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

The postwoman has someone who writes to him

Postcards from a stranger.
30 postards and wood structure. Dimension variables.

Will the postal carrier read the postcards that were sent to them by a stranger? In a narrative exercise where visual and text grammars collide, Helena Fernández-Cavada writes to the post(wo)man that takes the mail to Rostrum Gallery. She shares her impressions about the disturbing changes in the political landscape observed during a short vacation in the south of Spain. How are life experiences affected by the normalization of a reactionary and extreme right discourse? For this exhibition Helena Fernández-Cavada proposes grammars, visual forms and structures that can question the normalization of the intolerance and ultra-nationalist extremism that today run from south to north, threatening the most vulnerable. The golden light of the Mediterranean sun and a quiet vacation cannot hide under the warmth of these old shadows. Or is it perhaps the excess of light that hides the normalization?
Exhibition Making, Notions of time

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