Exhibition catalog: HDK/Valand – Vanishing Points

ENGLISH Fe e re l fre tur e n m to e

HDK-Valand

VANISHING POINTS 24.4–16.5 2021 Degree Exhibition with Bachelor and Master Programme in Photography

@rodastenkonsthall rodastenkonsthall.se

E

1.

Hanna Abrahamsson

2.

Miina Anahita

3.

Marie Barthelsson

4.

Gitte Berglöv

5.

Daniel Björneke Wirgård

6.

Emma Neha Bobeck

7.

Ingvild Davidsen

8.

Fia Linnéa Emelie Doepel

9.

Jessica Ekström

10.

Johan F Källman

11.

Joachim Fleinert

12.

Erik Gustafsson

13.

Nini Hansen

14.

Anna Sofia Jernryd

15.

Vera Jörgensen

16.

Sebastian Kok

17.

Luna Lopez

18.

Thurea Al-Rahbi Håkonsson

19.

Alexander Nico Ingversen

20.

Mia Rogersdotter Gran

21.

Sofia Sandqvist Marjanen

22.

Albert Sten

23.

Oskar Söderman

24.

Armand Tamboly

25.

Mercè Torres Ràfols

26.

Katerina Tsakiri

5

2

1.

Hanna Abrahamsson

2.

Miina Anahita

3.

Marie Barthelsson

4.

Gitte Berglöv

5.

Daniel Björneke Wirgård

6.

Emma Neha Bobeck

7.

Ingvild Davidsen

8.

Fia Linnéa Emelie Doepel

9.

Jessica Ekström

10.

Johan F Källman

11.

Joachim Fleinert

12.

Erik Gustafsson

13.

Nini Hansen

14.

Anna Sofia Jernryd

15.

Vera Jörgensen

16.

Sebastian Kok

17.

Luna Lopez

18.

Thurea Al-Rahbi Håkonsson

19.

Alexander Nico Ingversen

20.

Mia Rogersdotter Gran

21.

Sofia Sandqvist Marjanen

22.

Albert Sten

23.

Oskar Söderman

24.

Armand Tamboly

25.

Mercè Torres Ràfols

26.

Katerina Tsakiri

17

25

14

16

1

23 8 22

4

20

12

21

6 26 7

15 19

9

11

5

3

1.

Hanna Abrahamsson

2.

Miina Anahita

3.

Marie Barthelsson

4.

Gitte Berglöv

5.

Daniel Björneke Wirgård

6.

Emma Neha Bobeck

7.

Ingvild Davidsen

8.

Fia Linnéa Emelie Doepel

9.

Jessica Ekström

10.

Johan F Källman

11.

Joachim Fleinert

12.

Erik Gustafsson

13.

Nini Hansen

14.

Anna Sofia Jernryd

15.

Vera Jörgensen

16.

Sebastian Kok

17.

Luna Lopez

18.

Thurea Al-Rahbi Håkonsson

19.

Alexander Nico Ingversen

20.

Mia Rogersdotter Gran

21.

Sofia Sandqvist Marjanen

22.

Albert Sten

23.

Oskar Söderman

24.

Armand Tamboly

25.

Mercè Torres Ràfols

26.

Katerina Tsakiri

13 18

10

24 3

5

4

1.

Hanna Abrahamsson

2.

Miina Anahita

3.

Marie Barthelsson

4.

Gitte Berglöv

5.

Daniel Björneke Wirgård

6.

Emma Neha Bobeck

7.

Ingvild Davidsen

8.

Fia Linnéa Emelie Doepel

9.

Jessica Ekström

10.

Johan F Källman

11.

Joachim Fleinert

12.

Erik Gustafsson

13.

Nini Hansen

14.

Anna Sofia Jernryd

15.

Vera Jörgensen

16.

Sebastian Kok

17.

Luna Lopez

18.

Thurea Al-Rahbi Håkonsson

19.

Alexander Nico Ingversen

20.

Mia Rogersdotter Gran

21.

Sofia Sandqvist Marjanen

22.

Albert Sten

23.

Oskar Söderman

24.

Armand Tamboly

25.

Mercè Torres Ràfols

26.

Katerina Tsakiri

2

5

WORKS IN THE EXHIBITION

HANNA ABRAHAMSSON (b. 1989) 1

Band, 2021 Video, 02:45 min Video, 03:00 min Video, 01:47 min (silent)

Band consists of three video works that explore power relations and dependence in a child – parent relationship. In these works, the physical objects and the autobiographical are used as methods to highlight power as an involuntary activity that shifts over time. The three videos can be seen together or separately. Based on the order the works are seen, they open for new narratives and perspectives.

With an academic background in ethnology and through photography and video Hanna Abrahamsson explores themes such as social interaction and the fragility of everyday life.

2

MIINA ANAHITA (b. 1996)

Glasriket, 2021 Installation, Photographic artefacts, Forest biomaterials, Soundscapes, Light, Paper

Glasriket is an ongoing research and

a contemporary interpretation of the interactive Curiosity Cabinet as a spatial and tactile-sensory process. The artist examines a bodily experience of worlds, beings, and artefacts as a method of searching for the imaginary in, around, but above all, beyond the representation of the depicted.

Through photography they approach the phenomenons that can not bee seen until the picture is taken. The photographic process and act becomes an experience -a search in their senses of the sensory impressions. This leads to an external vision that triggers an internal vision, to be inside, not outside, to belong, and not just visit.

A belonging to the visibly unseen.

So what is it that we experience through sight but that we cannot see through it?

MARIE BARTHELSSON (b. 1982) 3

Suddenly, through an opening, the spring light fell into the room, 2021 Inkjet prints, Various dimensions

Marie Barthelsson works with staged photography and has over a two-year period transformed her living room and local environment into a photo

studio. Barthelsson has used the portrait studio’s backgrounds, studio lighting and props to create different scenes.

Barthelsson explains that the photographs are a kind of diary entry that recounts a period of perceived seclusion in life. The starting point for this series has been her own experiences and memories. In the creation of the images, it has been important to try to shape inner feelings and Barthelsson says that in the project she has asked the question of whether she has allowed her reality to be distorted. If it is the case that someone else’s reality has guided her experiences, then how can she take back her own memories?

4

GITTE BERGLÖV (b. 1977)

Hand mot berg Direct print on aluminium, xerox print, inkjet print, video, plexiglas sculpture Dimensions variable

How can the relation between human, time and place be understood in connection to the rock cycle and what happens when different perspectives are brought together and put in dialogue with one another? Blocks, gravel, sand and clay are all results from rock weathering and erosion.

Processes so slow that they usually escape us in everyday life.

With a background as an Earth scientist, Gitte Berglöv explores

nature’s building blocks and processes, often in relation to humans. Hand mot berg is a collection of works that explore human approach and interaction with the mountain and its matter.

5 DANIEL BJÖRNEKE WIRGÅRD (b. 1975)

Moment, 2020–2021 Silvergelatin-kopior på Fomapapper, 100 × 150 cm

Moment is a project that aims to help Daniel rediscover what is important to him, in his creative process, when he does not feel att home in the more academic and critical attitude to photography. Daniel is an observer who uses the camera to see what catches his interest. Rarely does he have a plan formulated, but discovers afterwards what he has been through and what he may want to convey.

With these portraits, Daniel examine how a good meeting between the photographer and the portrayed can be discerned in the finished image.

That they both see each other as unique and equal human beings; something he wants to see more of in the world at large.

6

EMMA NEHA BOBECK (b. 1998)

Disentanglement, 2021 Inkjet prints 40 × 40 cm Video, 7:37 min Special thanks to Javid Sina

In her artistic practice, Emma Neha

Bobeck (born in Bengaluru, raised in Örebro) explores belonging and the complexity behind adoption.

As a transracial adoptee the artist uses her own background to explore bureaucracy, cultural identity and social structures. Disentanglement consists of an adoption archive in combination with a video of the artist in a staged mother and daughter relationship.

Disentanglement exists in a postcolonial context and is in dialogue with ongoing debates on international adoptions in Sweden, the by far greatest adopting country in the world per capita.

7

INGVILD DAVIDSEN (b. 1991)

Untitled (Searching), 2021 Titles of individual works

Process, 2014– Portrait, 2020 Representation, 2021 Lumps, 2021 Installation, process material, sculpted milk, waxed silk cloths photographic textile sculptures 180 × 130 cm

Based on photography, Ingvild Davidsen has worked with various materials and techniques. With a focus on the artistic process, photography, silk, beeswax and milk interact in a tactile installation.

In Untitled (Searching) an image emerges of something that can be associated with a bodily transformation. Davidsen allows herself and the viewer to remain in the mystery of configuration.

8 FIA LINNÉA EMELIE DOEPEL (b. 1992 , Finland)

The Forest in Themselves Have for a long Time Been Spoken of as a Multitude of Living Creatures, 2021 Cameraless black and white photograms ca 100 × 400 mm , vitrin made of fir plywood, polaroid in ash frame 229 × 276 mm, text on karduspaper 130 g ca 760 × 5 020 mm, shelf made of ash wood, linseed oil paint, cyanotype 420 × 1 670 mm, fir root Thank you to: Jarkko Nordlund, Caitlin Littlewood, Cora Hillebrand, Mia Rogersdotter Gran, Pinja Myllykoski

In her artistic practice Fia Linnéa Emelie Doepel looks into ideas and concepts towards nature where different environmental issues work as starting points. Doepel uses notions such as animism, feminist posthumanism and ecology as modes of investigation and opperate within these frameworks.

The work The Forest in Themselves Have for a Long Time Been Spoken of as a Multitude of Living Creatures is a collaboration between a clearcut located on the southern coast in Finland and the artist. In this work Doepel investigates what happens to the communication between individuals within the ecosystem when the trees are cut down. The process is based on interaction, and through working-with the ground and its critters, the notion of animism is evoked.

How to write title with capital: The

Forests in Themselves Have for a Long Time Been Spoken of as a Multitude of Living Creatures.

The process is based on interaction, and through working-with the ground and its critters, the notion of animism is evoked. (Coma after interaction) 9

JESSICA EKSTRÖM (b. 1995)

I Went to the Ladies and it was Occupied, 2021 Inkjet prints, urinal, wallpaper

With a confrontational but humorous approach to photography Jessica Ekström explores the difference between being an observer and the observed one. I Went to the Ladies and it was Occupied reflects female objectification through a series of selfportraits and an urinal in mirror height.

After opening hours, Jessica has visited several strip clubs where she performs a role questioning and playing with the position of power and gaze. The work visualizes an attempt to maneuver control in a male-dominated existence with her own body as a tool.

10

JOHAN F KÄLLMAN (b. 1983)

LUXTRIPLICATA Interactiv Installation, Mixed media, Cameraless Photography

By deconstructing the photograph into its components and then reconstructing it in a new form, Källman takes his point of departure in cameraless technology. In a mixture of light, darkness, sound and optics,

the artist brings all this together in an attempt to make art more inclusive.

Luxtriplicata is an interactive installation where viewers control the color play that occurs when white light is refracted in a prism.The technique is called dispersion.

On the walls are two interpretations of Alexander Bell’s invention The photophone. The technology is called modulation and means converting light waves into sound waves.

The visitor is free to interact with all the works and can control the sound and light by by themself.

11

JOACHIM FLEINERT (b. 1984)

Danish Index of Tapestry X, 2020 Print on fabric 288 × 705 cm Thanks to: Ramirent AB, Ställning Fallskydd

In 1990 the Danish artist Bjørn Nørgaard was commissioned to design the Queens Gobelins at Christiansborg Palace, the house of the Danish Parliament. The result was 17 Gobelins where 9 depict a chronologic representation of Danish history, from the Viking age and till the end 1900s.

The Gobelins were given as a gift on Queen Margrethe II birthday in 2000.

Circulating events between late 1800s and the year of 2020 Danish

Index of Tapestry X is a hybrid that uses photographs from people who witnessed the history and the heritage of the Danes. Seen with today’s eyes by using topics not mentioned in the originals, it questions the perception of Danish identity and how we wish history to be remembered.

12

ERIK GUSTAFSSON (b. 1987)

Concrete Installation I (Konkret Installation I), 2020 Analog C-type prints, dibond, wooden frame, 240 × 80 cm Xerox prints, silkboard, wooden frame, museum glass, 44,8 × 32,6 cm

Concrete photography, a development within modernism, focuses on an expression of the medium itself.

A kind of photography about photography, and about the presence of the image, not what it represents.

The vertical camera-less photographs in Erik Gustafsson’s installation are printed by hand in the analogue darkroom; what is visible on the surface of the paper, are fields of colour and the performativity of light.

The black and white snapshots show still lifes, portraits and places. These photographs have been processed several times between the darkroom and a photocopier, demonstrating the potential for change that lies in the act of reproduction.

In his work, Gustafsson focuses on questions of materiality and

meaning-making, representation and reproduction, as well as the possibilities of experiencing time and space on a flat surface.

13

NINI HANSEN (b. 1987)

Nuptial Dance, 2021 Screen Prints, 62 × 100 cm, Pigment, charcoal, aphrodisiac on mulberry paper Etched Tombac, 20 × 25 cm Pine beam podium, 9 × 100 cm

In Hansens’ work Nuptial Dance the viewer is invited to notations of an ancient ritual performed by two scorpions between pheromones, pinchers and stingers in a test of strength. The tension from the dance is also to be found in Hansens’ way of working with materiality.

The old alchemists are said to have celebrated ’scorpion time’ when base metals turned into gold. In analogy, Nini Hansen is drawn to an experimental approach to photography searching for new ways of sensing the medium.

14 ANNA SOFIA JERNRYD (b. 1965)

Breathing Space, 2021 Installation with video, sound, wood, PVC mattress Video loop, 2 min, 10 sec

Through her artistic practice Anna Sofia Jernryd examines conventional ideas concerning representation, identity and classification as well as the meaning of ‘belonging’. Jernryd

is interested in renegotiating the boundaries between inside and outside, inclusion and exclusion as well as ‘I’ and ‘you’. By repositioning herself/ the subject/ viewer, she opens up for a movement between these positions.

With the work Breathing Space, Jernryd invites the viewer to an embodied experience by asking them to lie down, meet a different perspective and listen to the sound of a human being breathing under water. At the same time, she asks the question ‘who is experiencing whom?’

15

VERA JÖRGENSEN (b. 1994)

rosebud;!;!; (unwanted days), 2021 Video installation, performance, poetry 3 min

Beyond the rules of gravity, space and time; what happens when what seems effortless on screen, comes to replace our expectations of life in ‘the real’?

In rosebud;!;!; (unwanted days) the artist enters a fictional realm, takes on the role of the protagonist and narrates the conversation towards ‘you’; the private observer. Aiming to break down the usage of the female body as a symbolic carrier of sadness and emptiness within narrative cinema, and addressing the expectation that visual pleasure would somehow transform, numb, or give purpose to emotional pain.

16

SEBASTIAN KOK (b. 1989)

Nosebleed and Other Recollections,

2021

Nosebleed The Glade The Tree House By the Creek House of Cards The Battlefield The Room C-prints (55 × 70 cm, 70 × 70 cm, 90 × 70 cm)

In his artistic practice, Sebastian Kok explores the relationship between photography and memory. In Nosebleed and Other Recollections he revisits some of his fading memories that were never immortalized as photographs.

Trusting the longevity of photography more than his own memory, Kok makes photographs of staged past events as a means of preserving memories. The work focuses on encapsulating the impressions and affective properties that make out the essence of a memory.

17

LUNA LOPEZ (b. 1996)

Words cannot describe how I feel right now, 2021 Archival Pigment Prints, (fLTR), 110 × 90 cm. 110 × 78,5 cm 110 × 90 cm. 110 × 86 cm Analog C-prints, 28,3 × 34,8 cm Silver Gelatin Prints, 28,3 × 34,8 cm

The work Words cannot describe how I feel right now consists of single images that each one stands by themselves.

By combining them with one another, new meanings arise and a visual

manifestation is created.

The photographs are brought together with both shape and color, but also with a recurring sensibility and brutality, focusing on the strength that exists within the vulnerable and unpleasant.

THUREA AL-RAHBI HÅKONSSON 18

OYB - (OKEY, YALLA BYE), 2021 IG: @okeyyallebye Video, 09:07 min

In her artistic practise Thurea Al-Rahbi Håkonsson’s proclaimed goal is to enlighten the public on mental health issues through audio-visual installations and performances with raw humor and sincerity.

In this work Thurea Al-Rahbi Håkonsson explores tactics of handling the social isolation and mental health challenges caused by the Corona-pandemic from her apartment in a locked down Copenhagen.

Through a collage of Thurea’s intimate video diaries and her online alter ego’s glittery social media posts on instagram, she is investigating art and social media’s potential for both creating a space for honest sharing and superficial Self-promotion.

Fellow neuro-diverse people are the ones that she embraces as her main audience although pointing out that “who knows, normals might understand”

19 ALEXANDER NICO INGVERSEN (b. 1991)

Immaterial Dawn, 2021 Inkjet prints, 55 × 69 cm

Sphere Resting in Equilibrium Torus Silver Pond Solitary Conic Rock Brahmagupta Arch

Immaterial Dawn are images of the sun rising on artificial landscapes.

The images have been shaped of traditions that employ math and geometry to depict and understand surrounding landscapes. Particularly images from 19th century surveying expeditions, fractal landscapes of the early computer age and default desktop backgrounds, have been significant inspiration for this work.

Alexander Nico Ingversen is interested in the interactions of our imagination and our experience of the world. He works with both photography and computer graphics, and draws on cultural, scientific and human relations to the natural and digital surroundings, when creating images.

20 MIA ROGERSDOTTER GRAN (b. 1987)

Jag drömde att jag var Hanna Resvoll Holmsen (I Dreamt That I was Hanna Resvoll Holmsen), 2010–2020 Växter I – II (Resvoll Holmsen 1909 och Rogersdotter Gran 2019), archival pigment print, 140 × 100 cm, 2021 Hanna Resvoll-Holmsen står ved en trestamme en høst- eller vårdag

(Holmsen 1915), 55 × 70 cm, archival pigment print, 2021 Anteckningsblock från 2014, archival pigment print, 2021 Affisch (Kära Hanna), digitaltryck, 42 × 59,4 cm, 2021

The investigation of the personal relationship with a place or site is a recurrent theme within Mia Rogersdotter Gran’s artistic practice.

During recent years, she has explored contemporary concepts of nature, landscape and identity through her work. Using a combination of video, text and photography, Rogersdotter Gran presents her work as installations and publications, often revealing her process to the viewer.

Jag drömde att jag var Hanna Resvoll Holmsen takes its starting point from a note that Rogersdotter Gran made in her working journal in 2014. The note describes a dream in which she was the botanist and photographer Hanna Resvoll Holmsen (Norway, 1873–1943). The installation combines Resvoll Holmsen’s photographs of plants taken on the Varanger Peninsula in 1909 with Rogersdotter Gran’s dried flowers collected from the same area 110 years later. The installation also features a letter in which Rogersdotter Gran writes to Resvoll Holmsen about their meeting. Presented as a poster, the viewer is invited to take a copy of the letter home with them.

21 SOFIA SANDQVIST MARJANEN (b. 1997)

Minnen av en omfamning, 2021 Installation, Knitted blanket 81 pieces, 31 photographs inkjet transfer prints 220 × 190 cm Thanks to Ingvild Fjell Davidsen, Matilde Villegas Bengtsson, Faidim Bahrami Ghate and my family for the extra pair of hands to make the blanket of my dreams.

The work Minnen av en omfamning (Memories of an Embracement) portrays the young adult’s longing for a parent’s physical affirmation. One family’s feelings, experiences and relationships between parents and their children are tied together through the repetitive technique of quilting. The work symbolises the young adult’s lack of physical affirmation, whilst attempting to create a replacement for this longing in a blanket. The work contains of 81 quilted pieces, 31 of them with photos taken from the artist’s private family photo albums.

Sofia Sandqvist Marjanen explores how early memories impact on us as grown-ups in a practice that often has its starting point in the photographic family archive.

22

ALBERT STEN (b. 1995)

Jag ärvde en mörk skog dit jag sällan går, 2021 Artist book Laser print, 21 × 30 cm Wallpaper, 130 × 194 cm Inkjet prints, 25 × 32 cm, 70 × 100 cm

Silver gelatin print, 96 × 122 cm Thanks to Vera Jörgensen, Cecilia Dahlbäck, Region Västernorrland and Svenska Lantbruksuniversitetet.

Jag ärvde en mörk skog dit jag sällan går explores a location that holds a family, wood-industrial history and a strike conflict that happened in Ådalen in 1931.

The work consists of contemporary photography and archival material from family and The Swedish University of Agricultural Sciences. Through the interaction with archival material and in the encounter between different sources, a weave of place, memory and history is created to understand a personal and collective heritage.

In his artistic practice Albert Sten uses photography to explore the construction of the self. He focuses on photography, as-part of something bigger to understand which fragments that become the story about our lives.

23

OSKAR SÖDERMAN (b. 1997)

To Navigate the Specific, 2021 Father, archival pigment print, 4 × 5 cm Dislocated Sunsets, #33, #42, #20, #29, #8, #1, #67, #100, #32, photograms on expired c-type paper, 20 × 25 cm Untitled (birds 24/12), gelatin silver print, 50 × 60 cm Vanishing Points, inkjet print, 146 × 222 cm Trust, analogue c-type print, 12 × 15 cm

To Navigate the Specific take its starting point in a longing to sail far out on open sea. The installation combines different photographic materials and approaches such as camera-less,

analogue photography and digital reproduction of pre-existing images.

Oskar is interested in the relationship between the specific (indexical) nature of the individual photograph and its abstract reception as an image.

Inspired by analytic and anti-subjective aesthetics of conceptual art, his work explores subjective experiences such as the emotional intensity of tragedy and the romantic quest for the sublime.

On a metaphorical level, To Navigate the Specific functions as a story derived from the sea where the self is about to get lost.

24

ARMAND TAMBOLY (b. 1979)

ENDZEIT, 2020 Wallpaper & video (Essay Film), 3:19 min

In the ongoing project ENDZEIT, Armand Tamboly takes a closer look on human interference with nature and how local inhabitants try to manage climate problems. He has been focusing on a glacier in the Swiss Alps which is rapidly shrinking. The disintegration of the glacier will mean the ruin for the region. By means of aerial and abstract environmental imagery, Tamboly invites the viewer to an experience of the place.

Armand Tamboly is a visual artist with a diverse background in Ad photography and design. He is interested in psychology and history and his framework includes environmental, social and political contemporary subjects. He uses his

own memory, experience and shared history as a trigger point for his projects.

MERCÈ TORRES RÀFOLS (b. 1995, Catalunya)

are situated in a specific territory and Torres investigates how a place has been charged by time and by the community.

25

Two Ships Once Met Somewhere in the North Sea (one saved the other together went back home said goodbye and never met again), 2010–2020 Titles of the works – from left to right: Greetings (605 × 830), “Manligheten svara för” (50 × 50), Notes I (160 × 105), Notes II (428 × 565), Notes III (609 × 452), Scale 1:hand (180 × 135 × 70), Familiar place (689 × 1 465), Lära sig ett nytt språk (15 × 15) Inkjet prints on dibond, inkjet on Favini algae paper, wood framing, fiber paper prints, clay, red Plexiglas.

Special thanks to: Albert Martinsson med familj, Lasse Alsterberg, Robert Carlsson, Sebastian Kok, Maria Marrusca Tjernström, Jonas Svedäng.

In the installation Two Ships Once Met Somewhere in the North Sea, Torres investigates Gothenburg’s archipelago heritage, and the difficulties as a new inhabitant to connect with it. The project deals with ways of communication; language and translation, fishing rituals, the political family and how stories and history are constructed and passed on to one another.

Mercè Torres Ràfols is interested in questions regarding inheritance; of a place or a tradition. These inquiries

“Keeping the inner coherence amongst those things we find and those we create, amongst those things that happen and those we make happen.”

KATERINA TSAKIRI (b. 1991, Athens) 26

I Climbed Across My Two Little Mountaintops, 2020–2021 Photography, sculpture, gifs 60 × 60 cm inkjet prints mounted and framed on maple wood 100 × 100 cm inkjet print mounted on dibond

Different traditions overlap in Katerina Tsakiris’ work; performance art, the self-portrait and expressions borrowed from popular culture. Also inspired by religious iconography and Greek mythology, she deals with topics related to social identity and heritage.

In the installation I Climbed Across My Two Little Mountaintops, photography, GIF animations and objects interact on the wall. This visual mapping of the female breast is characterized by equal parts humor and seriousness. In her artistry, Tsakiri uses her body as a field of research and a tool to create stories about femininity.

The exhibited work is part of an ongoing project.

rodastenkonsthall.se @rodastenkonsthall @vanishing_points_2021