Susanna Jablonski

The Stockholm-based artist Susanna Jablonski’s inaugural show at Obra is titled “Dinkinesh.” It means “You are marvelous” in Amharic, and it is also that language’s name for the famous fossil known in the West as “Lucy,” the oldest and most complete skeleton of a human ancestor ever found. Here, her rib cage is sewn in wool on a lush drapery, Listening Curtain, 2019, made in collaboration with artist Cara Tolmie. The textile slices through the front room of the gallery, gently secluding—protecting?—an elegant untitled sculpture, also made this year. Circumscribed by a brass ring, its tightly

picks July 08, 2019

“Three Moral Tales”

The Malmö Konsthall is filled to the brim yet doesn’t seem crowded. This is due in part to the lightness of the materials favored by Joëlle de La Casinière, Ana Jotta, and Anne-Mie van Kerckhoven, whose uses of textile and paper are tied to portability and thrift, immediacy and language. De La Casinière’s “Tablotins,” 1964–2014, is a feat of endurance—the ongoing series comprises more than one hundred collages, made over the span of five decades, and are arranged here in no particular order. Manhattan Map, 1972, is just that, overlaid with clippings. A poem typed in French reveals an addressee;