Johanna Gustafsson Fürst

B. 1973, Stockholm, Sweden.

Johanna Gustafsson Fürst (1973) is based in Stockholm and received her MFA in 2003 at the Royal Institute of Art in Stockholm. Johanna works in a field that ranges from self-organized platforms, sculptures, site-specific installations, performances and text.

Johanna Gustafsson Fürst is occupied with using material’s resistance and formal experimentation to harbour ways of thinking of the boundaries of the self, the society and responsibilities. This thinking usually circles around how the individual, in everyday life, encounters politics and social systems. And how these encounters, in turn are expressed or collapsing into formal and aesthetic systems. A part of her practice is directed toward self-organization and social processes in the border between art and political activism.

Her works are shown both internationally and in Sweden. Her recent exhibitions include Bonnier Konsthall (SE), Consonni (ES) and Moderna Museet, Malmö (SE), kim? (LV) and Kalmar Art Museum (SE)

(Image above: The Distribution, 2016, Material: Glass, Diabase, Podium built by whiteboards.)

Europa2013, Textile found by the shore of the Baltic Sea, marble windowsills, steel frame
I Have to Become a Vegetarian, 2013, steel wire, plumbs, steel parts from public bench in Stockholm
Public Green, 2013, installation view
No, 2013, copper, textile found by the shore of the Baltic Sea, steel ring
Language of Things, Glass plate, jars of baby food filled with screws, wood
Things That Make Us, 2013, basketballs, wood
No Can Read See Can Not not Can not Can’t Think, Move Not Act No Not, 2014. Material: Posters, chairs, cloth, sticks Installation view from exhibition About Glass Ceilings and Sticky Floors. Kunstlager/Kunstverein Wagenhallen Germany, curators; Lisa Biedermeier and Bernadette Wolbring
Detail from No Can Read See Can Not not Can not Can't Think, Move Not Act No Not, 2014
Carte Blanche, 2010, site specific work, found wood and commercial ad. Carte Blanche deals with economic and social conditions and systems in the financing of culture. Rosendal Garden is a place where visitors are free of advertising. This is partly because the land is owned by the swedish royal family but is also a business concept by the company that runs the garden. The visitors should “rest from information society”. Rosendal is located in a part of Stockholm which Is considered privileged. The visitors can afford high prices on coffe and cake and the Garden does not need advertisement or sponsors to make a profit. A scenario in the future where places completely free of advertising is something that only belongs to an elite in society is alarming close at hand. Rosendal is a “picture machine” that conveys a lifestyle possible only for a few. The budget for the exhibition were bad and during the process with Carte Blanche the swedish culture minister made a statement that artists should take responsible and show entrepreneurial. To solve the situation with the budget and take responsibility as an artist a part of the artwork were sold. The advertising billboard payed wages and the overhead costs of the work.