group exhibition No smoke without fire. Shout fire! at Röda sten konsthall is difficult not to interpret as a direct response to the current political situation. And then I think not only on the högerpopulismens achievements and the parliamentary situation.
In Gothenburg, sweden the social democrats have become so desperately afraid of losing votes to a nationalist right, that during the year they have repeatedly tried to stop a public discussion about the Hanna Högstedts works the Burkha songs 2.0. A film that involves not only the colonial kontextualiseringen of contemporary islamophobia, without explicitly deals with a possible solidarity in the struggle between an anti-racist muslim movement and a feminist queeraktivism.
the Risk is small No smoke without a fire – Shout fire! subjected to the same terrified reaction. It is, however, an example of bonus veren siteler an art exhibition is not absolutely can easily bring in dagspolitikens uppeldade representationskrig when konfliktlinjerna dictated by the far-right's successful propaganda.
many of the works seem to strive toward an inclusive of all, but without wanting to forsake either art or partipolitikens rules of the game. This applies, for example, in the Joar Nangos installation European everything. It consists of a scene composed of materials which the artist collected of indigenous peoples around the world. The joint consists of a view of a borderless nation, in a continuous nomadic movement, traveling from gallerigolv to gallerigolv. It remains unclear, however, if it is the audience or a few others, which are supposed to represent the people.
Something similar happens in Felipe Mujicas tightly stylized curtains, collectively created in Gothenburg, in a workshop led by the artist. The result is the fact There are no more exotic countries in Latin America. If Nangos European everything alludes to a nomadic meeting place, so is Mujicas textiles rather a call to make the audience medskyldig to its own scenography. The curtains are namely mobile.
The serial repetition recurs also Mary Cobles over 250 photos of the placards from last year's Women's March. Pictures sold for the benefit of the network No human being is illegal.
When the berlin biennale a few years ago, invited the Occupy movement to house in the art room, the effect was a kind of human zoo, because it both left the institution intact and hardly strengthened the movement. The former avoids the Mary Coble in his work, We are here, in his establishment of an alliance between a feminist movement and an anti-racist.
at the same time provided the actual conflict as it is and transform the art to the clean position. What is this if not desperate artistic response in the light of its implicit foe, the populist right-wing with so much more resources and visual energy in today's bildkultur?
the Exhibition will to reply directly to the political situation, is attenuated in the Carla Zaccagninis examination of the medial representation of the suffragettes, who then turned the knot on the in the Annika Lundgren performance piece, United we stand (part 2) – Democracy and negotiation.
This is displayed propagandamaterial from the shift to right-hand traffic in 1967 (which was pushed through despite the referendum outcome), and a speaking preach democracy goodness mixed with statistics about social change. Images from the resistance against an NMR demonstration will break off and become a teatralt literal reminder that social change can happen quickly in this country. All enhanced by a ticking metronome.