• Beatrice Alemagna
    Vi går till parken, 2019

  • Martin Jacobson
    Katedralen, 2018

  • Jenny Holzer
    Wanås Wall, 2002

  • Katarina Löfström
    Open Source, 2018

  • Malin Holmberg
    I will stop loving you, 2010

  • Sarah Schwartz
    Mother, 1990

  • Beatrice Alemagna
    Vi går till parken, 2019

  • Martin Jacobson
    Katedralen, 2018

  • Jenny Holzer
    Wanås Wall, 2002

  • Katarina Löfström
    Open Source, 2018

  • Malin Holmberg
    I will stop loving you, 2010

  • Sarah Schwartz
    Mother, 1990

  • Beatrice Alemagna
    Vi går till parken, 2019

  • Martin Jacobson
    Katedralen, 2018

  • Jenny Holzer
    Wanås Wall, 2002

  • Katarina Löfström
    Open Source, 2018

  • Malin Holmberg
    I will stop loving you, 2010

  • Sarah Schwartz
    Mother, 1990

  • Beatrice Alemagna
    Vi går till parken, 2019

  • Martin Jacobson
    Katedralen, 2018

  • Jenny Holzer
    Wanås Wall, 2002

  • Katarina Löfström
    Open Source, 2018

  • Malin Holmberg
    I will stop loving you, 2010

  • Sarah Schwartz
    Mother, 1990

Participating artists

 

Christer Strömholm (1918–2002) trained as an artist, and began working with photography in the late 1940s. In the exhibition, his work is situated in context with contemporary artists; the present is linked to the past and creates a dialogue on recurring topics within the work of Strömholm. He traveled internationally and his images captured events and places, intimate as well as political. Overarching themes such as life, sorrow and death are constantly present in his images, while he is also concerned with shapes, stains, concavities, sometimes the absurd, and they often have expressions of tenderness and vulnerability. His works are represented in the collections of, among others, Moderna Museet, Stockholm, and Museum of Modern Art, New York.
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Annika Elisabeth von Hausswolff (b. 1967, based in Gothenburg) is well known for her carefully arranged images based on themes such as power structures, spatiality, psychoanalysis and sometimes, only with traces of human activity. She also works with installation and sculpture. Recently, she has used images from news archives and auctions that she processes. The selection in this exhibition focuses on a series of images of archival photographs of playgrounds and children, Authoritarian Arcitechture. Her latest solo exhibitions include ARoS Kunstmuseum (2013), La Conservera Murcia (2010), and Magasin III (2008). In 2021, her exhibition Alternative Secrecy opened at Moderna Museet Stockholm, which is now on show at Moderna Museet Malmö until September 11, 2022.
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Aziz Hazara (b. 1992, based in Kabul and Berlin) works across mediums such as photography, video, sound, text and multimedia installations. In Bow Echo, five boys climb and try to stay perched atop a large rock, battered by strong winds. They play a children’s bugle, communicating the urgency of their situation. The work has been inspired by Hazara’s own experience of the suicide attacks unsettling unsettled the city of Kabul. The question of how to best represent this situation and its effect on the lives of individuals has been one of the most persistent questions for Hazara during the making of this work. Hazara has participated in several international exhibitions, including the Busan Biennial (2020) and the Sydney Biennial (2020). In 2021, he was awarded the Future Generation.
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Gosette Lubondo (b. 1993, based in Kinshasa) recreates places, and acts both behind and in front of the camera. In the Imaginary Trips series, which started in 2016, memory and architecture are mixed. Lubondo layers images on top of each other, mixing real and fictional characters, creating the feeling of a mixture of past and present. Lubondo describes the series in the exhibition, taken in an old timeworn train carriage, as a journey with a beginning but no end to an unknown destination. Lubondo has participated in the Lubumbashi Biennale (2017, 2019), and Addis Photo Fest, Addis Ababa (2018) , among others.
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Eric Magassa (b. 1972, based in Gothenburg) works with painting, collage, performative photography, sculpture, and textiles. Several of the works are based on the artist’s own roots in Sweden, France, and Senegal, exploring how West African art has been copied and exploited for artistic and commercial purposes. Working with masks, patterns and montages, he stages a series of dislocations between the visible and invisible, and between various identities and meanings. His works are created during a long process in which several works are going on in parallel, in different techniques and where content migrates. In the exhibition, Magassa exhibits street images captured during several years. Magassa’s art has been shown at Bohusläns museum (2022), GIBCA (2019), and Moderna Museet (2018), among others.
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Eiko Otake (b. 1952, based in New York) is a movementbased, interdisciplinary artist. Her video works, installations and performances have been shown all over the world, and she has made long performative installations at the Whitney Museum and Walker Art Center, e.g. Since 2014, she has been working with A Body in Places, in about 70 places. The exhibition shows images from A Body in Fukushima, she has traveled there six times, so far. From her second trip accompanied by William Johnston, who documented her body in the surreal, irradiated landscape in places of nuclear contamination. He has been photographing with large-format camera for decades, and is also a professor of Japanese history and public health at the Wesleyan University UC-CT.
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