Mats Stjernstedt

  • Ann-Sofie Sidén

    AT MANIFESTA 2, Ann-Sofi Sidén presented the video installation Who Told the Chambermaid?, 1998, which was shot in a hotel whose rooms, corridors, and service areas the artist had equipped with surveillance devices. Guests and employees alike were targeted when the cameras focused in minute detail on their daily routines, but the artist also staged some of the events. Unembellished document and fictive scenario intertwined, indistinguishable from one another.

    In Sidén's new work commissioned by Norrköpings Konstmuseum, one finds a similar formal construction in which a place with a well-defined

  • Joachim Hamour and Andrea Zittel, Gollywobler,2000.

    “Vi”: Intentional Communities

    Under director Charles Esche and deputy director Åsa Nacking, southern Sweden’s best-known institution for contemporary art is undergoing a radical change. This spring, a series of “proposals, architectural performances, and music happenings” has engaged the Rooseum’s multifarious spaces, concluding with the new management’s first show, “Vi ”—Swedish for we—based on the notion of “intentional community” (i.e., a social group who agree to follow rules independent of the state). Documentary materials relating to communes mingle here with installations by artists like Johanna Billing, Annika

  • Magnus Wallin

    “Physical Sightseeing,” the first comprehensive solo museum show of Magnus Wallin’s work, was an extended journey through the Swedish artist’s recent activities. The sightseeing in which spectators were invited to participate took them through a series of dark rooms, each housing a computer-animated DVD projection. Exit, 1997, Physical Paradise, 1998, Limbo, 1999, and Skyline, 2000, have all appeared as individual works and in a variety of contexts but were now, for the first time, brought together to form a whole. Thus the exhibition was an opportunity to appreciate the loosely connected

  • Annika Eriksson

    Annika Eriksson’s exhibition here in 1996 comprised a single film projection, Stockholm Postmen’s Orchestra. Footage showed an amateur band playing away merrily, the musicians all postal workers who had assembled in the gallery at the artist’s request to play just as they normally would after working hours. The point at which Eriksson’s own work crossed with the postal workers’ instrumental enterprise was located in the fact that, in accordance with her wishes, the orchestra performed a current pop hit, Portishead’s “Sour Times”—presumably a departure from their regular repertoire.

    Eriksson’s