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  • Åker

    ÅKER is a site specific public work done in 2019. Åker means field and the large installation refers to the site where the now 110 meter high property is built. The soil at this specific place was unique and used to be one of the most fertile in Europe.

    The wooden zigzag panels are covered with mirror metal and fabric in an every other repeating pattern. The light in this very bright room plays with the mirror panels, and the installation alters depending on the movement of the sun and position of the observer.

    The project was commissioned by Peab Fastighetsutveckling via Nina Warnolf and Nanna Lagerman for the entrance hall in new building The Point at Hyllie, Malmö.

    Upholstery by Carina Grefmar along with carpentry work by Theo Husberg and Freddie Muller. Photo by Marcus Lawett.

  • Huck Leber

    Site specific commission for Hallands Konstmsueum (the Art Museum of Halland). Aside from setting the artistic and interior framework, Nordberg also designed all the seating furniture for the new auditorium. The chair collection is based on a short story by the Halmstad-born writer Klara Johanson (1875–1948; pen name Huck Leber) from her book Oskuld och arsenik (Innocence and arsenic), published in 1901. Johanson dedicated one of the chapters to Halmstad where also the Art Museum of Halland is situated. She describes how Halmstad differs from Stockholm where she lived most of her life.

    She wrote:
    Man skall näppeligen bland invånarna i Stockholms nyare stadsdelar anträffa någon individ som icke är anfäktad af snufva och hosta, och detta är ju också oundvikligt när de ständig måste röra sig på oblygt öppna gator, som skära hvarandra i räta vinklar, hvararaf det naturnödvändigt uppstår ett olidligt korsdrag. En liten krökning här, en liten svängning där, en parkanläggning till vänster, en fontän till höger, och Nissens bröstkarameller skulle sjunka i pris!
    I min födelsestad finna de sannerligen inte många afnämare, ty där har stadsplanen allt från början varit ägnad att afvärja förkylningar. Där skall man aldrig lyckas skåda tvänne parallella husrader, som i oändlighet draga sig fram, tills de försvinna i det blånade intet och på regelbundna distanser korsas af andra lika beskaffade rader, som förlora sig i ett likadant intet. Nej då, för det första stå inte husen så där hopkörda och hålla varandra under armen gatan utefter, utan de samla sig i smärre slutna sällskap, allt efter sina personliga sympatier, eller dra sig misstroget ifrån hvarandra med litet plank och småsaker emellan. Inte häller stå de och fåna på samma linje, utan somliga spatsera ett stycke ut på trottoaren för att se sig om och delta i världsvimlet, under det andra, som äro blygare af sig, förskrämda hoppa tillbaka och gömma sig innanför ett staket eller några popplar.

    Which can be translated to:
    You will hardly ever find any individual who is not challenged by colds and coughing among the inhabitants of Stockholm’s newer neighbourhoods, and this is also inevitable when they have to constantly move on unobstructed open streets, which intersect at right angles, where it naturally occurs an unbearable draft. A little bend here, a little swing there, a park on the left, a fountain on the right, and Nissen’s cough drops would fall in price!
    In my city of birth, they certainly do not find many venders, because there, from the beginning, the city plan has been devoted to warding off colds. There one should never be able to see two parallel house rows, which endlessly extend, until they disappear into the blue nothing and at regular distances intersected by other equally acquired rows, which lose themselves in a similar nothing. No no, firstly, the houses do not stand together like that holding each other under the arm street along, but they gather in smaller closed societies, according to their personal sympathies, or distrust each other with a little plank and small things in between. They do not pour and stand on the same line, but some walk a bit out on the sidewalk to look around and participate in the crowd, while others, who are shy of themselves, frightened jump back and hide inside a fence or some poplar .

    Klara Johansons description of the city planning of Halmstad in the early 1900-hundreds became the basic concept of Nordberg’s chair collection. All the different seating devices are based on steel structures that “do not pour and stand on the same line, but some walk a bit out on the sidewalk to look around and participate in the crowd, while others, who are shy of themselves, frightened jump back and hide inside”.
    The rectangular shapes steel tubes in the structures of each chair are cut in unexpected ways and directions are altered. A beachy sand like coating is covering the steel frames as a reminiscence of the long white beaches of Halland.

  • INGER pendant

    Read more about the INGER project here:

  • The Baloney Sandwich

    For several years, Nordberg lived next to a supermarket with absurdly low prices, and it was this context that served as the starting point of The Baloney Sandwich. The store was always a last resort for groceries, but now and then Nordberg wandered the aisles looking for something edible. Some of the bread had a shelf
    life of three months; some tasted like hay. The butter had no butter in it, and the salami was packed with nitrates and antibiotics. For a long time, this inedible baloney sandwich was on her mind – a sandwich which could not be classified as food but rather was something else. During this time, she was also absorbed by a range of casting techniques. Could the inedible baloney sandwich work as a mould material, or be incorporated in some other way in the casting process? It seemed logical to treat the sandwich more as a material than a food. However, Nordberg struggled to find a way to use the soft food-like material in casting production, and after a while she forgot about it. That is, until recently. As it turned out, transforming the baloney sandwich into a frozen state made it durable enough for casting, and the hard sandwich finally became the material by which to create a hollow cavity for a negative casting mould. Together with some other casted elements, the baloney sandwich was then used to construct a candleholder.

    Throughout her practice, Nordberg has turned a critical eye on contemporary conditions of production, adopting an experimental and research-based approach. However, finding manufacturers who are willing to experiment is not an easy task. As a counter-strategy, she has developed her studio workshop such that it accommodates a variety of industrial techniques, including powder coating and metal casting. This framework has functioned as a stimulus, rather than a limitation, enabling the development of experiments that would not be possible in a large-scale manufacturing context. The Baloney Sandwish was made in 2019.

  • Possibilities

    A loose continuation of Most Common Element, this project further explored the craft of welding. Here, it was accompanied by other industrial techniques, including metal casting, powder coating and vari- ous surface-treatment processes. All components of the different assemblages were metal offcuts and scraps from industries surrounding Nordberg’s studio, which she collected and stored in a “library of possibilities”; there, she arranged them into objects with a variety of possible functions. Employing an assemblage-like process, and leaning on improvisation within a set of predetermined rules, the project further investigated the tension between the uncontrollable and the standardised.


    The exhibition “Strategies for Moving Freely” opens tomorrow at stockholmmodern.
    Preview and book release of the book, also named “Strategies for Movin Freely” tonight at 17-20, Rödbodtorget 2 in Stockholm. Most welcome!

    The book is published by Nilledition, buy it here.

    The exhibition is open from 11/1-8/1, Wednesday-Saturday, 12-17.

    Contact: Thomas Ekström at stockholmmodern



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  • Portrait Painter_black version

    INGER – Optical Illusions
    Homage to Inger Ekdahl

    Inger Ekdahl (1922-2014) was an artist and Swedish pioneer in spontaneous painting during the middle of the 20th century. In many of her later paintings and sculptures she worked with optical illusions and prismatic effects. Ekdahl often worked from home and used, among other things, a vacuum cleaner as an aid in the production of her works. Inger Ekdahl has become more known for a larger audience and placed in an international context after her death.

    There is a clear relationship between Jenny Nordberg and Inger Ekdahl’s work including methods that are both strict and controlled parallel with random elements and effects. The collection “INGER – Optical Illusions” consists of two objects that both generate rainbow phenomenons. One solar powered and the other one electrically powered. In the same way that Ekdahl worked in a home environment, Nordberg has developed a kind of home-adapted production line for the final surface treatment of the rainbow makers. The process is relatively controlled but also has some indeterminate elements.

    “INGER – Optical Illusions” are designed during 2018 on behalf of Ystad Art Museum.

    Photos by Korta Ben.

  • 18.10.11 Permanent mirror installation at Nationalmuseum, Stockholm

    The National Museum in Stockholm opens again at the 12th of October after being closed for five years due to a major renovation. Jenny Nordberg was invited to make a permanent mirror installation for the café and restaurant.

    Read more.

    Image by Pia Ulin.