Date & Time: 01/09/2019 15:00 - 17:00
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Solkatter (“Suncats”; reflections of the sun) is a critical, artistic intervention taking the form of a picnic blanket. The blanket is placed like a reflection above a room that lies 50 meters underground in the archives of Kungliga Biblioteket in Stockholm: The so-called Nelly Sachs-rummet (The Nelly Sachs Room).
This room is an attempt to recreate the apartment of poet Nelly Sachs, and contains many of her personal belongings. Unfortunately, the room was closed for the public in April 2017.
Anna Asplind & Marie-Therese Luger have in collaboration with each other and other artists collected information and stories about this room and now invite you on to the picnic blanket in order to experience and use this hidden room through a program of talks, performances, music and activities.
The picnic as a format for this intervention is inspired by the picnic´s potential for intervention and protest: a nod towards the “Paneuropean picnic” on Austrian-Hungarian border in 1989, that is said to have contributed to the fall of the iron curtain. Although the format of the picnic originates in the leisures and sparetime of the upper classes, it is a concept that allows collective ownership and the creation of situations where not only food and drink become collective responsibility, but also conversation and entertainment
1st of September, 15.00 – 17.00
Nelly Sachs collected stones and shells. Malin Ståhl talks about collecting as artistic material and will connect this to Nellys collection and the importance of touching a stone. What attracts us to collecting, what makes it an important act and how does collecting and hoarding influence our surroundings?
The current in-accessibility of Nelly Sachs-rummet creates exclusivity and fertile ground for mythologizing a person, a body of work or a biography. How can we create other perspectives on this room if no one has access to it?
Artist Ingrid Cogne propose Solkatter to use the Object of communication to expand knowledge-production, archiving and communication. Object of Communication was developed in the context of the artistic research project Six formats (Februari 2015 – June 2018), supported by Austrian Science Fund (FWF, PEEK, AR291-G21).
With support by The Swedish Arts Grants Committee
Special thanks to Margaretha Holmqvist, Jewish community in Stockholm and grandmother Maj-Britt Nilsson
Weld is supported by the Swedish Arts Council, City of Stockholm and Region Stockholm