Exhibition · 26 Nov – 5 Dec
DIALOG 1: Eva Ericsson & Ingrid Andersson
What connects two textile works made more than a hundred years apart? And what do they say about our relationship to nature, to place and to each other?
- When
26 November – 5 December
- What
Exhibition: Eva Ericsson and Ingrid Andersson
- Where
SLVRBRGS, Malmö
Opening hours and directions
Eva Ericsson, Kraftfält
In DIALOG 1, Eva Ericsson’s contemporary work Kraftfält (Force Field) meets an eight-metre woven wall hanging shown in Ingrid Andersson’s national costume shop stand at the Baltic Exhibition in Malmö in 1914. The hanging is now held in the Charlotte Weibull collections.
“Lyssna till den granens susning vid hvars rot ditt bo är fäst.”
A call to listen to nature, remember where you come from and understand the place you belong to.
In 1914, Europe was in upheaval. Industrialisation was reshaping society, while interest in nature, local heritage and traditional craft was growing. The Baltic Exhibition brought modernity and industrial progress together with art and craft. A few months after it opened, the First World War broke out.
A century later we live in another time of transition. Climate change, technological leaps and globalisation raise the same questions about roots, identity and our relationship to nature.
Woven hanging, Baltic Exhibition, Malmö 1914. Charlotte Weibull collections.
Kraftfält was made within ARNA (Art and Nature), a project that works to strengthen the role of culture in sustainable development, with the aim of making culture a sustainability goal of its own in the UN agenda after 2030.
Using net knotting, where single threads are tied together into larger structures, Ericsson shows how new connections form between people, places and knowledge. The threads become an image of collaboration and mutual dependence: what we can make together that no one can make alone. Kraftfält is both an artwork and a statement on the importance of culture for our shared future.
The two works share material and scale. Textile work has long been tied to women’s labour and placed somewhere between craft and art. Here it stands as an artistic expression in its own right, where single threads form something larger than the sum of its parts.
In the 1914 hanging, the spruce’s roots stand for home and one’s own place in the world. In Kraftfält, the view widens to the relationships we build and the responsibility we share.
From the roots that hold us in place to the threads that bind us together. Two works, two eras and one shared question: what forces bind us, to nature, to each other and to the generations before us?
