LUST FOR LIFE, 2006
The Breeder Gallery, Athens, Greece
Sture Johannesson (SE), Mika Taanila (FIN), Magnus Thierfelder (SE), Alex Villar (USA) & Ylva Westerlund (SE).
Curated by Elena Tzotzi
//…Another way of observing and translating is to be found in the work of Ylva Westerlund where we encounter intellectual experiments and ideologies in peculiar hybrids. Westerlund constructs analogies between opposite, incompatible standpoints offering an apparent, but quite logical consensus. In the installation entitled C (2004) the story of Frankenstein’s monster is linked to gender theory. The idea to introduce C as a new subject seems to be the only logical solution in order to achieve a total and just equality. But nevertheless, by stating a new order one automatically creates a new set of rules and regulations.
"Exercises in Triangulation", Rooseum Konsthall, Malmö, 2004
//…In the video Exercises in Triangulation Ylva Westerlund starts from a scientific method of putting light on the political rhetoric from a new perspective. The movie describes incompatible ideas being put together and creating a new, third variation. The theories are introduced very matter-of-factly in the video, which reminds of a scientific presentation. But the emblem of the constructed sender, which is exposed, to raise our doubts and make us question things questions the objectiveness of the movie.
Frame magazine 1/2004 "A New Wave of Political Consciousness"
//...Or as the young artist Ylva Westerlund points out in her remarkable project in which she sews old-fashioned flags and banners for groups such as "Sweden's Satanist-Feminist Association Engelbrekt": in a situation in which loosely knit single-issue groups or activists with guerrilla strategies are to come together around certain values and goals, we find ideologies in peculiar hybrids. In one of her videos she has an alien dressed as an orator say: "Let us speak with a two-edged tongue". Westerlund traces popular, well-meaning contemporary strategies and slogans to their, at times, highly murky origins and offshoots. She shows how our desire to do good (and BE good), together with the longing for group solidarity, can at times get us to say yes to things we shouldn't. This was also the breeding ground for 1930s fascism, as Westerlund quite calmly points out. Westerlund's unwavering thinking reveals new opportunities for political art.//