Aug 18+25 + Sep 1. SOLKATTER / Asplind & Luger
August 18 at 15.00
August 25 at 15.00
September 1 at 15.00
Book at: book.weld.se
See program and read about all activities below!
Solkatter (“Suncats”; reflections of the sun) is a critical, artistic intervention taking the form of a picnic blanket. The blanket is placed like a reflection above a room that lies 50 meters underground in the archives of Kungliga Biblioteket in Stockholm: The so-called Nelly Sachs-rummet (The Nelly Sachs Room).
This room is an attempt to recreate the apartment of poet Nelly Sachs, and contains many of her personal belongings. Unfortunately, the room was closed for the public in April 2017.
Anna Asplind & Marie-Therese Luger have in collaboration with each other and other artists collected information and stories about this room and now invite you on to the picnic blanket in order to experience and use this hidden room through a program of talks, performances, music and activities.
The picnic as a format for this intervention is inspired by the picnic´s potential for intervention and protest: a nod towards the ”Paneuropean picnic” on Austrian-Hungarian border in 1989, that is said to have contributed to the fall of the iron curtain. Although the format of the picnic originates in the leisures and sparetime of the upper classes, it is a concept that allows collective ownership and the creation of situations where not only food and drink become collective responsibility, but also conversation and entertainment
Choreographer Anna Asplind and curator Marie-Therese Luger will inaugurate the picnic blanket by reflecting on their work and research about Nelly Sachs-rummet and the people and stories they have encountered on their way. In addition to this picnic´s imminent choreography of eating, drinking and playing, we will reflect on Nelly Sachs and her rooms own histories from a contemporary perspective: How are places, both personally and politically, used to produce and spread history? And what would our picnic blanket be worth on AirBnB or Blocket?
Starting from her work with the exhibition Att hopfoga den sönderfallande världen at Sörmlands museum, artist and curator Joanna Nordin interprets the inaguration-speech of the very first version of Nelly Sachs-rummet which was held by Olof Palme in 1972.
Daniel Almgren Recén has visited those places Nelly Sachs inhabited in Berlin, before her escape to Sweden. Starting from his work Native Realm, in which the artist himself has archived his apartment and travelled with it 2000 km through the Northern Europe and Near That Place, in which he looks at what makes a home a home, Almgren Recén looks at Nelly Sachs different habitats and how they ended up where they are now.
Picnic #2, 25th of August, 15:00-17:00
Rooms! Rooms! Rooms!
with Roberta Burchardt, Lejkvartetten – Karolina Weber-Ekdahl (violin), Åsa Harald (violin), Jonna Inge (viola), Erik Uusijärvi (cello)
From the picnic blanket we look at preservation and cultural heritage in a bigger framework. What happens with the things we wish to preserve, and who to we preserve them for? In recent years, contemporary artistic practices have taken more and more space in interpreting and communicating history, archives and collections. Could such practices enable a more just and inclusive way to approach and engage with spaces like Nelly Sachs-rummet?
Artist Roberta Burchardt has inherited a house in Brasil. The house has played a role in the colonial past of the country and is as such not only home for life´s lighter aspects. Roberta will talk about the challenges, responsibilities and the potential that come along with inheriting a colonial heritage, how ownership can be interpreted and forms of sharing and communicating can be developed.
Lejkvartetten will enchant the picnic-guests with sounds and music of forgotten and unplayed female composers.
Nelly Sachs collected stones and shells. Malin Ståhl talks about collecting as artistic material and will connect this to Nellys collection and the importance of touching a stone. What attracts us to collecting, what makes it an important act and how does collecting and hoarding influence our surroundings?
The current in-accessibility of Nelly Sachs-rummet creates exclusivity and fertile ground for mythologizing a person, a body of work or a biography. How can we create other perspectives on this room if no one has access to it?
Artist Ingrid Cogne propose Solkatter to use the Object of communication to expand knowledge-production, archiving and communication. Object of Communication was developed in the context of the artistic research project Six formats (Februari 2015 – June 2018), supported by Austrian Science Fund (FWF, PEEK, AR291-G21).
Choreographer and artist based in Malmö/Stockholm. Through close readings of places with an experimental approach to the dialectic space and movement – how we are allowed to move through different rooms and what movements are expected of us in different contexts – she makes visible and embodies the ordinary in our gestures and actions. By highlighting a place’s history, its functions and inherent social norms, Asplind questions how we view and use the site in the present.
Through his artistic practice that often takes the form of performances and collaborative installations, Daniel examines issues of materiality, memory and belonging. He holds a BA in choreography from SNDO, Amsterdam and a MA in Urban Futures from the University of Potsdam, which has expanded his practice beyond the art-context and into the realm of urban-planning and research.
(*1977, Dijon, FR) is an artist, facilitator, and independent scholar working across choreography, visual arts and academia. She is currently an Elisa Richter PEEK fellow with the arts-based research project “The dramaturgy of Conversation”. 2015-2018 she was a post-doc researcher at the Academy of Fine Arts, Vienna where she initiated and developed “Six Formats” (http://ingridcogne.net/6Fportfolio)
Cogne is editor and author of “Dansbaren – The Mob without Flash” (2016) and “For and By Six Formats2 (2018).
The artist and curator for contemporary Art at Sörmlands Museum has recently produced an exhibition highlighting the live and work of artist Lenke Rothman, who was a contemporary of Nelly Sachs.
Karolina Weber-Ekdahl (violin)
has been educated in Sweden and The Netherlands and since then playing and performing both locally and abroad, for example as musician for Stockholms Stadsteater and touring with Indrakvartetten. She combines chamber-music based projects with periodic engagement with orchestras and theaters. Together with cellist Christina Wirdegren Alin she produces the annual summer festival „Musikdagar I Arild“.
Åsa Harald (violin)
received her education at Kungliga Musikhögskolan in Stockholm and the music-conservatory in Sassari, Italy. She is active as solist, as well as in various ensembles and orchestras and has recorded classical music by Brahms, Beethoven, Kreisler and Massenet.
Jonna Inge (viola)
is a violist and mezzosopran who studied at the Royal Scottish Academy of Music and Drama in Scotland. She has received an array of awards and collaborated with some of Europes most successful chamber-musicians such as Andrew Watkinson and Jaap Schröder.
Erik Uusijärvi (cello)
is currently active as cellist in Norrköpings Symfoniorkester. Chamber-music is his passion and he has collaborated with different orchestras and ensembles both in Sweden and abroad. He has received several scholarships and awards and has received his education at Kungliga Musikhögskolan Edsbergs slott and even in Piteå with Frans Helmerson.
is a visual artist, educated at the Slade School of Fine Art, the School of Art Institute of Chicago and Iceland Academy of the Arts. Her work takes its point of departure in performance. Landscape and nature are both material and place of her work and often focus on relations, hirachies, structures and resistance. Ståhls work is process-oriented, time and circular relations are of great importance.
Painter and conceptual artist.
Brazilian artist, artisan, mediator and writer.
Since 2015, as creative leader at Sobrado na Ladeira, Roberta´s practice is embedded in this historical house in southern Brazil, developing the re-assimilation of colonial heritage onto contemporaneity. The research-based practice engages the architecture as an embodied non-static legacy to be articulated, through experiences of immersion and local/translocal contact, as interacting and interceding forms between times and histories, identities and notions of community.
is a curator and researcher. Her work is focusing on the development of a critical, spatial practice by examining the potential of contemporary art as tool for intervention and subversion in the context of museums, galleries and heritage conservation.
With support by The Swedish Arts Grants Committee
Special thanks to Margaretha Holmqvist, Jewish community in Stockholm and grandmother Maj-Britt Nilsson
Weld is supported by the Swedish Arts Council, City of Stockholm and Region Stockholm