milliontoone

one million to one

Seminar: 26 October, 11 am -4 pm in Botkyrka konsthall, Tumba. The exhibition takes place in Zöhre Alici’s bathroom in …

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.’

ABOUT LOCIS
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.


EXHIBITION:
26 Oct. – 23 Nov. 2014
Bathroom in Fittja
& in Botkyrka konsthall, Tumba

ARTISTS:
Aleksandra Wasilkowska
Magda Wegrzyn
Agnes Mohlin
Luis Filipe Rocha
Naomi Draper

CURATOR TEAM:
Anneli Bäckman
Anna Jönsson
Anne Pfennig

TECHNICIAN:
Patrick Dallard

PARTNERS:
Leitrim County Council, Ireland
The Centre of Contemporary Art Znaki Czasu in Torun, Poland
Residence Botkyrka, Sweden

SUPPORT:
EU Culture Programme

THANKS:
The Polish Institute

rememberthefuture

Remember the future

Opening: 25 October, 3 – 6 pm, the Cube in Fittja.
Exhibition period: 25 October – 23 November.

During the …

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:
jakob.wiklander@gmail.com
nils.sandstrom@gmail.com


EXHIBITION:
25 Oct. – 23 Nov. 2014
The Cube, Fittja
Värdshusvägen 6

ARCHITECTS:
Jakob Wiklander
Nils Sandström

Nya biennalen

New Biennial for art & architecture in Botkyrka

Opening hours in Fittja (Fittja Kitchen and the Cube): Thursdays 4 – 7 pm, Saturdays & Sundays 1 – 4 …

Opening hours in Fittja (Fittja Kitchen and the Cube): Thursdays 4 – 7 pm, Saturdays & Sundays 1 – 4 pm. Lectures in the Cube on Fridays 10 – 12 am.

Upcoming programme:

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.


EXHIBITION:
13 Sept. – 12 Oct. 2014

LOCATIONS:
Botkyrka konsthall, Tumba
Fittja Kitchen Container
The Cube, Fittja
Fittja fields
Verdandi
and at various locations
in Fittja

ARTISTS/ARCHITECTS:
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.

CURATORIAL TEAM:
Joanna Sandell
Tor Lindstrand
Anneli Bäckman
Katrin Behdjou Arshi
Miriam Andersson Blecher
Martin Rørtoft

COORDINATORS:
Anna Jönsson
Johanna Fogel

ART EDUCATORS:
Kerstin Gezelius
Saadia Hussain

INTERN:
Anne Pfennig

COLLABORATIONS
& SUPPORT:
KTH – School of Architecture
the Multicultural Centre
Botkyrka Womens’ Resource
Centre
Iaspis
Botkyrkabyggen
Swedish Arts Council
Kulturbryggan
Gertrude & Ivar Philipsons Stiftelse
Goethe-Institut Schweden
Fredricsons Trä

Photo: Simon Berg

billing2

Johanna Billing: I’m gonna live anyhow until i die

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

EXHIBITION:

13 sept. – 12 okt. 2014

Botkyrka konsthall, Tumba

KONSTNÄRER/ARKITEKTER:

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.

CURATOR-TEAM:

Joanna Sandell

Tor Lindstrand

Anneli Bäckman

Katrin Behdjou Arshi

Miriam Andersson Blecher

Martin Rørtoft

KOORDINATORER:

Anna Jönsson

Johanna Fogel

PEDAGOGER:

Kerstin Gezelius

Saadia Hussain

PRAKTIKANT:

Anne Pfennig

SAMARBETEN:

KTH – Arkitekturskolan

Mångkulturellt Centrum

Botkyrka kvinnoresurscentrum

MED STÖD FRÅN:

Iaspis

Botkyrkabyggen

Kulturrådet

Kulturbryggan

Gertrude & Ivar Philipsons Stiftelse

Fredricsons Trä

Foto: Tor Lindstrand

torlindstrand

The Fittja Pavilion in Venice

Botkyrka konsthall presents the Fittja Pavilion during the 14th Venice Architecture Biennale. Download the introduction to the Fittja Pavilion: Fittja …

Botkyrka konsthall presents the Fittja Pavilion during the 14th Venice Architecture Biennale. Download the introduction to the Fittja Pavilion: Fittja Pavilion Venice

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: escursionialofile@gmail.com
In collaboration with Associazione Canoista Arcobaleno, La vivandiera video di Elena Fedeli.

3 September
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.

2-3 July
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.

Contact:
Anneli Bäckman
Botkyrka konsthall
+46 (0)708 136070
anneli.backman@botkyrka.se


EXHIBITION:
7 June – 7 September
Serra dei Giardini, Venice
Cini-Venier Naval Institute, Venice

ARTISTS/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).

CURATOR:
Joanna Sandell

PRODUCER:
Anneli Bäckman

ASSISTENT:
Anna Jönsson

INTERN:
Maria Kotlyachkova

COLLABORATIONS:
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:
Iaspis
Elise Jaffe + Jeffrey Brown
Botkyrkabyggen
Swedish Arts Council
Kulturbryggan
Holosonics.

Photo: Toward an Institution, Tor Lindstrand

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Superfittja

OPENING: 28 May, 4-8pm, Botkyrka konsthall

“The places where we live are continuously imposed on us. In reality the space …

OPENING: 28 May, 4-8pm, Botkyrka konsthall

“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.

Teachers:
Tor Lindstrand
Erik Wingquist
Anders Wilhelmsson
Karin Matz


EXHIBITION:
28 May – 30 August
Botkyrka Konsthall

CURATOR:
Teachers and students at KTH School of Architecture

WORKS BY:
Johan Alvfors
Mikael Andersson
Sofie Andersson
Erik Aspengren
Lenka Batovska
Jamie Britton
Siri Edling Helmers
Viktor Zapata Ekemark
Gusten Eriksson Hemström
Ragnar Eythorsson
Hillevi Gebring
Elsa Jannborg
Ali Kamoun
Jasmin Kok
Leo Kleine
Astrid Linnér
Jacob Persson
Johannes Plyhm
Nils Sandström
Jenny Schinkler
Clara Schubert
Rasmus Siimes
Elsa Smeds Johansson
Michaela Stasna
Hanna Syrén
Mathias Valcescini
Felicia Wahlborn
Rasmus Westman
Fredrik Widigs
Jakob Wiklander

COLLABORATION:
KTH Arkitekturskolan

LOCIS

LOCIS open call: second edition

Application is available here!.

The second edition of LOCIS in 2014 will be thematically oriented towards exploration of our physical, …

Application is available here!.

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.

Read more about the programme here.

Contact: Anneli Bäckman
anneli.backman@botkyrka.se

RESIDENCE BOTKYRKA:
Program med workshops
och residence-konstnärer

SAMARBETE:
Leitrim County Council, Ireland
Centre of Contemporary Art
Znaki Czasu i Torun, Poland
EU Culture Programme

Visa Croatia

State of the Art: Fabrications

February 22 – May 18 in Botkyrka konsthall

Opening: Saturday, February 22 at 12 – 4 pm. Open workshop: screenprint.…

February 22 – May 18 in Botkyrka konsthall

Opening: Saturday, February 22 at 12 – 4 pm. Open workshop: screenprint.

State of the Art: Fabrications takes us further into Botkyrka konsthall’s research of the local art scene in Botkyrka. This exhibition is a true web of textile traditions and knowledge of the field, as well as a survey of the position of textile art within the contemporary art scene– with both Botkyrka and the whole world – as a source of inspiration.

We have invited the Iranian-Kurdish artist Dzamil Kamanger who with his highly personal works in the form of textile passports and visas – replicas of documents once issued for relatives – has become a catalyst for the exhibition’s themes: the textile tradition and its role in contemporary life. Kamanger’s works also explore issues such as migration, gender, and the many skills that we all carry with us.

Artists and artisans from Botkyrka have been involved in the making of this exhibition and are showing works that are both valuable cultural heritage as well as experimental expressions.

Fabrications is the third edition of the series Botkyrka: State of the Art/Craft, a recurring format that explores community engagement and artistic practices in Botkyrka. It is an exhibition format where the audience is invited to get involved and try out different materials and techniques within the vast landscape of arts and crafts.

Miriam Andersson Blecher, curator

EXHIBITION:

February 22 – May 18

Botkyrka konsthall

ARTISTS:

Ayfer Baysal, Marita Bergheim, Therese Billström, Kristina Blidborg, Ann-Sophie Cassel, Gassam El Reyes, Charlott Engman, Soroma Fernando, Shahzaib Gill, Fredrik Hillding, Anna Holmberg, Tarik Hussain, Manar Jirjis, Karin Johansson, Nathalie Johansson, Dzamil Kamanger & Kalle Hamm, Mattan (en del av Trappstegen i Fittja), Beatrice Musto, Shima Padyar, Reginaldo Parraquez Calderon, Lola Pettersson, Tall Rithstein, Ulla Schumacher Percy, Gjyle Spahijaj, Nils Söderman and Sven Xet Erixon.

CURATOR:

Miriam Andersson Blecher

PEDAGOGUE:

Kerstin Gezelius

ASSISTENT:

Anna Jönsson

INTERNSHIP:

Sophie Atkins

TECHNICIAN:

Patrick Dallard

THANK YOU:

Pia Sandström

Kristina Blidborg

Arbets- och kompetenscenter,

i Botkyrka

Botkyrka konsthalls

Stick- & virkcafé

Cecilia Ömalm

Cecilia Ömalm: Nocturne II / Rosersberg’s Castle

January, 25 – June 15, the Cube in Fittja.
Opening: Saturday, January 25 at 3 – 5.30 pm.

“The cube …

January, 25 – June 15, the Cube in Fittja.
Opening: Saturday, January 25 at 3 – 5.30 pm.

“The cube in Fittja is quite a remarkable place. An unassuming building in a car park, a closed cube with only one entrance.
Inside, I find the volume greater than from the outside, the cold and the 7-meter high ceiling creates an almost cathedral-like feel. The flutter echo enhances the feeling of space and emptiness, when the door is closed you hear absolutely nothing from the outside world. In the middle of a parking lot in a Stockholm suburb, I find myself suddenly somewhere completely else and distant.

I saw the opportunity to work with an environmental layout and a form of aesthetics that stand in stark contrast to the million programme-architecture outside. Since 2010, I have been drawn to fragments and layouts from older cultures and various spiritually charged sites. I have built temples, gates and mazes that have formed environments – or rather – states of mind, when placed in a horizontal or vertical manner. In the Cube, I have worked with a thin electro luminescence light-thread to draw a temple façade on one of the walls in the darkened cube, using an 1800 ‘s drawing from the castle Rosersberg. Six 2,5-meter-high pillars offer the viewer multiple ways of looking at the drawing as a form of passages going in or out. Inclosed by darkness, the intense light cyan thread line is left as the only thing that guides the viewer. At the opening and on a few other occasions, I will conduct a performance to activate the light work. I use a historical figure taken from ancient Egyptian mythology. It is a figure with long horns that performs a ritual in the dark, and then disappears. What remains is a glowing temple open for the viewer to enter within.”

Cecilia Ömalm, Artist

“As a kind of companion to Nocturne II, the artist interprets and enters the goddess Hathor’s animalistic and horn-clad figure. Hathor is heaven, the home of the sun-god Horus, and reigns over the most important life-giving forces: motherhood, fertility, dancing, the party, happiness. She advises on the East and the West, rain and moisture, the lovers and the child. The culture surrounding Hathor was extremely viable; major festivals were dedicated to her, as well as numerous places of worship, such as the mighty temple Denderah where her artifacts, such as the instrument Sistrum, were preserved and activated by priests and priestesses. As the prevailing force over heaven and life, she also has a role in the afterlife, escorting the souls of the dead to the underworld.

Cecilia Ömalms artistry is spatial in multiple dimensions, from the two-dimensional photographic and manipulated images, through its gradual transition to a third dimension, where light wire has been used in a number of works forming a kind of blueprint from which fictitious walls come forth. The historical and archaeological layers embody the fourth dimension; time and timelessness are created by culture oldest manifestations: buildings, places of worship, but also the roles and characters belonging to these rooms and continue to travel through history. Parts of Hathor’s temple Denderah was built in 2012 in the garden of the Thiel Gallery in Stockholm, where the glowing room formations gradually emerged as the dark fell across the terrain.”

Malin Zimm, Architect, PhD

“The concrete, gray building Kuben/The Cube is Botkyrka Konsthall’s first building in Fittja neighbourhood. Tor Lindstrand, architect and lecturer at the KTH School of Architecture, annexed the Cube in the autumn of 2013. Since then, this venue has served as both a KTH lecture hall and as an exhibition space for Botkyrka konsthall. A former garbage disposal facility has been given a different status. What happens to the sites where contemporary art is introduced? And what happens to you through images that linger on as you leave the Cube behind and make your way through the city?”

Joanna Sandell, Director, Botkyrka konsthall

Cecilia Ömalm is autodidact besides short courses in photography at the Gotland Läns Folkhögskola and International Center of Photography. With ancient architecture as a starting point, Ömalm merges and reuses historical fragments and creates new spatial environments: two – as well as three-dimensional spaces. Ömalm works with materials and techniques such as digital prints, photography, steel, concrete, plaster, laminate, electroluminescent light-thread and performance. Site-specific works can be seen at Jan Stenbeck’s Square in Kista, at the Vallentuna cultural centre/library, at the Restaurant Riche in Stockholm, and at Taverna Brillo in Stockholm. Cecilia Ömalm is represented by Gallery Christian Larsen and her works are found in collections of the Moderna Museet, Stockholm, , the National Public Art Council, Västeras Art Museum, The New York Kunsthalle, and in many private Swedish and foreign collections.


EXHIBITION:
January 25 – June 15
the Cube, Fittja

OPENING HOURS:
Feb. 1-2. at 1 – 3 pm
Feb. 8-9. at 1 – 3 pm
Feb. 15-16. at 1 – 3 pm

Make an appointment:
08-530 612 25
botkyrkakonsthall@botkyrka.se

ARTIST:
Cecilia Ömalm

CURATORS:
Joanna Sandell
Anneli Bäckman

ASSISTENT:
Anna Jönsson