Sublime and Repress

Enia Gallery


Sublime and Repress


The name of this show Sublime and Repress, taken from the work of Sigmund Freud ”Civilization and its Discontents” (”Das Unbehagen in Der Kultur “), has work as a theme for this exhibition sorting for the artist to use as a inspiration in the process of selected work for the exertion exhibition.

Sigmund Freud’ book was published in 1929. In this work Freud explores the clash between the desire for individuality and the expectations of society. As the title implies we are constantly unhappy, trapped in the gap. In the book Freud enumerates what he sees as the fundamental tension between civilisation and the individual. The primary conflict, he asserts, comes from the individual´s quest for instinctive freedom and civilisation’s contrary demand for conformity.

It is of special significance that this group show of international artists takes place in Athens since this is where most of us met and connected as a group through mutual interest.

To explore and approach new ways of working with art almost like a discourse between us by making art

The theme of the exhibition has been interpreted differently: as inspiration for example Annelie Wallin (SWE), Amélie Laurence Fortin (CAN), Julie René de Cotret (CAN), and Petri Saarikko (FIN) present work in different ways from a anthropocentric viewpoint; Dan Lageryd (SWE) has in juxtaposition  chosen to work with urben fastfood culture;

Ella Tahkolahti (FIN) and Hanna Marno (FIN) work much more directly with  the basic theme of sublim and repress, Mathieu Valade (CAN) works with art and the artist’s role; Artemis Potamianou (GRE) has looked at the muse, women’s perspective and role in art history; Alexander Mood (SWE) takes a more existential and personal approach.



Kuben, Samtidskonst I bro 2-18 Mars


Min pappa var konstnären Lars Karngård. Han lämnade mig med en ateljé full av målningar, en samling kuriosa och ett kungarike – komplett med nerskrivna grundlagar och kartor som ringar in en konkret, fysisk plats på Gotland: Roma. Jag visste redan när han levde att denna alternativa värld var en stor del av hans liv, men inte hur stor.

Jag har genom att gå igenom hans samlingar och genom ett sorterande av minnen börjat förhålla mig till min pappa på ett sätt jag aldrig gjorde när han levde. Mina minnen av honom möter hans (parallella) verklighet.

I min konst är jag är i huvudsak intresserad av politik och historia och av hur historien verkar i nuet. Jag utgår ofta från en antropologisk diskurs och arbetsmetod och har i huvudsak arbetat med video, foto, text och ljud.
Jag är intresserad av den del av historien vi inte vill kännas vid, det vill säga den del av oss själva vi inte vill förstå. Jag sammanför dessa kollektiva minnesluckor med personliga minnen. Jag samlar och registrerar, allt från affischer på gatan till arkiverade bilder, klipper och klistrar och lägger samman, som i ett kuriosakabinett.

Endast genom hopklistrade fragment kan historiens komplexitet bli synlig och nya sammanhang framträda.

Min farfar föddes i Tärnsunds torp utanför Upplands Bro på vad som i dag är militär mark min släkt bode i området i sju generationer fram till 30 talet då man byggde ett hus i Hässelby villastad.
I min pappas närmast mytologiska förhållningssätt till världen och verkligheten fanns också hans band till Upplands-Bro. Han åkte ofta till ett gammalt eltorn som han byggt om till sin eggen koja

Det är därför extra kul att få göra den här utställningen just på Konstkuben i Bro

The Contours Of a Liminal Mind, HILBERTRAUM


The Contours Of a Liminal Mind

Alexander Mood

Karin Häll

Annelie Wallin

is an exhibition that focuses on the threshold between colliding cultures – the liminal space- which lets something new and unknowingly arise and open up for negotiation of meanings and representations. In this area between the worlds, new cultural identities are formed and reshaped in a constant state of becoming. From different points of our artistry, we derive our works from deep ecology, anthropological transformation concepts and the remains left in the world. We show photography, sculpture, sound-installation and video.

Erased and recorded

The sound piece is the erased original tape 342 from the Nixon White House tapes. Tapes recorded at some point during the evening of June 20 1972 a conversation between two men was secretly taped on a SONY TC-800B reel-to-reel voice recorder. And has ever since ”remained by far the most infamous.tape of the Nixon tapes not because of the damaging or volatile nature of the information it contains, but precisely because of its absence: a gap in the tape of 18 1/2 minutes.”

The picture is from my father that had a brain tumour in the 1990’s. After his death seven years ago he left me with the X-rays of his brain. The trees are photographed through the x-ray, as if they grow inside my fathers brain.

Both the sound and the picture is recorded traces of memory filled with some sort of content that makes the white noise of Nixon and the reworked X-ray into some sort of ambivalent notion of a more profound meaning.

My artistic activity is mainly concerned with politics, history and memory and how history works in informing the present. I often start from an anthropological discourse and working method and have mainly worked with video and audio and installation.

The world is undergoing a paradigm shift where industrialism is about to disappear but no new world order has yet been formed. This creates political and economic instability. History is not behind us, we are history (forming the future): history is in the present. I am interested in the part of history we do not want to acknowledge, know or address, that is, the part of ourselves we do not want to understand.

Elderly Ladis


My  Iris video is being shown for the first time sens 2011. Twochang precent  The Video screening program Elderly Ladies at Slipvillan And Årsta Folketshus 8-11 March, Stockholm Sweden




Center For Art And Culture in Chicoutimi, Quebec


Dads Head.

My father had a brain tumour in the 1990’s and after his death seven years ago he left me with the X-rays of his brain. The trees are fotografi trove the x ray as if they groove inside my fathers brain. A nerve system that through the trees and fungus connects are countries and as to awakening the spirit of him.

In 2006 the Swedish museum of etnography gave back a totem pole to the Haisla people in north west of Canada. The totem pole was carved out of a tree that the chief of the tribe had

kept as a celebration of the spirit that saved his people. It was stolen ifrom them in 1870, cut down and put in a magasin in Stockholm.

In my work I often deal witt the parts of history that we don’t want to remember. It doesn’t fit the Swedish self image to be the colonising explorer, to steal artefacts from other countries and displayed them in museums.

The image of my father’s brain connects with the skulls stolen by European explorers and scientists, from around the world, also from Canada. In the field of racial biology Sweden had some of the most devoted scientists and ideologists. To take a piece of my father is a way of dealing with our common past as well as my way to bring peace to my very personal past and to my fathers memory.

The forest is a dominant part of Sweden just as in Canada, with large uninhabited areas of forest stretching over much of the country.

Chiqoutimi lies, like Stockholm, in the taiga boreal forest zone, which stretches along the entire northern polar circle from Japan and East Russia, across Scandinavia and Scotland to Canada’s west coast. Fir trees dominate the forest, which is relatively species-poor.

It is not hard to see that this has affected the development of both countries and the paths we have both taken during history. The industrialisation of both of our countries was reliant, for example, upon  exploitation of the forest  and the colonial oppression of indigenous peoples.

In the forest exists both the mythical and the political, the dangerous but beautiful, the ecological and the economic. Embedded in the forest is also the contrast to the city which becomes clearer, the more the gap between city and the rural widens, between what is perceived as the center and what is seen as periphery.

Even how the countries are perceived politically are, in any case, on the surface, similar. They are both seen as liberal, stable and hospitable with well-developed welfare and strong faith in equality and social justice. Beneath the surface, however, there are conflicts with indigenous peoples concerning land and historical oppression, and a long underground smouldering, but increasingly open, flaming racism.




Oksasenkatu 11 Gallery Helsinki 1-3 Sep

Liminality, video, Alexander Mood

Kebab dreams, video, Dan Lageryd

Tide, soundwork, Jenny Aschenbrenner

When the electrician Harry Beck designed the map for the London railway system, he used an electrical circuit plan as a basic inspiration. Given that our thoughts and impulses are transmitted electrically, the map and the undergrond network stands as a perfect metafor for the nerve system in the city.

The video work consists of two projections of people who are on their way out through the ticket barriers at metro stations Östermalmstorg and Skärholmen, leading up to two distinct parts of Stockholm: a Million-program suburb and the city’s financial center. Like waves of people, they are welling up from the underworld, in slow motion.

(Skärholmen and Östermalmstorg are located at the two ends of the Stockholm socioeconomic spectrum, strictly segregated by the city’s highly segregated housing situation. They are also on the same subway line.)

Cut out adhesive letters spelling Pizza, Kebab, Sushi, Take Away. A graphic semblance of a man in a mustasch serving a pizza. An exotic made up bird on an utopian island. This is what is presented to us in the windows of fast food restaurants across cities in the western world.

The fastfood restaurant is at the same time a place where prejudice is challenged, a place of exploitations and a place of dreams. Exotic dreams of faraway places and exotic food, less exotic dreams of work, of safety and money, of establishing a new life, of financing a move back home, of providing a future for your family.

Today’s surging people form a connection with what those at modernity’s birth tried to understand in their time of rapid change and what this did with the experience of a firm and lasting identity.

A series of fragments from Virigina Woolf’s novel The Waves are woven together now and then, the suburbs and the inner city, elite and exclusion. The same thoughts, the same fears and hopes of rest and security tucked into the quagmire of change.

You can not live outside of the machine for more than maybe half an hour.”

As a motorway noise of colliding sentences, a sea of competing statements, the voices form a sort of chorus, consistent in their search.