Terms of falling, D. Rönnberg
Katarina Pirak Sikku and Liselotte Wajstedt
Katarina Pirak Sikku
Exhibition was part of the IX International Biennial of Art, SIART-Bolivia 2016.
Supported thanks to The Embassy of Sweden in La Paz.
http://www.swedenabroad.com/sv-SE/Ambassader/La-Paz/Aktuellt/Nyheter/Svensk-konst-pa-Biennalen-i-La-Paz-sys/
Supported thanks to The Embassy of Sweden in La Paz.
http://www.swedenabroad.com/sv-SE/Ambassader/La-Paz/Aktuellt/Nyheter/Svensk-konst-pa-Biennalen-i-La-Paz-sys/
Participating artists: Valerie Montti Colque, Kristina Müntzing, Victor Lizana, Katarina Pirak Sikku, Diana Rönnberg, Merzedes Sturm-Lie and Liselotte Wajstedt
Curator: Martin Schibli
Venue: Museo Costumbrista Juan de Vargas, c. Apolinar Jaén S/N, La Paz, Bolivia.
The view on Sweden, from the Swedes themselves, and from others, is
often that it is seen as a rational modern welfare state. And still, the
forest and the nature is for most people very important, not only for
their leisure time. On the contrary, the nature, the forest and the sea
is too many people a place of wellbeing, a sense of a “natural”
belonging. For many people the nature is more defining than culture.
This is probably the reason why many artists in Sweden has taken the
nature as a popular motif, it says something about Swedish people. In
the work of DIANA RÖNNBERG the nature is the scenario for the human
condition, to be in a twilight zone between the rational and the belief
in something bigger. The realization that the modern welfare state in
the end cannot provide the answers for all the existential questions.
This sense that something that is lost in the modern society, is also
stressed in the work of LISELOTT WAJSTEDT _the only one_, there the
artists search for the roots of her grandmothers’ roots. In this case
it is not just the search of the individual, but also for one of the
minorities within Sweden, the Sami Culture.
One might think that Sweden – that has been an important voice for
democratic right around the world - would also be in forefront of
accepting it’s owns minorities. On the contrary, the Sami culture has
for centuries been under pressure from the Swedish State, and the Sami
Language was accepted as an official language in Sweden in year 2000 as
a minority language. Actually there was a paradox in the Swedish 20th
Century at the same time building a welfare state, it also excluded the
Swedish minorities. The Paradox might be due to the ideology of the
welfare state aimed to include people, even if the result was to erase
cultural background. The Sami culture was seen as something exotic –
and important to present in Museum as Swedens cultural history, and at
the same time it was often treated as an obstacle for development. The
works of Katarina PIRAK SIKKU deals with this context in her work, i.e.
how Sami minorities was studied in the early 20th century in what today
is called Racial biology.
However, Sweden is also strongly linked to the global economy, and as
most countries in diversified when it comes to different cultural and
religious background. Today, the globalization which contains of several
parallel processes – and sometimes as a paradox – both have open up
for a new cultural phenomena when people meet from different
backgrounds, like in the work of VALERIA MONTTI COLQUE and KRISTINA
MÜNTZING. Different cultural expressions starts intervening with each
other and they meet in the suburbs and in the social media. At the same
time this could also mean a loss of culture. Or rephrased in other
terms, the identification becomes more from the perspective of the
consumer, especially in a loss of habitat. The newer generation, have
lost the contact with their roots, in replace it by a fast consuming of
products and cultural expressions. It creates new forms of identity
construction, important for the individual, but also often shallow. The
work of VICTOR LIZANA is an example of this strive for identity and
belonging to the consumer society. However, the globalized world offers
also a higher possibilities of new constructions of identities; the
artists MERZEDES STURM LIE has found one in the female version of a
pirate, exploring the world and make its her own.
often that it is seen as a rational modern welfare state. And still, the
forest and the nature is for most people very important, not only for
their leisure time. On the contrary, the nature, the forest and the sea
is too many people a place of wellbeing, a sense of a “natural”
belonging. For many people the nature is more defining than culture.
This is probably the reason why many artists in Sweden has taken the
nature as a popular motif, it says something about Swedish people. In
the work of DIANA RÖNNBERG the nature is the scenario for the human
condition, to be in a twilight zone between the rational and the belief
in something bigger. The realization that the modern welfare state in
the end cannot provide the answers for all the existential questions.
This sense that something that is lost in the modern society, is also
stressed in the work of LISELOTT WAJSTEDT _the only one_, there the
artists search for the roots of her grandmothers’ roots. In this case
it is not just the search of the individual, but also for one of the
minorities within Sweden, the Sami Culture.
One might think that Sweden – that has been an important voice for
democratic right around the world - would also be in forefront of
accepting it’s owns minorities. On the contrary, the Sami culture has
for centuries been under pressure from the Swedish State, and the Sami
Language was accepted as an official language in Sweden in year 2000 as
a minority language. Actually there was a paradox in the Swedish 20th
Century at the same time building a welfare state, it also excluded the
Swedish minorities. The Paradox might be due to the ideology of the
welfare state aimed to include people, even if the result was to erase
cultural background. The Sami culture was seen as something exotic –
and important to present in Museum as Swedens cultural history, and at
the same time it was often treated as an obstacle for development. The
works of Katarina PIRAK SIKKU deals with this context in her work, i.e.
how Sami minorities was studied in the early 20th century in what today
is called Racial biology.
However, Sweden is also strongly linked to the global economy, and as
most countries in diversified when it comes to different cultural and
religious background. Today, the globalization which contains of several
parallel processes – and sometimes as a paradox – both have open up
for a new cultural phenomena when people meet from different
backgrounds, like in the work of VALERIA MONTTI COLQUE and KRISTINA
MÜNTZING. Different cultural expressions starts intervening with each
other and they meet in the suburbs and in the social media. At the same
time this could also mean a loss of culture. Or rephrased in other
terms, the identification becomes more from the perspective of the
consumer, especially in a loss of habitat. The newer generation, have
lost the contact with their roots, in replace it by a fast consuming of
products and cultural expressions. It creates new forms of identity
construction, important for the individual, but also often shallow. The
work of VICTOR LIZANA is an example of this strive for identity and
belonging to the consumer society. However, the globalized world offers
also a higher possibilities of new constructions of identities; the
artists MERZEDES STURM LIE has found one in the female version of a
pirate, exploring the world and make its her own.
Martin Schibli
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