Inhale, exhale, resume

The exhibition is part of an ongoing study and focuses mainly on collectives and movements operating in Stockholm during the years of 1938–1955. The exhibition raises questions about the history and potential of political imagery, as well as stories of collective organization, with special focus on the international solidarity movement between Sweden and Spain.

The exhibition consists of a montage of archival material, a video installation, a cartographic exploration of various sites in Stockholm used by previous colleges for collective organizing and a guided tour through the city.

The movements and collectives that the exhibition examine all emerged as reactions to the inaccessible position of art in society, a growing fascism and the acceleration of global capitalism. Today we are experiencing a resurfacing and normalization of fascism and reactionary movements. Moreover, the acceleration of global capitalism has assumed even more violent attributes. Throughout the exhibition, Helena Fernández-Cavada and Sebastian Dahlqvist look towards earlier colleagues, their ambitions and failures to nd a common ground where to belong. In an attempt to discern what opportunities, or even responsibilities, are left to those who come after.
Contra Narratives, Exhibition-Making, Notions of Time

Ey you out there in the cold

The exhibition explores our relation with interdependency. When the public arrived the show had been de de-installed, and they could reconstruct the exhibition by looking to the catalogue, the left overs and a box that contained all the drawings.
Contra Narratives, Exhibition-Making, Notions of Time, Publication

A conversation in 60 pages

Helena Fernández-Cavada in Conversation with María Berríos.
Digital print.
Soft cover.
60 pages.
24 x 18 cm.
Print on demand

The edited correspondence and related visual material is presented in a limited edition artist book publication, and the reading open the conversation on the possibility of Spain having a new time zone. One of reclamation after the political and emotional reality of time lost under the Franco dictatorship, one where the current relativity of precarious time in democracy is re-imagined. The discussion will address questions such as how our private lives are affected by political systems of the past and the present, and how we can escape the fascist structures which are emerging—given that within democracy and its institutions a patriarchal relationship between the state and its citizens is still present.

The book was presented as part of the exhibition The stolen hour
Publication, Contra narratives, Notions of time

The stolen hour

Exhibition 2018
It explores two streams of focus - the silenced voices of women caught in fascist periods,and the decision by the Spanish dictator Franco to have Spain synch time zones with Nazi Germany. Which both aesthetically and politically abandoned the internationally adopted Greenwich Mean Time (GMT) and mainly seen as a gesture of loyalty to Berlin (and a break with London).
Therefore, the exhibition “The Stolen Hour” explores decisions made in the past and how they continue to resonate in our present. To this end, the exhibition reflects on perceptual issues of what has been taken and never given back. What course corrections are needed, and the dialogue much needed to start this restoration, as perhaps a process of reconstruction.
Contra narratives, Exhibition Making, Notions of time

Letters to my mother / Cartas a mi madre

Postcards from a stranger.
Artist Publication. 2016-2018

«What was forbidden in Spain during the dictatorship?»,

I ask my mother.

She answers:

«Living. And thinking».

These words are the starting point of an epistolary conversation brimming with confessions about our intimacy and daily life over different ages. After ten years of living abroad, this exchange is an attempt to grasp the various narratives that  conditioned my upbringing, in a country where Catholic religion and Francoism were the official doctrine until a year before my birth. In this experimental correspondence we each use the language most familiar to us: I draw, she writes. Letters to my mother collects a total of nine letters whose strokes and marks draw unexpected relations.
Notions of time, Publication, Contranarratives

The scope of my work is very broad because it is in permanent dialogue with the changing social rhythms, time perceptions and political landscapes.