The exhibition Fittja Open is the first public presentation of Residence Botkyrka’s programme in Fittja. For one month, you will find temporary notice boards in various locations throughout Fittja. These are artworks that examine how people are addressed in the public space. The installations are part of the exhibition Fittja Open and serves as an open invitation to discuss the role of art in our society.
Curators: Joanna Sandell & Niklas Östholm
Matthijs de Bruijnes from the Netherlands is the first artist in Residence Botkyrka’s programme. During this period he met with undocumented workers in Botkyrka, to speak about their nightly dreams. They shared recurring nightmares that express their experiences of living and working here. Anonymised and translated into Swedish, five of the dreams were pasted onto blue bulletin boards and installed in various places in Fittja. In The Daily Dream project, the artist wanted to create public spaces for voices that are seldom – or never – heard. Anonymized and translated into Swedish, you can now find five of the dreams pasted on high-gloss bulletin boards in various places in Fittja.
How does the public place speak to us? Who is the speaker? Lisa Torell is interested in how public place is created, when its form and function are linked to definition. How we experience and are affected by the more or less odd elements that are dispensed around us; bins, benches, swings, stairs, fences and a pool. In the work Uppfunnet rum (Invented room), an installation at Fittja äng, a part of the park is signposted in a way that reminds us of how the municipality informs us about the spatial changes that are underway.
Angel Nevarez & Valerie Tevere from New York participates in Fittja Open with an open call for new protest songs. The work Another Protest Song is an online music archive where everyone is invited to upload their songs. Is it possible that we will find Botkyrka’s own music history in the archive: Latin Kings, Danjah, 147 8X? http://www.anotherprotestsong.org/
In the final stage of this year’s election campaign, Henrik Andersson reactivates a thirty-year-old election poster. Sending out messages about a secure future, it is not significantly different from today’s election posters. At the same time, the history of the employee fund is at the centre. The artist is interested in questions that concerns representation, power and participation. The gamble between private ownership and public ownership. The work also becomes a picture of the development of society after the million programme until today via the formation of foundations such as Framtidens kultur, a co-funder of Fittja Open and Residence Botkyrka.