García has created a place for visions
Ulrika Stahre see Tensta konsthall’s summer exhibition
Tenstas metro station included in the large konstsatsning which was mainly on the blue line, and was carried out by Helga Henschen 1975. It is positive, filled with \ncitat of peace, solidarity, love. Elise Ottesen Jensen’s ”Curse not the darkness, light a candle,” you can stand and read over and over again in anticipation of the t-track against the Park.
Yes, it is a positive thing, but I still have always been provoked by the förnumstiga, a little self-righteous tone. There where the light is not all as fortunate to be able to get the harness on.
\nduring the Tensta konsthall is now showing Dora García interpretation, visualization, or activation of Aleksandra Kollontajs (1872-1952) thinking, it is as if metro moved up a floor. The exhibition Red love consists of three visible parts: a red floor, a staircase and a ”cage”. Cage is inspired by the Kollontajs study, the Russian revolutionary and diplomat, who fought for socialism, including gender equality and female empowerment. Not least the sexual, the social democratic party board was at the side of Emma Goldman who in the early 1900s, stressed love as a factor for the true revolution.
\nUtställningen, with its red square, is thought of as the base for seminars and discussions, both planned it in cooperation with the college of Arts in the spring, and spontaneous. A place to light it, where the light in the darkness, in other words. A place of visions, where a better world can be made possible.
The social democratic party board was working with to call in, called in the day of intersectionality – how different power relations are woven into each other. In this way, she is up to date, and Dora García’s work – a playing field, a scenography, a symbolic installation – is open. Still I can’t help but interpret the shadows from the cage as a kind of prison bars, hard, narrow lines. Is perhaps the whole idea to sit and discuss, write, think, at a table just a chimera, a dead end? And why do the stairs before reaching the roof?
uncertainty is built into the work. Possibly a call, to break up. It is possible, for example, to open the cage, to change the architecture. The playing field is not static.
” Dora García: Red love
