María Kolodynski


ID:I Galleri, Stockholm, July—August 2023

  1. One Saturday in July we walked up on Frösundatoppen. The crowns of leaves surrounded us, and on the top of the hill the grass was noticeably dry. Thinking that the rubble of my father’s former apartment in Klarakvarteren was inside this pile maybe made it feel a bit familiar sitting there, even if I had never been in that apartment at Norra Smedjegatan. He said it was close to where the Gallerian mall is now. And close to Brunkebergstorg. Someone said that the old Hagalund is also in this pile. My paternal grandmother lived in the old Hagalund, so it’s even possible that the house where she grew up, which her father had built, is also inside the pile. When we sat down on the hill after climbing it, María said that in Argentina there is a tradition to bury things as a way to show gratitude. When she told us this, it was the first time I thought of the hill as anything but a curious landfill. Perhaps it was a gesture of gratitude to bury the blocks of Klarakvarteren here in the garden city of Hagalund. It is still a very intense thing to consider: that part of this beautiful city is now inside a mountain. Even what I see outside the mountain is cast in another light. The buildings which still stand around me—they are not yet buried. They are places where life is still happening. To walk on the hill of Frösundatoppen connects these two horizons. In a Lacanian perspective, I can’t help to think of constructivism. Burial, concealment, and erasure are also acts of creation.

—Anna Kinbom

  • The project centers on Frösundatoppen Hill, located in the outskirts of Stockholm. This hill, which is literally built from the rubble of the former heart of the city, serves as a trigger and first working site.
  • A hypothetical situation where there is a wounded link between Klarakvarteren (which is the place in the city center where those buildings were) and Frösundatoppen. The hill is quite abandoned and not many people use it, the roads are in bad condition and there is no public lighting on the roads. Regarding the center/Klarakvarteren, it’s a controversial and not so safe public space. Something got moved and it is not quite settled.
  • At the opening, Anna Kinbom will perform a couple of songs. One will be ”Stockholm Bank Song,” which she wrote in 2014 at the invitation of Jens Evaldsson for a performance outside the bank offices at Brunkebergstorg and Malmskillnadsgatan, in the former Klarakvarteren. Brunkebergstorg is situated where the former Klarakvarteren used to be. The opening performance is also in dialogue with the piece ”Osjungen/Unsung” by artist Anne Marte Overaa (SE/NO) in which Overaa celebrate what is taken for granted.
  • There is an amalgamation of the archival and the fictional combining documentation and artifice. The works fall along two axes between the falsity and the real.
  • At the end of the exhibition, some of the postcards will be delivered to a tourist location in Stockholm where postcards are sold, so that they can circulate through organic social activity, without a specific intention or destination in mind.
  • There is a certain traction in absence. The archive is a technology of memory. Memory is a collection of data. The data for this project is a pile of rubble concealed beneath a hilltop. That hilltop is an archive.
  1. Ett Hem [A Home], 2023

Single-channel video, 2K, stereo sound, black and white Duration 5:25 minutes

  • 28 postcards from Frösundatoppen, Klarakvarteren, 2023 Charcoal, graphite and watercolor on printed paper, postcard rack
  • Pseudographic archive, 2023

María Kolodynski (B&R* Patagonia) is an artist and filmmaker. She has a bachelor’s degree in Image and Sound Design from the University of Buenos Aires. María focuses her artistic practice around the link between a body and otherness—an endless conversation in permanent movement—and investigates the invisible forces of connection and the perception of the hidden. She works to find ways to continue living in contradiction through those objects and places that present themselves to her: silkworms, videos, glass, spaces, people, magnets, to name a few. By following these things, she gives them form. The political dimension is a constant underlying theme in María’s work. Currently attending the Artists Program at the Universidad Torcuato Di Tella, Art Department, Postgraduate. She lives and works in Buenos Aires. *Brought and Raised

Anna Kinbom works with songs and texts which form a basis for her work and performances. In 2022 she published a chapbook with texts and lyrics (Cuestión Editora, Buenos Aires). For six years now, Kinbom has been working on going back to her teenage years. In various works she has depicted times of change, and this has had expression in installations as well as performance and sound and video works. Kinbom’s most recent exhibitions were at Extension Art Space in Stockholm (2023), Whose Museum Malmö, Konsthall C, Konstväxlingar Skanstull (2022), Celsius Projects in Malmö and Konstepidemin in Gothenburg (2021). She has performed in exhibitions at Moderna Museet (2022, 2015), at Index (2022, 2020), for Stockholm Konst (2020) and Marabouparken (2017). She has an MFA from the Royal University of Fine Arts (2013) and has studied at the Akademie der Bildenen Künste in Vienna.

Special thanks to Anna Kinbom, Åsa Mähring, Charles Berret, Santiago Campos, Gale Cine, Cristina Lembeye, Tomo Cabrera Cañas, Luciana Malavolta, Club de Lectura, Erin Sullivan, Jonas Hatschek, Tove Sundgren, Dan Lageryd, Rut Karin Zettergren, Rosalie Yu, Spekulativa Juntan, Embassy of Argentina in Sweden, Silvia Cao, Naim Afram, Heidi Nilausen, Mayra Ferreira Basso, Sonia Ruiz.

Örjan Wallert

“Ett föremål behandlas som skräp men har ett uttryck i sig
som gör det intressant att undersöka.
Det kan vara ett föremål med avancerad form
och teknik och allmänt använt, men som nu förlorat sin
ursprungliga funktion. Någon utveckling har sprungit ifrån
det och det tycks ropa ut: Hej, vad hände? Vad är jag?  

Dess karaktär är också skicket som visar att det har en historia
men det är en icke läsbar berättelse.  Men det kanske kan
placeras i en konstnärlig kontext, komma in i ett annat läsbart
sammanhang och där ge associationer och en annan bild av verkligheten.”  


“An object is treated as trash but it has an expression that makes it
interesting to examine. It could be an object advanced in shape and
technique and commonly used, but has now lost its original function.
Some progress has passed it and it seems to shout out: Hey what
happened? Where am I? 

Its character is also its condition showing its history but that is an
illegible story.  Eventually though it could be placed in an art context,
enter another readable coherence and there originate associations and
another view of reality”.  

Örjan Wallert, September 2023


©Anna Ridderstad


Anna Ridderstad (f 1976) visar storskaliga fotografier av berghällar i Nacka. De är en del av ett arbete som pågått sedan 2019 där hon undersöker plats och topografi i förhållande till kroppslig upplevelse.

”Jag tror att alla som har vuxit upp i Stockholmsområdet har en relation till de här hällarna som hör till det som kallas tallhällmark. Som barn i någon förort kände vi dem kanske som våra egna fickor, visste var pölarna samlades efter regnen och lekte olika lekar där hällarnas former fick nya betydelser. För vuxna finns de nog mest bara där, tills de sprängs bort i nästa byggprojekt. De verkar anses rätt värdelösa, precis som så mycket annat som människan inte omskapat och definierat. Ett hinder för utvecklingen. För mig betyder de hemma. När jag flyttade till Nacka blev vandringar där jag undersökte berghällar med kameran ett sätt att lära känna platsen.”

Kroppens och sinnenas möte med omvärlden är utgångspunkten i Anna Ridderstads konstnärskap. Skala, placering och relationer mellan objekt i ett utställningsrum, men också i ett landskap. Kroppens närvaro och rörelse i förhållande till topografi och det materiella. Hon arbetar med fotografi, film och konstruktioner i trä. Alltid i en skala som relaterar till den egna kroppen, en arkitektur som speglar yttervärlden genom sinnenas upplevelser.

”Eftersom jag arbetar både med fotografi och rumsliga installationer har jag letat efter ett sätt att föra ihop dem, att få fotografi att bli något mer än bild på vägg i ett utställningsrum. Berghällarna kunde kliva ut i rummet och skapa ett annat sammanhang.”

GRUND är Anna Ridderstads tredje soloutställning på ID:I, och konstnären är på plats i galleriet alla dagar utställningen är öppen. För besök övriga tider kontakta


Materialities; energies

Materialities; energies at ID:I Galleri

Vernissage Fredag 26/5  kl. 17-20
27 Maj – 4 Juni, 2023

Utställningen samlar verk av tio konstnärer som deltog i den ettåriga postmaster kursen ”Materialities; energier” på Kungliga Konsthögskolan i Stockholm.

Medverkande konstnärer: Anna Pehrsson, Anna Cherednikova, Desia Ava, Elsa Gomis, Katarina Elvira Gudrunsdotter, Korina Kordova, Peter Norrman, Sanna Fogelvik, Tova Rudin-Lundell, Tove Alderin.

Materialiteter; Energier, presenterar olika sätt att arbeta med energi som en form av materia samt ett konstnärligt medium och/eller utgångspunkt för konstnärlig forskning.

ID:I Galleri
Tjärhovsgatan 19, Stockholm


The exhibition brings together works by ten artists who met in the one-year postmaster course “Materialities; energies” at the Royal Institute of Art in Stockholm.

Exhibiting artists: Anna Pehrsson, Anna Cherednikova, Desia Ava, Elsa Gomis, Katarina Elvira Gudrunsdotter, Korina Kordova, Peter Norrman, Sanna Fogelvik, Tova Rudin-Lundell, Tove Alderin.

Also titled Materialities; energies, the exhibition presents different approaches to working with energy as a form of matter, taking it as an artistic medium and/or starting point for artistic investigation and creation.

Supermarket 2023

ID:I på Supermarket 2023
Årets tema Twilight zone
10-14 maj 2023
torsdag-lördag 12:00-20:00
söndag 12:00-18:00
Stadsgårdsterminalen vid Slussen Stockholm
Dag och natt, mörker och ljus, jord och luft, gott och ont, krig och fred, diktatur och demokrati. De står alla
på varsin sida om linjen, som sakta rör sig omärkligt framåt. Eller är det bara i en cirkel den rör sig – linjen-? Latituden, timvisaren, jordytan, stridslinjen. Kanske böjer den sig inåt och färdas mot jordens mittpunkt och det mörker som omsluter underjordens varelser. En del utvecklas bara i mörker och kan inte leva i ljuset som Dracula. En del ser inte ljuset (våra krigsherrar). Skuggan existerar inte utan solen. Fotografiet som framkallas sakta med den röda lampan dinglande i mörkret för att sedan bli synligt i ljuset. Dagblomman. Solstrålen som smälter istappen.
Vi är fyra konstnärer ur ID:I galleri som visar arbeten om mörkret antingen som handfast i jorden, det bildliga och det filosofiska teoretiska mörkret som kriget och vår planets miljö som förstörs.
Helena Pehrsson   instagram @pehrssonhelena
Mona Petersson instagram @artmonapetersson
Johanna Schartau instagram @johanna_schartau
Annelie Wallin instagram @_anneliewallin
För mer info:
instagram: @galleriidi
English version
Day and night, darkness and light, earth and air, good and evil, war and peace, dictatorship and democracy. They all stand on opposing sides of the line, which moves slowly and imperceptibly forward. Or is it only going around in a circle?Latitude, the hour hand, earth’s surface, combat line. Folding inwards, traveling towards the center of the earth and the darkness enclose its subterranean creatures. Some evolve in the dark and, like Dracula, cannot survive in the light. Some do not see the light (our warlords). Shadow does not exist without sunlight. The photography develops slowly in the dark under a dangling red lamp, only to become visible in the light. The daylily. The sunbeam dissolving an icicle.
We are four artists from ID:I who exhibit and showcase works about darkness, either as something tangible in the soil, or the metaphorical and philosophical darkness, such as war and the planet’s threatened environment.