ELIN SUNDSTRÖM
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Nya Sjukhuset Växjö website

Artistic research of the site for a new hospital in Växjö

Konstnärligt undersökande av platsen för Nytt Akutsjukhus Växjö

During a few months in 2023, me and co-artist Ingela AC Johansson are investingating the moving of a hospital to a new site. In this early stage of the process, before anything is actually built, there is an opening for artistic processes, methods and sensibilities. In a series of presentations, talks, happenings and an exhibition, the site for the building is being examined, stretched and listened to.
The project is for Region Kronoberg, with ArtPlatform and curated by Sara Rossling.

Rooms for healing and archeological traces of care / Läkande Rum och arkeologiska spår av omsorg

For the first presentation in April, I invited professor in archeology Liv Nilsson Stutz, researcher at LNU, to help me talk about a planned separate building in the area - the room where relatives say goodbye to those who decease at the hospital. Her topics include archeothanatology and ritual theory to understand how hunter gatherer communities in northern Europe have handled death. Her talk stressed the importance of ritual to be able to move on, for those left behind.
For the talk, I had marked the remains of a ritual house from the Bronze age, located in the near area, in scale 1:1. This house would have been the equivalent of the planned building.
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Foto: Sara Rossling
A second part of the presentation took place in the forest grove adjacent to the Room for goodbye.
A 90 meter grass braid led us into a clearing guarded by old oak trees, where we talked more about the long perspectives of time and of other species. How we might take care of our future generations of all species by taking care of place.
And how to be in a relationship of mutual care with our co-species and surroundings, her manifested with a small offering of hazelnuts for the dormouse living in this place.
Läkande Rum och arkeologiska spår av omsorg
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(Jag önskar mig) En sten med ett hål i, 2022
Galleri 1, Uppsala

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Mountain and clay mountain
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A stone with a hole in it
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Skins
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The Elements
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Chimney
​Nevelsfjorden, 2022
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Lighting up a tree                                    Photo: Ane Øverås
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Digging for clay in Nevelsfjorden, Kjerringøy, Norway

Clay chains and heart strings, 2022

Site-specific work for the Thames, during a residency at the Royal College of Art, London, in spring 2022.
The river became my map of the big city, for orientation both geographically and emotionally. I chose some sites along the river and made an earthenware vessel for each of them. I spent many days mudlarking along the foreshores of the river, where layers of time mix freely; then bringing them into the present with new additions in glass and clay.
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OBLIGATORIUM, Öppna Dörrar 2022, Konstfrämjandet Uppland

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OBLIGATORIUM, 2022

For the exhibition Öppna Dörrar (Open Doors), 
Gamla Hospitalet, Ulleråker, Uppsala
Arr: Konstfrämjandet Uppland
Textile, stoneware, sinew thread, paint.


The three trees stand on a tiny hill outside the old mental asylum, Ulleråker.
Loosely inspired by an image of an old strait jacket, I strapped the trees together, reinforcing the tension between them. 

A reference to the history of the Asylum and the institutions for mental care, with their elements of force and compulsion.

If you zoom out a bit, it is a generic image of exercise of power, applicable to the behaviour of the swedish goverment regarding mining in Gállok, or to issues around artistic freedom and freedom of speech. 

By treating the trees as subjects, it also refers to the idea of the Rights of Nature. What right do we (our economic culture) have to impose huge changes upon other creatures, such as climate change or a sixth mass extinction?

Rights of Nature
Recension Dagens Nyheter

OBLIGATORIUM, Performance sep 2022, Ulleråker Old Asylum

​CIRCUIT (KRETS), 2021

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CIRCUIT/KRETS, 2021
Sitespecific work for
​Ur Mörkret,
Konst Tar Plats,
​the old Lancashire-smithy in Karlholmsbruk

Blown glass, water from the pond, braided grass, cast silicon, found iron objects, textile.

MEND I-III
​​For Kjerringøy Land Art Biennial, 2021
​(At-home version due to Covid)

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Near my home is a newly created clearcut, where all the fir trees were killed by bark beetles last summer. I spent a hot week in early July, befriending the place.  Braiding grass for the last trees still standing, as an act of care(MEND I). I attempted to do something for a rock that newly lost it's cover of moss, but the rock was happy as it was, and it ended up a self-care project (MEND II). And last, taking care of the dried up moss-cover, bringing it home to a shady place (MEND III).

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MEND II

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MEND I

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MEND III (Pietá)

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River-and-I. Installation view from Stipendiater 2020, Uppsala art museum
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Water Talks. Installation at Konstfack, 2019
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Water Talks. Installation view from Stipendiater 2020, Uppsala art museum
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Water Talks: Spring water. Installation view from Sadelmakarlängan, 2020
What was hidden, 2018
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Installation using raw clay and household objects.
. . .
Clay as archive; 40.000 years old handprints
​on the cave wall look exactly as my own.
Time is always present.
​There is a promise and a threat.
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Raw clay, household objects, glycerol,
time, motion, paradox, dust
. . .
Silence.

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Raw clay, household objects, space
. . .
​Quiet.
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Raw clay, household objects, glycerol
. . .
Temporality.
​Memory is always distorted.
All shall be covered in dust. 
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Raw clay, household objects, pressure
. . .
Traces of body and motion.
Events stuck in matter.
Actions caught in time and space
Besvärjelser, 2018
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Materialized, 2018
Some of your places, 2017
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© Elin Sundström 2021
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