Nancy Holt, Inside Outside, Bildmuseet, Umeå
In the drawing Making Waves (1972), Nancy Holt charts her different “selves” on a given day: the “artist,” the “feminist,” and the “mystic.” At 4:00, they are all gathered together; they then spread out during the day, to finally come together again at 20:00. This concrete poetry provided a beautiful introduction to Bildmuseet’s presentation of Holt’s collected works, the largest in Europe to date. Included in the presentation was everything from the classic Sun Tunnels (1973–1976) to concrete poetry, conceptual photography, light installations, and sculptures. Previous exhibitions at Bildmuseet include Bouchra Khalili, Zineb Sedira, and Faith Ringgold, among others. Impressive, and sad that Umeå is so far away from Malmö.
Every Ocean Hughes, Alivetime, Moderna Museet, Stockholm
Every Ocean Hughes’s film One Big Bag (2021), starring the incredible performer Lindsay Rico, is based on the artist’s interviews and workshops about and with death doulas, or end-of-life companions. Glue, scissors, bells, make-up, soaps, and other objects the doulas use in caring for the dead body are suspended from the ceiling with ropes. In their practice, Hughes has formulated an idea of “queer death.” Which bodies are excluded even in mourning? Like the entire exhibition, the film also comes across as a celebration of life, of desire, and of affirming many ways of loving and being loved.
Tania Ruiz Gutiérrez, Elsewhere, Malmö Central Station
I’ve never heard anyone say “beautiful as an airport,” but Tania Ruiz Gutiérrez’s permanent video installation at Malmö Central Station comes close to that description. It comprises forty-four film sequences shot from boats, trains, buses, and cars all over the world. The movement of the film is juxtaposed with our movements – those of us standing there, on our way somewhere, or waiting for someone to arrive. I’ve always liked the work, but now, after a year when everything was shut down, the movement of the images has a physical effect on me; I can’t get enough. At the same time, the work speaks to the fact that the station has become a place for those who aren’t able or permitted to move – for those on the outside, for the migrants, for the homeless. The political powers of today reserve the right to movement for the privileged. Movement must become movements. I have to leave the station, I can’t stand it.
Runo Lagomarsino is an artist based in Malmö and São Paulo.
For this year’s contributions to Kunstkritikk’s Advent Calendar, see here.
