and ways to transcend physical, cultural and political boundaries.
The three artists/curators who will be leading residencies in 2014 are:
- Ola Wasilkowska (Poland) who will lead a residency with Botkyrka Konsthall, Stockholm in Sweden.
- Seamus Nolan (Ireland) who will lead a residency with the Centre of Contemporary Art in Torun, Poland
- Johan Thurfjell (Sweden) who will lead a residency at The Dock in Carrick on Shannon, with Leitrim County Council Arts Office in Ireland.
Dates for first meetings
Before making an application, please ensure that you are in a position to attend the entirety of the first meeting.
Ireland: Wednesday 2nd July to Sunday 6th July inclusive.
Poland: Monday 30th June to Saturday 5th July inclusive.
Sweden: Monday 21st July – 26th July inclusive.
Locis is collaborative arts programme between Leitrim County Council Arts Office, which is the arts department of a rural local authority in Ireland; the Centre of Contemporary Art in Toruń, which is an arts centre in a large provincial town in Poland; and Residence Botkyrka, which is an artists’ residency programme in a suburb of Sweden’s capital city.
Locis is designed to provide knowledge, resources and opportunities for artists to engage internationally. It further seeks to reinforce the belief that a vibrant arts practice can be maintained from anywhere and that networking across borders can occur from anywhere and with anyone within Europe. The three partner organizations have devised a two-year, three-country artist in residence programme where each country sends and receives a leading artist from their country to work with a group of emerging artists from the three regions.
The programme is funded under the EU Culture Programme and by the three project partners. This includes all travel and accommodation costs. The programme also provides a small artist’s stipend, and a modest project and exhibition budget. Should a residency group develop plans for projects which go beyond what would be possible within this budget, then that group should seek additional support from other parties and will be supported by the project partners to do so.
Contact: Anneli Bäckman
Program med workshops
Leitrim County Council, Ireland
Centre of Contemporary Art
Znaki Czasu i Torun, Poland
EU Culture Programme