Odd Weeks is an exhibition concept created especially for Moderna Museet c/o Klarabergsviadukten 61. Exhibitions open bi-weekly on Mondays at 6 p.m. Works of many different kinds are presented here. The 70 sqm space is the common parameter. The exhibition format is open to new angles, to the unexpected, in the artists work. The character of these exhibitions is flexible and fast. Well worth seeing if youre passing by.
When the artist group love and devotion which consists of Ingrid Eriksson, Carina Gunnars, Karin Johnson and Anna Kindgren undertake an art project in a museum, school or hospital ward, they work with the people and materials available in that place, sometimes adding something to heighten an expression, or removing things to leave more visual scope for what remains. The people who work, receive care or dwell there become discussion partners and co-creators, laying a good foundation for filling the place with just what they want an atmosphere of love and devotion.
The group members met each other at the Academy of Fine Arts, UmeŚ University, where all four were students between 1995 and 1997. love and devotion was started as a platform for art projects in 1999. At roughly the same time, the now legendary non-commercial gallery Ynglingagatan 1 was closed down. Y1 was run by 21 people with a common goal: a more open artistic climate. It also comprised the Swedish Department (Swe.de), a constellation of 12 artists who were commissioned by RiksutstŠllningar (Swedish Travelling Exhibitions) to perform an art tour with happenings, educational programmes and co-operation with the local art scene throughout Sweden in 2000.
love and devotion at Moderna Museet comprises various interventions in the museums external activities, and also attempts to illuminate the temporary heart of the museum at 61 Klarabergsviadukten and the exhibition hall for the Odd Weeks projects the white cube.
Index love and devotion at Moderna Museet:
*The white cube is illuminated so as to stand out as an object in itself, in relation to the other art objects in the hall.
*The hall is partially darkened, to emphasise all the objects, including the cube, with stage lighting.
*A new entrance to the cube is left ajar, giving the audience an opportunity to find new ways into the museum.
*Arrows inside the museum encourage visitors to take an alternative route.
*Numerous lights illuminate the inside of the cube in segments creating a probing light that also catches memories of colour from the objects in the outer hall. This sensuously explorative light contrasts with the fixed light that shines on the cubes exterior.
*Photographs of the white cube show how the cube was perceived before and after the lighting was implemented. The photos demonstrate how the cube was transformed from a practical exhibition tool into a visual art object and a conceptual space for art theory.
*The photograph Man in Steam, NY, from 1968 by Arthur Tress is placed in the outer exhibition hall, along with an enlargement in the museums display window.
*Invitations to the project are in six languages that are common in Sweden.
*love and devotion distributed invitations under the circular meeting point at the Central Station at 11.30-12.30 on 24 November, 2002.
*The distribution of invitations at the Central Station was documented and is shown on two monitors in the museum throughout the exhibition period.
*A carpet of red light welcomes visitors into the museum during the exhibition period.
*Christmas holiday activities in the Workshop Moderna Museet for Kids.
*Film and video programme in the Auditorium love and devotion selects works from the Moderna Museet film and video collection.
*love and devotion makes film viewing more comfortable by providing the Auditorium with cushions.
*Here and now! Friday 10 Jan. 9-12 p.m. love and devotion invite a guest.
Catrin Lundqvist
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