Inside the entrance to the Marabouparkens konsthall is two ready mades. A green sandbox, such for sanding if it gets icy. And a chair, which is not intended to sit on.
When Lisa Torell (born 1972) takes up the public room reminiscent of political activism. Most of her works in the exhibition are what she calls the In situ souvenirs, that is to say, the video footage of the performance piece. She talks about accessibility and human rights, and question the urban development project.
From the large version of the ceiling hanging white tygskynken with sprayed symbols, such as rullstolssymbolen. Next appears the title piece ”Pavement, a masterpiece”, a video from a ”artist walk” in Tromsø. During the winter, appearing neither elderly or disabled out in the city because of the sidewalks.
mark Torell where it is difficult to slow down or easy to slip, and where warning signs are needed. She goes in controversy with the ongoing urban development and the hip architects Raumlabor from Berlin, who was commissioned to create the attractiveness. Work, she argues, focus more on entertainment than on basic welfare, which is sensible sidewalks.
My biggest benefit of wikipedia articles videos, in addition to being meditative, entertaining and beautiful, are the details she makes visible. The videos are a part of her thesis ”the Potential of the Gap” (2018). Where the investigating honhur ”glitches”, like a crack in the asphalt is undesirable condition, but at the same time, visualize something greater. It is about providing perspective on the welfare, to see things that most people would dismiss as banal and uninteresting, or taken for granted.
In fact, the ”Road 25, a divided society means a shared liability,” she takes care of the things that have been neglected in some places in the province of Småland. Cracks in the asphalt. Dirty shop windows. In another work paints a retired painter for a fence in Gdansk, a city with high unemployment where the politicians want to attract new residents with money but at the same time, using ”authenticity” as säljknep.
Bällstaån. Photo: Marika Troili
enter the Marika Troilis rumsinstallation ”Waterfront recreation”. Troili take on the plans for the Bällstaån, which runs through Sundbyberg, Solna, Järfälla and Stockholm.
the Starting point is the four municipalities ‘ comprehensive plans, placed in a booth humorous överströdda with superfood-the food nässelpulver. In them painted magnificent visions of the river. ”Waterfront recreation” to sell the future of the co-operative apartments.
From the ceiling hang the cans with åvatten. A brilliant staging, the smell speaks for itself. The water in the Bällstaån is unfit.
On a podium is a piece of tree trunk where a beaver had been there. In time, the many beavers living at the river take a beating. The beaver is, as well as nässelpulvret, an eloquent symbol of the human struggle against nature.
Who owns the city gained access to the gallery’s guest room. The collective has mapped the Stockholm shopping center. They reside on citizens ‘rights in these public rooms, and the respective owners’ approach to demonstrationstillstånd seems interesting enough as to say the least sketchy. An important work on was democracy’s shortcomings.
Democracy is the lowest common denominator of the three exhibitions, which all extends and deepens the increasingly urgent issue of care and rights in the public domain.
