September 11 – October 20, 2010.
Opening Friday, September 10 at 7 pm.
The exhibition will be opened by Ulrika Holmgaard, Counsellor for Cultural Affairs, Embassy of Sweden, Berlin.
Sweden passes for a model society. the Swedish welfare system is, despite recent modifications, famous for ensuring all the country’s citizens with a reasonably comfortable life style. there is much to admire in the safety net guaranteed by the system. but, as Joakim eneroth points out, there is also
something troubling about the fact that security is for most swedes ”almost a religion.”
By focusing exclusively on the blind facade of houses, Eneroth reveals the invisible wall built around the swedish way of life: a fortress, no less powerful for being virtual. Red houses are a part of Swedish folklore. Seen through eneroth’s fiercely ironic eyes, these quaint buildings turn into monuments of kitsch. In Swedish Red, Joakim eneroth examines the idea of the home as a perfect place, where life is totaly comfortable and secure. how fear, or the need for security, easily evolves into deep isolation. the images tempt us, and tells us to fuck off, at the same time.
Conscience and consciousness are the themes that unite eneroth’s protean work. with each new series, the photographer explores another mode of awareness of the world. thus, for instance, the stream of consciousness of the photographic diary Without End, which first established the Swedish artist’s reputation; the political consciousness of the series Testimony, which is a manifesto against torture; and, finally, the bad conscience that quietly lurks within the ”comfortably secure” houses of Swedish Red.