IMAGINARY GARDENS: Weeding and Watering

Varberg Konsthall, Sweden 2015. 

The show consists of multiple works around the concept of interior and exterior gardens. It´s relation to resistance and radicality. Drawing inspiration from the writings of Emanuel Swedenborg and his descriptions of gardens on earth and in heaven. (Soundpiece and collaboration with hypnothist)

Researching the movement of the Diggers, a group of Protestant English agrarian communists, initiated by Gerrard Winstanley in the 1600 century. Famous for their attempts to farm on common land as a way to challenge the class society, offering a model of comparison for contemporary activist movements, such as Guerrilla Gardening and the "Land is Ours".The garden can be seen as a micro universe containing utopian visions on how to dwell and function as metaphor to describe the bond between man, place and spirituality.

Seedbomb table

Aiming towards critical action. The seed bomb table is to facilitate conversations and develop relationships between local communities and the surrounding resourcesA proposition for new behaviours adding to surrounding resources through production, craft  and conversations. Sharing knowledge around seeds, food production, commons and community. 


Ikebana meditation.

Ikebana, a process created to “console the soul” or as meditation in movement, is a language of seasons, commercial exploitation, emotions, symbolism, medicinal power and history of travel.Traditionally based upon a geometry symbolizing heaven, earth and man reflecting paradise or cosmos.A sculpture imperfect and incomplete that possibly dies away within hours as created forms goes back to dust. A priviledged  rite of passage and transcendence and an antidote to the anxiety of living.The concrete poems all give aspects around the wievers relationship to the Ikebana sculptures to meditate upon.

Common Harvest.(Collage,found materials, dried leafs.Vintage postcards from commons).

The biggest threat to the commons is that no one uses it. A way to use the commons and engage with the landscape is to paint in it. Painting in plein air and even burying collages in the ground. To recirculate material and observe sound, temperature, wind and rain. Escavate the landscape. Encounters with people along the way. The work understood as the conditions that make it. As the geographical, historical and contemporary places directs the image, the inner places gets intertwined in the image. Exterior visions through my body and secondly in that of the viewer. Implementing and encapsulating memory in a place. A dwelling layered in constant flux.

The commons raise questions on how to live together and what we share in common. How can we sustain social relations without economical transactions trough actions, labour and commoning. The commons are both physical places and a site of struggle and revolutionary thinking. A movement against the privatization of resources. Commons are an exception within present systems of legal ownership that rely fully on private property. Common land is not public but land to be used “in common” and therefore cannot be developed or built upon by the owner(s), nor can they be used speculatively. As we are witnessing a shift from landscapes of work into those of parks and landscapes of leisure, we see movements around the globe asking similar questions as a Leveller did 400 years ago. Questions and demands surrounding common property is more relevant than ever.




Andramandoni 12 min soundpiece, short version below.

Andramandoni ENG from love enqvist on Vimeo.


Andramandoni-SV from love enqvist on Vimeo.

Andramandoni (Sound piece 12 min)

The listener is resting on a Persian rug with references to the old motif of the garden in Arabic culture. A winter garden.The Swedish mystic Emanuel Swedenborg inspired the entire exhibition with his metaphors of gardens and ideas of transcendence. Especially his hesitation to actually describe how they look like but rather describe their effectAccording to Swedenborg, the gardens in heaven manifests the angels inner life. We plant gardens to mirror heaven and after death we enter heaven through garden experiences.

Swedenborg likens our life to a tree that grows from seed to fruit, reproducing itself until there is an entire garden. He writes: "We must become gardeners in order to become gardens. When we know and feel that our life is a gift, we internalize the paradise, or garden, from which we originally expelled ourselves. And we bear fruit once more". In one of Swedenborgs heavenly gardens: Andramandoni, lovers wear the garden, dressed in flowers from shoulders to hips and garments that carry garden imagery.In one passage he describes how the trees had been planted in a continuous series which went out and around in perpetual circles, in a seemingly endless spiral. One species following another  in the order of excellence of their fruits, but for Swedenborg the beautiful garden is an effect, not a display.