Best Laid Plans with Hannah Clarkson (BodyBuilding Collective), 2018
Dovilė Bernadišiūtė and Hannah Clarkson – Best Laid Plans
« Best Laid Plans » brings together the works of Dovilė Bernadišiūtė and Hannah Clarkson. Located in the industrial area of Årstaberg; a place in simultaneous demolition and construction, the exhibition sets out to contemplate humankind’s relationship to the built space. Using architectural materials such as roofing felt, her sculptures take on narrative properties in relation to the viewer, creating a state of flux where body becomes building and building becomes body. The title comes from an oft-quoted line from Scottish poet Robert Burns, “The best-laid plans of mice and men often go awry.” The phrase has been adopted as an expression to signify the futility of making detailed plans when the ability to fully or even partially execute them is uncertain. With the artists’ conjoined interest for the setting of the exhibition, located in an industrial building with the official name Packrummet 12, built in 1962, the works reflect a moment in past and future. They take on the specificity of the site and the narratives inherent to the building.
Årsta Skolgränd 16A, 2018
Brooches: Safety glass, bronze, stainless steel
The demolition of artists’ studios around Stockholm including those in this very building and just across the street, is an issue of increasing concern. In the plans for the new apartment buildings which will be built on the footprint of the soon to be demolished Årsta Skolgränd 16A, there is a statement of what will be lost, that the area is of ‘some cultural significance’, but not enough to save it. These brooches are thus a souvenir of the building in which we are now, cast from the very floor on which we stand. They speak of traditions of souvenir jewellery, a memory of what is present yet soon to be past, yet also of a future, not-so-indestructible safety glass in waiting for demolition, paired with a modern materiality of the commercial architecture soon to be built here. Here, space and time can be worn, carried with you, place transferred and embodied.
Strike! (for Einar Egelin), 2018
Laser-etched roofing felt, birch plywood, tin, palettes from Årsta skolgränd 16A
Årsta skolgränd 16A was used as a model making factory, a place where architects’ plans were transformed into three dimensions and future buildings visualised on a smaller scale in metal and wood. The owner of this factory was a man called Einar Egelin, the architectural plan for whose life was to take over the family business, be a successful engineer. But his own plans were somewhat different: a bronze medal winning amateur bowler, his sporting dreams were set in motion on evenings and each weekend.
Since his death and the closure of the factory, this building has been used for storage. It has always been a place of waiting, never really the building itself but a building where other, grander buildings were planned, then later where things were stored in waiting to be used. Now, it is still a place of plans or dreams, housing artists’, architects’ and designers’ studios, a food spice company, air conditioning manufacturers, and a BDSM club, variously. Yet still it waits, in the limbo space before being demolished to build new dream family homes, apartments where, according to the best laid plans of commercial housing development, perfect lives will be lived. Though the wrecking ball will surely come, this promise will always wait to be fulfilled.
Felt like home, 2018
Laser-etched roofing felt
In my parents’ house, high up on top of the wardrobe, almost hidden from sight, is a smaller house. A house I made when I was young, where plans were made and stories imagined, but where no one
ever lived. The interior was constantly changing, as I myself changed. My mother asked me who would live there…I said it didn’t matter, it always felt like home.