Photo: Camilla Kjæhr/Kunsthall Trondheim
Hannah Ryggen Triennale 2022 presents artists and works that can varyingly be seen in the light of Hannah Ryggen's legacy (1894–1970). With the anti-monument as a prism, embodied truths are replaced with a multitude of alternatives. In this publication, the curators and invited authorsexplore the dialogues that take place between Hannah Ryggen's tapestries and the contemporary artists's woks in the triennale exhibitions, also mediated through a rich selection of images.
Hannah Ryggen's attitude toward hierarchical constructions is still confrontational Her art invites dynamic readings, at the same time as it punctures fascist ideologies and literally outlasts structures in reinforced concrete. This is the strength and potential of her textile anti-monument.
Contributors:
Anne Bitsch, Johan Børjesson, Nina Gjølgasæther, Sissel Guttormsen, Stefanie Hessler, Solveig Lønmo, Marthe Minde, Katrine Elise Pedersen, Cathrine Hovdahl Vik, Marianne Zamecznik
Edited by Solveig Lønmo
Co-published by Nordenfjellske Kunstindustrimuseum, Kunsthall Trondheim, Trondheim Kunstmuseum, K-U-K and Ørland/Bjugn Art Society
This publication is made possible through generous support from:
Bergesenstiftelsen
Fritt ord