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

Aleksandra Wasilkowska
Magda Wegrzyn
Agnes Mohlin
Luis Filipe Rocha
Naomi Draper

Anneli Bäckman
Anna Jönsson
Anne Pfennig

Patrick Dallard

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

EU Culture Programme

The Polish Institute