Location:Grafik i Väst, Storgatan 20, 41138 Gothenburg (visit the website for safety rules)
Period: February 20 – March 10, 2021
Opening: Saturday, February 20th (Time: 12:00 – 16:00)
‘PRINTS, BOOKS AND SOLITARY THINGS’
This is Cárdenas’ first solo exhibition in Sweden. The artist has had several solo exhibitions in South Korea and the U.S.A. in the last 10 years.
In this exhibition, the artist presents a series of etchings, artist’s books and objects made during the pandemic. Whether performing, making installations, objects, prints or artist’s books, the repetitive aspect of her process becomes a meditative ritual to explore the elemental uncertainty of time, space and being or social inequities with regard to gender, migrations or race. Thread, ink, fabric, metal and handmade paper are used in metaphorical ways, while honoring sustainability.
A cryptic question appears in which each video is a visual puzzle in and of itself.
The concept and edit, developed by the artist Isolde Kille (Timespecific), is creating a collage in film in order to offer an important clue for understanding the microcosm that each artist is describing in their own visual language. Above all, the collaborative film suggests an unadulterated sense of being in the moment, the pursuit of a self momentarily, yet perfectly suspended, during the time of the international pandemic.
36 artists from Germany, Latvia, Indonesia, Spain, Sweden, Switzerland, Norway, and the US contributed their individual video scenes.
Participants: Rita Bard, New Mexico, USA Gaby Berglund Cárdenas & Bev Hayes, Gothenburg, Sweden Cecelia Chapman, Massachusetts, USA Robyn Ellenbogen, New York, USA Kathleen Ferguson-Huntington, New Mexico, USA Sachie Hayashi, New York, USA Dasol Hong, New York, USA Will Kaplan and Jessa Henschel, New York, USA Helena Kauppila & Itir Sezik, Berlin, Germany Linda Kozule, Riga, Latvia Nina Kuo and Lorin Roser, New York, USA Xavier Lopez, Washington, USA Sandra March, Barcelona, Spain Regina Masuhr, Schaffhausen, Switzerland Christina Mitrentse, London, UK Pawel Pacholec, New York, USA Diane Rolnick, New Mexico, USA Linda Sibio, California, USA Wavelength Art Collective from Bergen, Norway, Torild Stray, Anette Friedrich Johannessen, Ivan Andre Paulsen, Elisabeth Moberg, Mona Oddekalv, Enara Barnés Larrukert, Bergen, Norway Elyandra Widharta, Indonesia Sascha Windolph, Germany Watugunung performance group from Yogyakarta, Indonesia, Tanti Barbara, Lukas Priyo A, Bima Aldy S., Roni AW, Dedy S.
To read more about each artist please click here and click here for the press release.
For all further inquiries please contact email@example.com
CENTRAL BOOKING and Sarah Stengle organized Net Gain: Experimenting with Geometrical Folding as a pandemic invitational. The choice of content was left up to the artists to explore. CENTRAL BOOKING community of mathematicians and artists have contributed to this book and online exhibition. Participating artists: C Bangs, Yael Brotman, Hugh Bryden, Lizzie Burns, Gaby Berglund Cárdenas, Kathy Creutzberg , DOEprojekts: Deborah Doering/Glenn Doering, Margot Glass, Susan Happersett, Sachie Hayashi, Will Kaplan, Isolde Kille, Eunkang Koh, Joan Lyons, James Martin, Sumi Perera, Maddy Rosenberg, Marilyn R Rosenberg, Susan Rostow, Ilse Schreiber-Noll, Sarah Stengle, Shannon Sullivan, Paul Tecklenberg, Dasha Zibrova.
TIMESPECIFIC and CENTRAL BOOKING NYC Gallery are preparing the launch of the collaborative videoAChoreography In Space And Time. “The artist creates a mask in order to face the world safely, yet also hides behind it, tentatively beginning to reach out and touch again through individual video recordings that become scenes for this collaborative film” which includes my first performance video (titled Hyphae) and photo series made in collaboration with UK artist Bev Hayes, during the pandemic.
Hyphae is about the elemental uncertainty of time, space and being. In this film we imagine a world where all types of humans and nature forge their duality into a oneness, thereby living in harmony or mutualism. The transformation that happens to the space in the forest during the performance and experience of flow is a metaphor for transmutation and purification.
Curators: Kristin Haas, Exhibition Curator & Nathan Harpaz, Curator of Koehnline Museum of Art. Organized by the Women Gender Studies Program at Oakton Community College, IL, USA
“The only thing constant is change. Evolution can feel like aspiration or like a myth. As a society and as individuals, we’ve made great and sometimes painful strides full of triumphs, discoveries and promise. And just as swiftly and interchangeably, we can devolve – facing our ugliest selves and bitter realities. This life is a dance and a struggle. At times we are weak, ready to give up, and in other moments or situations, we are empowered and strong, fighting for a new day. We are a complex mixture of awe, confusion, harmony, despair, irony, conflict, epiphanies, and love because we are exquisitely human, beautifully flawed. How did we get here? How have we pushed back, fought each other, taken up space, loved each other or given in to something bigger than us – for better or worse? Who are we now – as global citizens, as women, as providers, as Americans, as voters entering an election year, as lovers, as activists, and as individuals? Where are we going? And why does it even matter?”
“Resist” is about this pivotal historical moment. This global challenge is the consequence of decades and centuries of attempting to eliminate racism and the consequences of slavery and colonialism from our societies. The long history of police violence against blacks also involves women. People are offered a possibility of recreating the future and that has a political dimension. Whatever actions we take make a difference. Engaging in debate, documenting injustice, protesting or acts of civil disobedience are small actions that make every powerful social movement possible.
Found an email containing this interview from 2011-06-13 at Busan e-FM English Radio (Inside Out Program), where I spoke about my work at an exhibition for World Environment Day, curated by Lee Jinchul, Senior Curator at Busan Museum of Modern Art. My etching work, focused on the oil spill in the Ecuadorian Amazon area and the consequences on humans and nature. For other interviews or press mentions, please chek out my Press page.
The Special Collections & Archives of the University of Kent in UK have created an archive collection that records the experiences of people in relation to the COVID-19 coronavirus pandemic. A copy of my essay Lost Prints will be catalogued and preserved alongside their other archive collections and it will be made accessible to others in their reading room, contributing to research and engaging people with this important part of history.
“LOST PRINTS Author: Gaby Berglund Cárdenas
Rebecca Solnit captures beautifully in a Field Guide to Getting Lost the difference between losing something and losing one self: “Lost really has two disparate meanings. Losing things is about the familiar falling away, getting lost is about the unfamiliar appearing. There are objects and people that disappear from your sight or knowledge or possession; you lose a bracelet, a friend, the key. You still know where you are. Everything is familiar except that there is one item less, one missing element. Or you get lost, in which case the world has become larger than your knowledge of it. Either way, there is a loss of control.”
But what is the sentiment when an artist loses a sketchbook, a manus or an original artwork? How does the artist move on?
In 2014 I was living in Busan, South Korea. At the time, I made a series of eight monotypes exploring uncertainty, the fragility of life and the perpetual human search for knowing our origin and who we are. These unique prints were meant to be shown as a collective but, due to lack of space, they weren’t displayed during an invitational solo exhibition I had at the Judith Rae Salomon Gallery in Youngstown State University, Youngstown, Ohio, USA in the autumn of 2018.
In the summer of 2019 I moved with my family back to Sweden, from Houston, Texas after a period of 10 years living as an expatriate in South Korea and the USA. During that time I earned a Master’s in Fine Arts and I developed a career as an multidisciplinary artist actively exhibiting internationally.
In 2019, my son, William Cárdenas Berglund, a young multiinstrumentalist and composer born in 2001, graduated from high school in the USA and left our home to move to York and pursue a bachelor in International Relations at York University.
During the relocation some of our wedding presents and art portfolios were stolen, including the eight monotypes I had made in South Korea. The Lost Prints were monotypes and the process involves drawing and painting wet oils directly onto a printing plate. In more traditional printing techniques such as woodcuts or etchings the image is permanently marked onto the plate, ready for several re-inkings and re-printings. With a monotype, however, we get only one chance to make a print, there is no room for mistake because once we have transferred our hand-manipulated ink to the paper from the plate, we basically have to start from scratch with new ink and a new image drawn into it. A monotype leaves an emotional trace of its passage because the medium (in this case oil painting) is worked by hand. The manual work, the resistance to the mechanical present of an industrial and digital age gives the monotypes a conservative and nostalgic feeling.
Some say that the lockdown has changed us forever. Reflecting over the hundreds of thousands of lives lost due to the COVID-19 virus, I feel superfluous to write about anything else, but I choose to write about the Lost Prints as a strategy of the creative mind to keep its sanity. I had planned a solo exhibition at Grafik i Väst Gallery in Gothenburg, Sweden during May 2020, however it was postponed until March 2023 due to the pandemic. Ironically, the exhibition theme was “Life While You Wait”, a series of woodcut prints and textile installations exploring uncertainty. At some point, I entertained the thought of making an artist’s book out of the lost monotypes and to exhibit the book at Grafik i Väst Gallery.
During the pandemic lockdown, my son, William, was in the UK composing several pieces for a music album. He wrote a poem entitled Lost Prints inspired by my story and photos of the prints. The poem has become a pivotal part of a video exhibition that I plan to release online to compensate for the postponed exhibition in Gothenburg.
As an artist, William understands the sentiment of losing one’s original work, whether a visual or a written piece. In the poem, he refers to the prints as “a child of metal and ink”.’ and ends the poem with the words “until found, present, here today”. With this poem, William has given a new life to the lost child: the set of prints. This transformation or reincarnation, from a visual piece of art to the subject of inspiration for a poem, gives both artist and poet a sense of transcendence. It reminds us of our perpetual becoming. It reminds us of Plato’s dialogue, Meno, where he asks Socrates, ‘whether virtue can be taught.’ to which Socrates replies that he does not as yet know what virtue is, and has never known anyone who did. It also brings us to the question of how we know who we are if we are eternally transforming and changing.
Facing change and unpredictability in our daily lives is one of the main causes of human suffering and anxiety. The Daoists, one of the two great indigenous philosophical traditions of China dating back to c.100s B.C.E. emphasized the importance of surrendering to the unknown in order to achieve balance or groundness, which Socrates calls magnanimity, a good of the soul. As important as surrendering is letting go of attachments to material things or emotions, because, according to The Daoists and Buddhists, that is one of the main causes of our suffering.
This realization brings a new perspective and contributes to moving forward. The lost prints on paper have transformed into an eternal bedsheet of text and poetry that will forever exist in the digital cloud. The child of ink and metal became a poem and a new form of communication between mother and son, a son who had recently left his nest to become independent.
Someone said that inspiration comes from “I don’t know” and that surrendering to those three humble words can open the door to a world of possibilities. In the creative process, just like in life, we encounter uncertainty, we never know what he final artwork will look like, we never know what the child will become.
LOST PRINTS by William Cárdenas Berglund
A child of metal and ink, Nurtured by brush and milk, Transcendent of the physical state,
From womb to cradle, cradle to coffin, Mind to desk, desk to an office, Only worthy of its name,
Beaks and the beholder, Meant to pluck the tasteful shoulders, Off the children, only ever conceived,
It was lost in the dark, Neglecting the mother of a spark, Until found, present, here today.’”
Ther video mentioned on the essay has been previously shared on Instagram.
“Mindfulness and meditation are often discussed in relation to mental health; many have found such techniques help to manage anxiety and depression. Cárdenas lived in South Korea whilst studying for a Masters in Fine Arts; whilst she was there she explored Buddhism and the role meditation has within the religion. For Cárdenas writing the phrase “no mind” became a way to quiet her brain and body. This piece is composed of an antique spool, around which Nepalese paper is wrapped; holding the object also makes you aware of the fragility of the work. Today Cárdenas lives in Sweden; you can find more of her works here.”
“Cumulatively these books help to show not only the diversity of mental health but also the strength of responses to it. Recording and making work in response to periods of mental illness can, for some, be an act of healing in itself. The books in Prescriptions also serve to challenge and improve relationships between treatment-giver and treatment-receiver; however they also contribute to opening up dialogue and removing stigma around lived experiences. They can inspire responses and new approaches to mental health – whether with you to create your own art or with generating empathy and understanding on any scale, be it individual or wider.”
Click here to read the full blog post of May 21st, 2020 published during Mental Health Awareness Week by the Special Collections and Archives at the University of Kent, UK.