February 26–May 1, 2011 Charlotte Gyllenhammar’s work was exhibited in the House of Sweden, a stunning example of contemporary Scandinavian architecture designed by Gert Wingårdh and Tomas Hansen. The House of Sweden was inaugurated in 2006 as the new home of the Embassy of Sweden in Washington DC, and, in 2008, The Washington Post named Sweden House the "Venue of the Year". Gyllenhammar's exhibition was comprised of her acclaimed photographic series entitled Hang which first premiered at Paris Photo in 2006, as well as her sculpture entitled In Waiting. Gyllenhammar's work is also featured in the permanent collection of the National Museum for Women in the Arts, in Washington DC.
October 22–December 5, 2010 The Intiman Theatre, located in the heart of Seattle, Washington, selected Charlotte Gyllenhammar’s photograph Hang (2006) to represent their production of The Scarlett Letter by Nathaniel Hawthorne. The play, which depicts the struggle of a woman who commits adultery in Boston, at that time a small 17th century Puritan town, is a classic of American literature. Gyllenhammar’s image of a woman hanging upside-down within the confines of her dress seems to visualize the isolation from community life felt by Hester Prynne, the play’s main character.
October 18–December 12, 2010 Darker than Night was a group exhibition that sought to create a discourse resulting from a comparison of cultural beliefs and artistic practices. The exhibition presented a selection of diverse artistic explorations on the emotion fear, as transmitted via cultural expressions in the form of literature, film, entertainment and music. Curators Katrin Behdjou and Gabriel Mestre selected Charlotte Gyllenhammar’s sculpture entitled Double Blind (2009) because the work “ironically illustrate(s) the psychological reality of the attraction-repulsion dichotomy.” The exhibition was held in conjunction with the Mexican celebration of the Day of the Dead, and located in the Casino Metropolitano, a neoclassical palace in Mexico City.
July 2–October 31, 2010 Disidentifikation was a group exhibition that addressed how artists utilized popular culture, vernacular forms of expression, political satire, and the reappropriation of histories and ideologies as protest. Curator Stina Edblom selected artists “who explore modes of performative self imaging in an interrogation of gender, sexual, and racial difference.” The exhibition brought together an eclectic group of works from the late 1980s until today, by 8 internationally acclaimed artists. Charlotte Gyllenhammar exhibited her video installation entitled Nachsagen, Ich und Meinhof (2004). Disidentifikation was held at Göteborgs konsthall. For more information, please visit: www.konsthallen.goteborg.se
Linköping Cathedral – 0n October 18th, 2009 an installation by Charlotte Gyllenhammar was inaugurated. Built in 1520, Linköping Cathedral is one of Sweden's most extravagant church buildings of the Middle Ages.
August 27–October 8, 2009 Charlotte Gyllenhammar exhibited a new body of work, including photography, film, and sculpture at gallery Christian Larsen in what was her latest solo exhibition entitled Deformation. The opening reception was on August 27th, from 17:00–20:00.
For more information, please visit:
www.christianlarsen.se
March 27–December 12, 2009 Kiasma Museum of Contemporary Art in Helsinki, Finland exhibited Gyllenhammar's work Blindbock in Tracking Traces. Tracking Traces was a group exhibition that delt with questions surrounding aesthetics and politics through the themes of urban life and popular culture in the visual arts.
Mythos Kindheit – an exhibition dealing with childhood at the Hus für Kunst Uri in Switzerland, featured Gyllenhammar's work The Spectators. The term childhood brings to mind various, sometimes opposite notions such as innocence, purity, and paradise, as well as fear, helplessness, and failure.
In the visual arts the motif of childhood, as a mythological and utopian place, is often used as a frame of reference for self-investigation or self-assessment. The exhibition Mythos Kindheit explored the way in which contemporary artists reflect upon and visualize the theme of childhood.
Mythos Kindheit traveled to Patricia Aasbeck's gallery
CCA Andratx in Mallorca, Spain. For details about the exhibition please read the news article above or click on the link below.
CCA Andratx>>
State of Mind / Christian Larsen – Charlotte Gyllenhammar exhibited Fall and a new sculpture entitled Beholder. The exhibition's title refered to a situation, an action, a train of thought or a state of mind that suddenly creates a sense of lucidity. The exhibition was curated by architect and art historian John Robert Nilsson.
