Although it seems confessional, what this work of Carola Grahn reveals is not something that can be taken as signifying her identity, although it does not either refuse to offer incommunicable secrets. These texts do not necessarily tell the truth about this or that place, about this or that aspect of the human beings they portray, or about the author, these pieces of writing are appropriations; they are the location of a struggle to take possession of one’s own appearance. In other words, what her writing does is to give us a glimpse, to perform temporal representations of identity, a meaning only graspable in the very moment of reading.
Through the various elements that compose the installation, Grahn invites us to deal with an abstract, fragmentary space that has lost its precise inscription in geographical dimensions. They are fictional documents of a biography that is in truth connected to a place, to ethnic representations, and misrepresentations, of an identity mediated by knowledge of the place in question, but also, a knowledge of the world as mediated by contemporary art. But they revitalize context by placing in crisis the history of their own culture. The question is to be able to exist inside that movement of thought that only finds its temporary completeness in the mind of the reader, in the moment of reading. It is reading as critical thinking, as complicity and an intermediate stance where we can meet halfway, re-encountering ourselves.
Grahn shows her work in three parts, one part at Havremagasinet, one part in the exhibition catalog and one part at petrol stations in Norrbotten.
About the artist
Carola Grahn work out of vindictiveness, desire, contempt and alienation, and conceive such emotions as guideposts pointing towards delusions in self-image and social order. As method, she construct and deconstruct relations to approach an understanding of hierarchies of gender and origin, how they relate to self-perception and affect society. Her practice is not medium-specific, though she frequently return to text, photography, sound and installation in her attempts to suggest dialogue and reflection on disproportion.