Kalmar Konstmuseum is pleased to present a solo exhibition by artist Johanna Karlin. Karlin is a Swedish artist, educator, consultant and curator currently living and working between Öland, Stockholm and Berlin. The exhibition, Unobstructed Lines of Vision, brings together found objects that reposition the everyday into a new installation. Karlin makes use of ordinary items like a street bench, plants and office furniture, all borrowed from various places the artist has travelled between in her various roles working for publicly funded institutions. The new constellation that unfolds is a theatre of the everyday in which the objects form new relations in a dialogue with broader socio-political and cultural agendas in Sweden.
The exhibition questions how we inhabit public space and how this space effects our movements and experiences. Upon entering this exhibition, the viewer encounters the scene of a reorganized public space. Here, objects gathered from the surrounding regions of Kalmar and its public institutions, are repositioned in a scenic narrative set to reconsider and shed light on the places, objects, and pathways that are sometimes taken for granted in our daily routines. To momentarily displace these objects from their surroundings and place them inside the museum allows for quiet contemplation on how the organization of public space affects our sight, and how our sight informs our social organization.
To have a “good view” is to have an unobstructed line of vision where everything is in clear sight. This vantage point can be found in overlooked suburban spaces, between the city and the country, where the land is still not overly developed. Karlin considers these banal landscapes intriguing and points out that these are the sites that can provide spaces for unobstructed vision. Through her art making, Karlin develops new networks for understanding the connections between publicly funded institutions and our daily lives. Though the objects in the exhibition may not be artworks themselves, they become referents for a new conversation on what is and what may be.
Karlin employs a light ecological footprint in the production of her work; reusing and recycling found materials, while commenting on issues pertaining to the circulation of materials, objects and ideas. This could suggest an alternative method for considering the use of public space – rather than simply replacing the old with the new, Karlin’s work suggests we consider what is already there from a new viewpoint.
– Laura Hatfield, Curator