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Bild: Saadia Hussain
Bild: Saadia Hussain

Exhibitions

THE WOMEN IN THE NEIGHBOURHOOD

March 8 – August 11, 2019
Studion, Sergels torg 3

Who are the women in the Klara quarters? Who are those that created the women’s history of Stockholm City? This year Sweden celebrates the 100th anniversary of women’s suffrage, and the exhibition The Women in the Neighbourhood highlights a few of the women who live and lived around Stockholm’s city centre. They include workers, activists, protesters, journalists, artists, feminists, stage directors, the homeless, and the young.  Augusta Lundin, who opened Sweden’s first fashion house on Brunkebergstorg in the late 19th century. Maria Johansson, who sang and played on Sergels torg for many years. Suzanne Osten, who founded the Unga Klara theater. The artists who took over the parliamentary building for a women’s culture festival in 1977. But also those who live here today, like the women at the Klaragården,  Stockholms stadsmissions day centre for women portrayed by the photographer Hannah Modigh. In the exhibition there are also mural paintings by the artist Saadia Hussain, with her interpretation of the women in the neighbourhood.

This exhibition can be seen as a voyage in time, in search of the women and stories of the Klara quarters, in a series of short episodes, stretching far back in history to the days when nuns lived here. Famous names, like the author Selma Lagerlöf and the suffragist Signe Bergman, have a given place in this narrative, along with less well-known women. Like a time machine, we retrace their steps and shed light on their history and legacy. This exhibition is just a small selection of women’s history. We hope it will inspire others to share their stories and those of other women.

Maria Patomella, artistic director

Opening Hours

Monday 15–19 (Free admission)
Tuesday–Friday 11–19
Saturday–Sunday 11–17

Admissions

Admission 40:-. Free admission for those up to 25 years. Free admission on Mondays.

Studion, Sergels torg 3

This exhibition is produced by Kulturhuset Stadsteatern in association with Stockholms Kvinnohistoriska.

Welcome!

In Swedish

TOUCH ME

April 27 – June 16, 2019
Centrum för Fotografi, Tjärhovsgatan 44, 1st floor          


Photo: Aida Chehrehgosha

A joint exhibition by Kulturhuset Stadsteatern and Centrum för fotografi.

Touch Me is about being close. To be inspiring, a driving force, to show your fears and struggles, to relate to power, to leave a legacy and to feel trust, and to give and receive love. Touch me.

In a time of stress and information overload on social media, this exhibition wants to remind us of the innermost essence of art and culture – being touched. What does it mean, how does it feel?

Touch Me features six artists whose photographs, videos and films generate thoughts and insights about what gives meaning to our lives, on a personal and social level. This exhibition seeks to give room to reflect on and interpret what the works confront us with.

About the artists:

Aida Chehrehgosha shows works from her series I can’t stop thinking (2015) “...The child no longer exists. We no longer exist. It ended. And I fall asleep with those black thoughts in the dark.”

The photographs – Black Thoughts – process the recurring anxiety brought on by the darkness of night. Chehrehgosha recreates and stages these thoughts methodically and in detail, in an attempt to banish these feelings. In I can’t stop thinking the repetitive return of darkness is depicted and viewed with detachment. 

Snövit Hedstierna’s Source of Values (2016) reflects on the female body and our society’s notions about it. All the charged values it has to respond to and symbolise, without consent. The work consists of installation, performance and participation – Hedenstierna takes centre stage as an “object” and invites visitors to use soap, water and sponges to wash the unwanted values from the artist’s body. This work was originally shown at the opening of the Manifesta 11 biennial in Zürich in 2016.

Martina Hoogland Ivanow shows the work Early Reading (2018), a collaboration with an organisation called Original Play. This movement is based on the idea of an original playful behaviour that can be used to encourage trust and a sense of belonging by inviting children to activities with non-verbal play signals. A thermal camera records not what the eye sees but different temperatures, a perspective that gives equal terms and representation to all living creatures. The camera also reveals heat shadows, the heat lingers, showing the warmth left by one person on the body of another. Martina Hoogland Ivanow’s art reveals the touch that we long for or dread. Early Reading is part of a larger project based on a documentation of social structures and how they relate to trust and fear. 

Kent Klich has highlighted the situation in Gaza in books and exhibitions, as both a political and personal statement. Killing Time (2011) consists of a book and a video. The video is shown at Touch Me. It shows their last film or the last time they were filmed.

In the foreword to Killing Time, Judith Butler writes “The frame and the life are bound together, so that when the footage stops, the life is understood to have vanished as well. Perhaps the cell phone carries the lost life in a way that the objects in the house carry the lost body parts. In a way, both cell phone and the broken piece of furniture somehow survive when the human life does not, charged, we might say, with a testimonial function.”

Lovisa Ringborg’s work In the Belly of the Beast (2014) consists of photographs that explore the subconscious by creating dreamlike scenarios, erasing the boundary between reality and fiction, The eeriness of not knowing what scares or attracts us. Her enactments allude to Renaissance and Baroque painting, as in Mirage. Echo, who cannot see her face in the mirror, and Unfolding, where hands play with a piece of slippery, silky fabric. Tactile and touchable.

Heba Y Amin’s video installation Operation Sunken Sea (2018), shown here for the first time in Stockholm, raises issues of patriarchal structures and colonial constructions, designed by men who have claimed sovereignty over the Mediterranean in the past. The artist puts herself in their situations, plagiarises their gestures and ideas, and asks what would happen if an African Muslim woman were to make the same claims as her male predecessors. The work spans history and lands in the present by focusing on the problems around today’s migration.

Exhibition team: Pelle Kronestedt, Iréne Berggren and Susanne Fessé, Centrum för fotografi
Maria Patomella and Helen Karlsson, Kulturhuset Stadsteatern

Opening hours:
Wednesday–Friday 12 – 6 pm
Saturday–Sunday 12 – 4 pm
Closed: 1/5, 30/5, 6/6
Admission free

Welcome!

In Swedish