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Mossutställningar

Mossutställningar är ett poetiskt namn som refererar till mossans förmåga att växa på urbana och naturliga miljöer. Mossutställningar är en konstproducent som gör konst i de offentliga rummen, eller ibland gör våra privata rum offentliga.

  • Om oss
    • Om föreningen

      Mossutställningar är en ideell förening som grundades 2004 med syftet att nyttja stadens tomrum för konstnärlig praktik och tänja på begreppet offentlig konst.

    • Personal

      Henrik administrerar och koordinerar

    • Nyhetsbrev

      Lämna din e-postadress här om du vill ha våra mailutskick

  • Konst
    • Konstnärliga avsmyckningar av Norra Djurgårdsstaden, Akt V: Eter

      Den femte akten av Konstnärliga avsmyckningar av Norra Djurgårdsstaden, ett konstprogram om hållbar stadsutveckling i fem akter 2019-2020, med utgångspunkt från elementet eter. The drama of sustainable development, Invisible Waters, Disturbing Visions, Histories of Wellness, Källan och Three Sisters.

    • Konstnärliga avsmyckningar av Norra Djurgårdsstaden, Akt IV: Luft

      Den fjärde akten av Konstnärliga avsmyckningar av Norra Djurgårdsstaden, ett konstprogram om hållbar stadsutveckling i fem akter 2019-2020, med utgångspunkt från elementet luft. Power Walks och konstverk av Harun Morrison.

    • Konstnärliga avsmyckningar av Norra Djurgårdsstaden, Akt III: Vatten

      Den tredje akten av Konstnärliga avsmyckningar av Norra Djurgårdsstaden, ett konstprogram om hållbar stadsutveckling i fem akter 2019-2020, med utgångspunkt från elementet vatten. Vattenmarknaden, Power Walks, En Stad Som Kallas Helen, High Water Line, Water Makes Us Wet.

      Akt III: Vatten

    • Konstnärliga avsmyckningar av Norra Djurgårdsstaden, Akt II: Eld

      Den andra akten av Konstnärliga avsmyckningar av Norra Djurgårdsstaden, ett konstprogram om hållbar stadsutveckling i fem akter 2019-2020, med utgångspunkt från elementet eld. Eldmarknaden, Power Walks, Stockholmstidningen, Wild Beyond.

    • Stockholmstidningen

      Gratistidning om stadsomvandling. En del av Konstnärliga avsmyckningar av Norra Djurgårdsstaden.

    • Konstnärliga avsmyckningar av Norra Djurgårdsstaden, Akt I: Jord

      Den första akten av Konstnärliga avsmyckningar av Norra Djurgårdsstaden, ett konstprogram om hållbar stadsutveckling i fem akter 2019-2020, med utgångspunkt från elementet jord. Jordmarknaden, Power Walks, Köttet av en kvinnlig gud.

    • Studio Mossutställningar
    • Mother's Tongue

      Mother’s Tongue är en appledd konstupplevelse av konstnärerna Lap-See Lam och Wingyee Wu. En filmisk berättelse där du som publik bjuds in till att upptäcka en självklart familjär men undangömd historisk del av staden - kinakrogen - och de historier den berättar. Still from Peach Toungue

    • Mossans Marknad

      Mossans marknad - Konsternas utomhus marknad i Värtahamnen, över 80 konstnärer på torgmarknad, scen och prova-på-hörna. Medverkade gjorde bl.a Dimen Hama, Ingela AC Johansson, Karin Hagen, Marlena Lampinen och galleri Niklas Belenius

    • Inauguration / Closing

      Inauguration of Studio Mossutställningar / Closing of Creative Time Summit: Stockholm

    • Barnboken Tråkig Ö av Gelatin

      Mossutställningar producerade 2009 verket Boring Island av den österrikiska konstgruppen Gelitin. Nu finns verket förevigat i formen av en barnbok. Bokomslag

    • Restaurang Allemansrätten

      Restaurang Allemansrätten är ett verk av konstnärsgruppen Sagovolvo (Bella Rune och Jonas Nobel) producerat av Mossutställningar i samarbete med Parkteatern. Under en gemensam guidad vandring möter vi olika karaktärer, upplever situationer, hamnar i diskussioner och kittlar smaklökarna längs vägen med munsbitar inspirerade av Allemansrätten. Detalj från Restaurang Allemansrätten

    • Samhällsverkstan

      Samhällsverkstan vill vara med och förändra världen till det bättre, med fredliga, kreativa och lustfyllda medel. Vi skapar samhällsverkstäder för att uppmuntra kritiskt och visionärt tänkande och agerande för uppbyggnad av diverse framtida verkligheter.

    • Going Public - Telling It As..

      Going Public – Telling it as it is? är ett tre-dagars symposium som utforskar berättandet som ett sätt att producera och motta offentlig konst. Programmet består av berättelser utspridda runt Bilbao och lokal massmedia och en serie performance-föreläsningar på Bizbak universitet. Slutligen åtföljs programmet av ett slutet nätverksmöte i Vitoria-Gastiez som samlar utvalda producenter av konst för det offentliga rummet för att diskutera nätverkets framtid.

      Performance lecture by Asli Cavasuglo, Bizbak University, Bilbao, 2012

    • Som Man Breddar Får Man Ligga

      Utfrågning om den ”breddade finansieringens” konsekvenser

    • ENPAP Initiative

      Mossutställningar startade 2009 det europeiska nätverket för producenter av konst i det offentliga rummet vid namn ENPAP - European Network of Public Art Production

    • Momus

      The Unreliable Tour Guide - varje lögn skapar en parallell värld i vilken den är sann.

    • Stockholm Future Imperfect

      Visionera med Joanna Rajkowska om våra vackraste/värsta myndigheter!

    • Cooking Catastrophes

      En ätbar föreställning där du får SMAKA på jordens undergång

    • Our Radical Parents

      Pilot med Marysia Lewandowska för samtal om vardaglig radikalitet mellan förädrar och barn

    • Matti Kallioinen

      Dansens Hus och City Conference Centre beställde ett verk av Mossutställningar för deras foajé. Matti Kallionen fick uppdraget och han uppförde ett stort andandes skupltur vid namn Phylogenes.

    • Gelatin On Boring Island

      Konstgruppen gelitin bodde under en sommarmånad 2009 på en pytteliten öde ö i Stockholms skärgård. Endast iklädda bröllopsskrudar kunde de skådas av närmare 150 000 förbipasserande turister i deras fritidsbåtar under denna skärgårdens högsäsong.

    • The Dinner Club

      Poste Restante fick Mossutställningars första "konstrestauranguppdrag" - att skapa ett verk som inkluderade servering av mat. The Dinner Club är en föreställning i form av en kursgård. The Dinner Club

    • Kultivator

      Kultivator samlade Stureplans infrastruktur och stadens konst och miljöintresserade för att i panel diskutera hur man kan få till ekonomisk hållbarhet och ekologisk tillväxt i innerstaden. Panel med Kultivators Malin Vrijman och Sprong kommunikations Mohamed El Abed

    • Leif Erich Christensen

      Leif Erich Christensens kom till Nybrokajen med ett performance av den Förfalskade monarken en vårdag 2007, Christensens installation om monarken visades sen på Birger Jarls gatan 18 under en månad. Installationsvy

    • Mobil Möbel

      Mobila möbeln kom till för Mossutställningars ambulerande utställningsverksamhet 2006. Formgiven på uppdrag av Christian Halleröd och Johannes Svartholm

    • Sophie Calle besöker Bill, Ulla, Knut och Lars-Åke

      2006 flyttade Sophie Calles verk Los ANgeles in hos fyra boende på Micasas äldreboende Väduren i Stockholm. Efter det fick de i äkta Sophie Calleanda varsn agent att skicka på uppdrag. Deras konstverk blev del av utställningen som sen turnerade till äldreboenden i Stockholm under 2007.

      Sophie Calle, Los Angeles, 1984

    • Nya Kontoret

      Mossutställningar drev mellan 2006-2013 det uppmärksammade och uppskattade ateljékollektivet Nya Kontoret på Birger Jarlsgatan 18A i centrala Stockholm. I februari 2014 flyttade vi ifrån Birger Jarlsgatan och startade en ny ateljéverksamhet vid namn Studio Verksamma Tillsammans ( sedemera Studio Mossutställningar) i SVT Dramas forna lokaler.

    • Dot Dot Dot Dot

      Mossutställningar första utställning visade över hundra konstnärer (och designers, skribenter, performers etc) som alla gjorde ett nytt homage verk till Yayoi Kusama.

      Dotmaskerad: prickpolisen

Stäng

Konstnärliga avsmyckningar av Norra Djurgårdsstaden, Akt V: Eter

SVENSK VERSION KOMMER SNART

We step on to the stage for Artistic Undressings of The Royal Seaport, the drama of sustainable development in five acts.

Act V: Ether

Ether wraps earth, fire and air in water’s waves.

In the classical elements, ether is the most allusive and, in contemporary society, more commonly replaced by space-time. But in essence, ether is the element that constitutes the framing of our reality within which we perceive the other elements, interpret how they interact and how we interact with them.

As the initial commission for what became Artistic Undressings, the artist Holly Keasey has been investigating the invisible structures that hold and influence society’s current ways of perceiving the world. She has focused on the corporate use of aesthetic practices as a lobbying tactic to influence Public opinion, how this is rife within perceptions of sustainable development and therefore undermining democratic processes for shaping society’s potential futures.

‘We are told that the environment has the incomparable merit of being the first truly global problem presented to humanity. A global problem, which is to say a problem that only those who are organized on a global level will be able to solve. And we know who they are. These are very same groups that for close to a century have been the vanguard of the disaster’ -The Invisible Committee, The Coming Insurrection (2009)

For Ether, Holly has been collaborating with other artists to reclaim aesthetic practices - making their influence on societal perceptions visible; inserting critical, generative and dialogical aesthetics into the current future models being followed (such as The Royal Seaport); and actively trying to bring a practice of ecological sensitivity into being. These processes of collaboration have also acted as performative research for Holly to reevaluate what we understand by the term development especially in relation to the environment and future thinking. She has aimed to bring into being a practice of development that unfolds from within the space found between two or more differing practices when they collaborate.

V:1 The drama of sustainable developmentV:2 Invisible WatersV:3 Disturbing VisionsV:4 Histories of WellnessV:5 Källan and Three Sisters

Stella d'Ailly and Holly Keasey at the Earth Market. Foto: Katarina Lundgren

Scene 1: Artistic Undressings of the Royal Seaport :The drama of sustainable development in five acts

The Artist searches development.

The most extensive collaboration of Ether has been Holly Keasey’s co-curation of Artistic Undressings of The Royal Seaport with the Artistic Director of Mossutstallningar, Stella d’Ailly. Together they have been considering curation as a practice of creating holding frames usually on a small and temporary scale but also as a practice often with the institutional authority to influence the interpreted roles for Art in society and to support which of these perception-influencing practices are and aren’t predominantly shared with the Public. It is with this in mind, that they have curated a programme that inserts critical and generative Artworks responding to sustainable development into the global model, Stockholm’s Royal Seaport.

In the project Artistic Undressings of the Royal Seaport, artists are invited, together with the Public, experts and decision-makers in urban planning, to develop new Artworks on the topic of sustainable development. The programme constitutes one of Sweden's largest independent art projects and runs until 2021. It is also part of Statens Konstråd’s Local Art Projects Hub and the Mistra Environmental Communication research project.

The development of The Royal Seaport has won international awards for innovation in ecologically sustainable urban development. But how are the criteria for ecological sustainability affected by economic interests and can development be considered sustainable also from a cultural and socio-economic perspective?

The program is a study of the factors that affect how sustainable development is understood and applied: who can build the city and who can live there? The ambition is to propose an expanded view of sustainable development that includes personal, cultural and socio-economic aspects, as well as a critical reflection on the human-centric view that there is a given right and priority to use the Earth's resources.

The title “Artistic Undressings…” is a commentary on the artist's role in construction based development projects, where the “one percent rule” prescribes that a proportion of the production cost of public buildings should go to the construction of art. When the 1% rule was introduced, the assignments were called "artistic decoration" and the reform was later associated with the idea of a folk home and a purpose to promote a democratic access to art.

The comprehensive program is presented during 2019-21 and is formulated as a drama, where development is the stage for society’s future. The Drama of Sustainable Development is opened with the curtain motif and dialogical visual communications created by graphic designer, Benedetta Crippa, including the production of a micro-site. It then follows a circular journey through Acts that are influenced by interpretations of the classical elements - Earth, Fire, Air, Water and Ether - each including a large artistic commission, a power walk marathon and a market. The programme is also orbited by an independent newspaper, Stockholmstidningen, which acts as a Cast List of different positions within development. Overall, the drama formats plays with illustrating but also performing how cultural narratives are present throughout our perceptions and hence interpretations of the world around, both by Culture but also by other sectors that make use of these practices.

Sara Söderberg Sara Söderberg, "Flesh of a Female God"

Artistic Undressings is a commentary on the artist's role in development, and each longer commission draws this into question through the simple act of each invited artist doing what they do best, creating Art according to each of their own interests, methods of practices and chosen forms. Each artist has been given a brief to consider Stockholm’s Royal Seaport and take forward, respond and expand the thematic of one of the five classical elements.

Artistic Undressings I:1II:1III:1IV:1V:1

Power walks, Water act. Photo: Jana Eriksson

Power Walks is a recurring series of walking guided tours through Stockholm’s Royal Seaport. Each guided walk is its own mapped interpretation of development in the area led by a specialist in a vast array of fields including human waste cycles, astronomy, car engines and bird song. Yet when viewed together, Power Walks form a marathon process of repetitive and continually deepening considerations of this single example of sustainable development, bringing to the surface the variety of scales, materials, durations and forms that development manifests as and through.

Power Walks I:2II:2III:2IV:2

The Fire Market. Photo: Jana Eriksson

In contemporary society, The Market typically conjures up images of high street shopping, The Stock Exchange and generally, aspects of society related to financial capital, consumerism and the trading of resources. But once, the Market Square was an agora of activities at the centre of community development. Located between the parliament, palace and one of Stockholm’s oldest trading streets, the market format is adopted for a dialogical festival where a chorus of voices trade their differing knowledge on development.

The Markets I:3II:3III:5

Invisible waters. Photo: Jana Eriksson

Scene 2: Invisible Waters

The Artist searches development.

Health and wellness are concepts of growing importance at the forefront of daily life, with related products being industrially produced and almost monthly a new conflicting advice on what is healthy and what isn’t being expressed in a Public forum. Such terms are even drifting away from sole references to the human body and into areas such as ‘the healthy living environment’. Yet, much of the contemporary understanding of the term ‘health’ originates from a medicalisation of the body as solely a physical unit that can be observed and fixed to meet a social standard and hence ideal for the functional, efficient and therefore profitable attributes of a human. Little space is given for the vast matrix of differing attributes that can and do exist, each with its own unique contributions to life. And this not only applies to the individual human but also specific landscapes or even cultures!

Alongside these standards of what is considered healthy, neoliberalism in the form the Wellness Industry especially, is enforcing a new perception of health being solely a personal responsibility: That for those who do not acquire and maintain this standardised ideal, the fault rest in their lack of personal management, willpower and investment. But such a perception ignores the essential meaning of health - to be whole - and that what is whole, and therefore health, can be different according to the scale it is viewed. For example, a healthy diet for the individual may not be a healthy diet for the whole human population to eat due to impacts on the health of the environment. And that an individual’s health is also influenced/restricted by the health of the surrounding society - it is difficult to prioritise eating organic vegetables when your full-time salary does not correlate with the cost of living within market-set values. Instead, such complexities of scales of health are rarely considered in tandem. And yet the industries of Wellness lifestyles and sustainable development become ever more consolidated in their marketing efforts to be the global future.

Invisible Waters was a Power Walk produced for The Water Act to map the complexities of health, focusing on the global food trade and how ecological health as a whole is rarely thought of.

Manifesting as a food cart, Invisible Waters appeared at three locations over the course of the day and served a site-responsive menu of lunch, fika and dinner. Each course took the audience through edible considerations of a scaled understanding of health, including the virtual water footprint and therefore global movement of water and resource dependencies in relation to contemporary health foods; the sin and shame of the individual enforced through marketing strategies that borrow the valuing languages of religions; and the globalised approach to environmental health that combines International Aid schemes with industrial needs for producing quotas of exportable goods.

III:2 Power Walks

Invisible waters. Photo: Jana Eriksson

Scene 3: Disturbing Visions

The Artist searches development.

The role of journalism, our access to it and those who get to produce it, has changed extensively over the past decade with the birth of the internet creating a global network of communication potential but also social media allowing new voices to be heard beyond those hired by corporate news bodies. However, the authority of certain printed matter is often still accepted as fact and a simple transcription of events that have happened. The media as a creative industry is overlooked. It’s use of creative techniques such as staging, acting and repetition encourages subjective interpretations to be consumed as objective. And this has been the case since the creation of the printing press and its role in The Reformation of Christianity, and is still the case with the likes of Rupert Murdoch’s media empire that is known to swing political elections by supporting chosen candidates via carefully curating news that is selected for broadcast. But how can these practices be challenged? And how are the unseen impacts of such practices on democracy disturbed?

Disturbing Visions is a chronicle included in the third issue of Stockholmstidningen, The Child. Beginning from the Vartahamnen promo video featuring The Magnettes, it is outlined how the lyrics of the song and the textual slogans throughout the video appeared to conflict with each other but also could be interpreted as tongue-in-cheek honesty. Focusing on the etymology of the word sustainable as being the maximum something can bear (stress) before it experiences negative change, Holly draws the article from a focus on a single video to the forces at play behind the scenes that are directing how sustainable development is communicated and understood by a general Public. The article also questions how such marketing strategies are aimed at a target audience, mainly the younger generations, to influence their thoughts on what the future will be like and the lifestyle they will need to attain and maintain if they are to be part of this future.

Dispersed throughout this deconstruction of a promo video and the structures behind such persuasive and therefore violent marketing tactics, the description of a wave is inserted. A small hint towards Holly’s understanding of her artistic role in development and how that can begin to create momentums for change.

‘A wave is a disturbance of one or more fields, such that the field values oscillate repeatedly.’

Cast: The Child

Scene 4: Histories of Wellness

The Artist searches development.

In Spring 2021, Histories of Wellness will be broadcast on the digital radio station created by the artist, Harun Morrison for the Air Act – The Port of Black River. This cross-over of Acts reflects on Air’s role in the creation of waves within water, but also the disturbances that can be created through acts of communication. It also makes reference to the podcast series, Stadspodden that was produced by A Beautiful Soup in conjunction with NCC for the Dome of Visions programme on sustainable development.

IV: I The Port of Black River

Källan. Photo: Andreas Bagge

Scene 5: Källan and Three Sisters

The Artist searches development.

An original aim of the Artistic Undressings programme was to produce recommendations for the remaining areas to be developed as part of Stockholm’s Royal Seaport. However, such an aim has led Holly to question how artists can contribute to issues such as the environmental crisis by producing Art rather than favoured aspects in the artistic process being extracted and instrumentalised by other sectors. Who produces the current recommendations for society’s future development? How are these recommendations produced? And how are they then used and implemented in directing the future that society aspires towards?

After extensive research into the history and use of think tanks to direct Public policy, Holly has collaborated with the Järna based farming collective Under Tallarna to produce a pedagogical format for a workshop that discovers, encourages and brings into being an approach of environmental sensitivity. The intention for these workshops is for development to come from within and the workshops to be a performative process of figuring out how to do this as a societal group.

Källan. Photo: Andreas Bagge

Inspired by the ideas produced by Newton Harrison for A town called Helen, Yannick Porter and Robin Tidblom of Under Tallarna who already practice an example of ecological sensitivity, devised a workshop format that would expand outwards from how they already practiced into the on-going development of the Järna region. This initial workshop was based within Järna, as a region with a history of being open to experimenting with new methods of living with the environment.

Källan - to be a source, a starting point, a tribute, a place - was a workshop of choreographed movement in contact with ecology that flowed between the sensory experience of physical space but also through time and from individual to the common. With participants ranging from all sectors involved in the development of the Järna region, the workshop shared a collective process that would ensure that each unique place's distinctiveness and vitality is the source that is developed outwards from. A key part of the workshop was collaborating with others in its creation and identifying roles for differing creative practices to take on within this process. This included inviting artist Gülbeden Kulbay to produce the day’s menu, for Yannick to co-host with workshop facilitator and gardener Emilia Rekestad; for smaller workshops to occur inside the workshop hosted by Ruben Wätte, Clara Bankefors and other participants; for poetic documentation to be created by poet Helena Granström and photographer Andreas Bagge; and illustrated maps drawn by Mirjam Nurminiemi.

The workshop series Three Sisters will occur in 2021 and take forward the format created during Källan and apply it to seeking out environmental sensitivity within the development process itself.

III:1 A Town Called Helen

Artistic Undressings of the Royal Seaport is curated by Stella d'Ailly and Holly Keasey. The graphic design for the programme is produced by Studio Benedetta Crippa. Mossutställningar would like to thank Public Art Agency Sweden, the City of Stockholm, ARQ, the City Museum and the Nordic Culture Fund for their support.