1 December

Artist Tora Schultz looks back on a year in which Stockholm’s artist-led scene flourished.

Catherine Christer Hennix playing the shō. Photo: Ari Marcopoulos, Courtesy of Blank Forms, New York.

A Memorial for Catherine Christer Hennix (1948-2023), Mint, Stockholm, organised by Blank Forms, Mint and Vassa Tassar

A few months before the memorial programme at Mint, Stockholm, I heard Hennix’s ensemble perform her final work Kamigaku (2022) at Performance Space in New York. A full day of performed sound environment following Hennix’s sonic ideals and practices – which, for example, meant that the musicians only played when they felt inspired. In the basement under the Worker’s Education Association (ABF) building in Stockholm, Mint provides a space for visual art, poetry, and experimental music. Here, the ensemble (Ellen Arkbro, Mattias Hållsten, Marcus Pal, Susana Santos Silva, and Amedeo Maria Schwalle) performed again, followed by an exhibition with, among other things, a sine wave composition by Hennix. Beautiful, strange, dense, yet soft intonations.

Annika Eriksson, No Never, 2025, two channel video. Installation view from Antics, part of Houred Time curated by anorak. Photo: Johan Österholm.

Apropos Stockholm

Returning from New York this summer, I found it refreshing to be back in the city and find artist-run initiatives thriving. I saw a lovely work by Annika Eriksson at Antics Gallery. Beau Travail’s exciting programme of local and international artists makes Stockholm feel warm and less far away. The small venue Cues is serving great art and special drinks for each event around a big blue pool table. The journal and publisher Filmögon hosts screenings, the latest one with Moyra Davey combined with the launch of their Swedish translation of her book Index Cards. Davey’s exhibition at Simian in Copenhagen was another highlight.

Lutz Bacher, Jackie & Me, 1989 (print 6 of 7), Astrup Fearnley Collection, Oslo. Courtesy the Estate of Lutz Bacher and Galerie Buchholz.

Lutz Bacher, Burning the Days, Astrup Fearnley Museum, Oslo

Went to Oslo just to see the Lutz Bacher show, Burning the Days. To sum it up for this short format: her work is amazing, go see it! Meanwhile, Bacher’s twelve-hour video Do You Love Me (1994) loops on the museum’s website. I once stood high up with a friend who told me how open landscapes made it possible for their eyes to stretch out. Somehow, that’s what Lutz Bacher’s works do with ease, making the two small eyes inside my head stretch out completely. Far-off edge.

– Tora Schultz is an artist based in Copenhagen. Her exhibition Tie is currently on view at Palace Enterprise, Copenhagen.

For this year’s contributions to the Advent Calendar, see here