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.

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.