Events, Talks and Seminars

Some months find us very busy with public events, some of which may require registration. If you’d like to be part of the next event or added to our mailing list to be notified of upcoming programs, let us know.

Fabrikens Lunga
  • Fabrikens Lunga
  • 2018-12-08 | Rejmyre Art Labs Center for Peripheral Studies

  • The lung of the factory an installation by Frida Hållander

    The factory leaves behind contaminated land and contaminated bodies. We agree to public responsibility for the former but not the latter, revealing how the body and nature are linked, as industrial ‘disposal’ sites, though responsibility for them is not shared equally.

    Opening reception: Sat 8 Dec 14.30 featuring a public conversation with Frida Hållander and the artist Ingela Johansson.

    The lung of the factory is an installation by the craft artist Frida Hållander. It explores a contaminated site behind the glass factory in Rejmyre, where two-hundred years of waste have been left behind as a public inheritance. Hållander is, together with other participants in Rejmyre Art Lab’s artistic research project DeTox-Clean it up!, studying this contaminated site through the lens of her artistic practice. Hållander uses the image of the lung with reference to the human body but also to the factory itself, as the lung of the “community body”. Hållander’s contribution to this multi-year research project draws on an element of personal narrative; her grandfather worked, for part of his professional life, at Limmared Glass Factory in the southwest of Sweden, having previously worked in the textile industry. He died of the lung disease emphysema, which was likely work-related. His death was perhaps caused by the environment of the glass factory, the dust from the textile industry, or other circumstances – it has not been confirmed. What we can confirm are the traces of material substances that remain in bodies; land masses and human masses. Hållander sketches the narrative trajectories above on tissue wrapping paper. Through the fragility and vulnerability of the tissue, her work connects the hands that make: the hand and the lung that blows, to the workers (glasbinderskorna) who care for the fragile glass, wrapping each piece for protection against the forces of nature. On the tissue paper she depicts the contaminated site through stories of love and struggle. She also reflects on the lung, through text fragments from a 1980s scientific study: Mortality in the Swedish glassworks industry and incorporates the story of the 1920a Swedish Factory Workers’ Union. The work raises questions about how we might organize responsibility for our collective lungs, hands and nature. What might a new contract look like for our common bodies?

    Frida Hållander is a craft artist and a PhD candidate at Konstfack in Stockholm and at The Faculty of Fine, Applied and Performing Arts, University of Gothenburg. Her forthcoming dissertation Whose Hand is Making? (spring 2019) is a study in artistic research that addresses craft, class, feminism and the will to contest. Hållander holds a bachelor’s degree (2006) and a master’s degree (2009) from Konstfack, Department of Ceramics and Glass. She has also studied at Otis College of Art and Design, Los Angeles, (2005). Among her publications is the article ”Homeless Practices” in The Journal of Modern Craft, 2013.

    The exhibition is open Tue-Sat 11.00-16.00 (8-20 dec 2018)  and by appointment (2 jan – 3 feb 2019) 

    http://www.fridahallander.se/




Out of mind out of sight by Hasti Radpour
  • Hasti Radpour - Out of mind out of sight
  • 2018-09-01 | Rejmyre

  • Hasti Radpour is showing the piece “Out of Mind out of sight” in the space that used to belong to the chandelier factory. The installation is one of the outcomes from the research project “DeTox-Clean it up!” that is investigating and responding to the contaminated site behind the glass factory in Rejmyre.

    Exhibition period: 1 sept - 2 dec 2018

    Hours (until 2/11) mon-fri 10-16, sat 11-15

    Hours (from 3/11-2/12) sat 11-15

    Opening: Sat Sept 1st 14.00

    Hasti Radpor is born in Iran and currently living in Linköping Sweden.

    The project is supported by “Konsten att mötas” (Sveriges Konstföreningar & Postkodstiftelsen), Swedish Arts Council, Finspångs kommun, Region Östergötland and Folkuniversitetet.




Workshop at Norrköping Art Museum
  • On Site - Workshop
  • 2018-06-30 | Norrköpings konstmuseum & Rejmyre

  • During two days we gather to explore the notions of site-dependent practice together with us, using Rejmyre as a point of departure

    Timings:

    Sat 31 June 10-16 at Norrköping Art Museum

    Sun 1 July 10-16 in Rejmyre

    Application is open to artists and craft practicioners form all fields. Regional artists from Östergötland can participate free of charge. Please contact us for more information!




DeTox - Mixed soil behind the glass factory
  • DeTox
  • 2018-05-05 | Rejmyre

  • Welcome to an introduction to Rejmyre Art Labs new research project DeTox – Clean it up! and a discussion about the contaminated land by Reijmyre Glasbruk on “Glasets Dag” in Rejmyre Saturday May 5th at 12 pm

    Invited to the discussion is Sara Erjeby (Fil mag soil science) some of the participating artists as well as the local public.

    “For hundreds of years, the Reijmyre Glasbruk has produced glass objects and sold the ‘finished products’ while keeping some of the leftovers in piles behind the factory. At first the piles were clearly separate from the surrounding landscape but with time they merged with and became the landscape. The focus of our work is on the current situation in Rejmyre, where the local authorities have been engaged in a process aimed at investigating and dealing with the piles of waste and the arsenic and lead contaminated soil behind the glass factory. We have proposed a cooperation with them, where we will investigate and respond to this situation as an artistic research. We are interested in the relationship between this project, i.e. the local government being called on to ‘clean up’ the toxic waste behind the factory after the company has abandoned the site, and the ways artists and artworks are often called on to ‘clean up’ in the wake of destructive capitalist endeavors. We are invested in reconstituting the ‘act of cleaning up’ as a contested demand and a site of research in and of itself, as well as exploring the socio-cultural value of that which is deemed waste and the subcategory of toxic waste.”

    • Daniel Peltz, research leader



Seeking an Anything from an uncertain time in the ruins of Rejmyres future, Daniel Peltz
  • Performing Labour
  • 2018-04-07 | Norrköping, Sweden

  • The Exhibition at Norrköpings konstmuseum is curated by Helena Scragg and developed in close collaboration with Daniel Peltz, who has run an developed the artistic research project Performing Labour where a group of 13 artists inhabited the role of “artist-guerst workers” at the Reijmrye Glassfactory, charged with making products of and about labour during 2016-2017. This exhibition is showing work from Daniel Peltz, David Larsson and Sissi Westerberg.




a refuge in Rejmyre, Daniel Peltz 2017-18 [architectural proposal by Atelier Kristoffer Tejlgaard]
  • Making refuge
  • 2018-04-04 | Norrköpings konstmuseum

  • Visual artists, craft practitioners and art writers are invited to participate in this free 3-hour workshop facilitated by Ioana Jucan and Daniel Peltz, in conjunction with the exhibition Performing Labour at the Norrköping Art Museum. The workshop creates a space for participants to engage critically and creatively in what Peltz refers to as ‘the practice of giving and taking refuge’. Participants are asked to bring one object or artifact from their practice that they would like to ‘give refuge to’ or ‘take refuge in’ and a short reflective/theoretical text related to the object or artifact [texts can be in any language]. The approach to “refuge” that the workshop proposes connects to the current socio-political situation and conditions of the refugee. It also moves in different directions and registers in relation to how we might think of the notion of ‘refuge’, such as the proposition that art and craft under the present socio-economic conditions are in need of refuge. The approach engaged in the workshop refuses to think refuge as an abstraction and thinks through the refusal of certain (established) ways of constituting refuge. In this way, it enacts a kind of performance philosophy of refuge making, which insists on staying with historical complications and complexity.