A Place in Europe - Cecilia Parsberg, Erik Pauser, Haval Murad and David Martinez Escobar
The artwork will be shown on Bredgatan between Täppan and Kåkenhus in Norrköping from 19 September, during the Culture Week and throughout October.
The artists Cecilia Parsberg and Erik Pauser, together with the architects Haval Murad and David Martinez Escobar, have created a sculptural installation that reflects cracks in society. The film sculpture Huset started its journey at Odenplan to continue in other public places in different cities in Sweden. The sculpture has the shape of a house that has turned over and looks like it is sinking. The short film 'A place in Europe' is shown on the underside of the sculpture. The film tells about a hidden place in a big city that has become a home for job-seeking migrants who have fallen between the cracks in Europe´s free movement. The narrator is Thomas, who for three years has sleeped in this place, with rats under a loading dock. Now he's about to be evicted. He represents those who want to do right by themselves: work, support their family, live a dignified life. Modern poverty force many to become nomads in European cities.
On September 25 at 19: 00-20: 30 we meet in room TP1 in Täppan for a conversation between Cecilia Parsberg Erik Pauser Haval Murad, David Martinez Escobar and Thomas Kwame Awarija, the main character in the film, and Stefan Jonsson, professor of Ethnicity at REMESO, LiU. Erik Berggren moderates.
Limited number of participants (50). Register participation to firstname.lastname@example.org
The conversation is conducted in English.
In Custody - Maria Backman och Hanna SjöbergMarch -
During World War II, neutral Sweden served as an uncertain waiting room for nearly two hundred thousand refugees from the war in Europe. The country was surrounded by warring countries and the Swedish government tried to maintain a balance act, in order to stay out of the war. It was relatively rare that people who had fled to Sweden were deported. The refugee camps indicated two things, on the one hand the right to asylum, which already existed through the 1937 Aliens Act and which was actually upheld and on the other hand, on the state's nervousness towards the refugees. It was about giving protection to those who came but also to protect against the risks to the security of the kingdom.
In this wobbly situation, a space was opened up for both a positive reception but also suspicion. In addition, there were German-friendly actors within the Swedish police and the military. It was this reality that the refugee was confronted with.
The refugee camps around the country became intersection points where the foreign met the local - the traces of these events lie in people's memories, in the archives and in the actual places of these camps. This is part of our Swedish history, a contemporary cultural heritage that can be read in several ways. The traces of the camps in the landscape are also traces of the authorities’ attempts to control people they did not trust in an uncertain time. The project In Custody is two artists' exploratory meeting with these sites. The traces are mostly gone but we know that something has happened where there are now seventy-year-old, logging mature pines and firs.