Sanna Helena Berger
+44 (0) 757 247 12 59
Arild, SE / Berlin, DE / London, UK

Sanna Helena Berger (b. 1983, Sweden) works on the periphery of definable formats such as installation, performance and sculpture. Keeping on the axis of these mediums and away from possible commodification, her work exists in a state of openness towards self-curatorial outcomes. Her work is almost exclusively situation-specific which creates an inter-site where not only the environment lay the foundation of the work but the surrounding situation in which the work is created and exists is emphasised. Previous installations range from large scale interior environments creating a milieu which shifts attention to the viewers own mode of reflection, re-arrangements of existing space as comment, monologues and texts that accentuates the situation one is already standing in and gestures that acts as catalysts for alternative modes of exhibiting. Berger structures minimal performances where the added performer as presence strengthens the commentary and gesture itself, less as theatre and more as a highlight of authority. These acts are not always immediately clear as an addition as they aim to imitate already existing roles as an observed reflection. Berger also works with the body as form and gestural structures which she equates to sculpture or adds as a support structure to already existing monumental forms. The refusal to strictly outline her practice is part of her praxis which aims to not fall into a structure of normative aims and standards for contemporary cultural behaviour.

‘Sanna Helena Berger creates situations that provoke and intensifies the alternation between scrutinising and coming under scrutiny that signifies our interaction with art. Berger effectively destabilises flows of real social interaction in a series of explorations into how behaviour is conditioned by our surroundings, and how in turn these mechanisms can be deployed for artistic purposes. Berger’s interventions enlarge and skew the familiar into subtly caricatured forms, inviting detachment. Yet, despite their stagedness, these performances and arrangements also bleed out into the space they occupy together with their audience, making participation compulsory.’
- Stian Gabrielsen, Editor-in-Chief Kunstkritikk

'A stock-take', Super, Berlin, May
'A reference to 'A reference to monumentality'', Rathaus Neukölln, Berlin, May

'Maybe there is a substitute for exhibiting', Minibar, Stockholm, June
'Vienna', Cordova, Vienna, June
'Vienna', Cordova, Austria, Slovenia, Italy, France, Spain, June / July
'Arbetstitel (offentligt verk)', with Benjamin Flesser, Malmö, August
'Vienna', Cordova, Barcelona, August
'A reference to monumentality' 2, Berlin, May
'Always first demolition', Dispersed Holdings, New York, November

'Introduction', Spektrum, Berlin, November
'Domestic Manifesto', Modern Museum, Stockholm, October
'Agency (agency)', Kulturforum, Staatliche Museen zu Berlin, October
'Agency, properties of pseudo-public spaces as a prelude', Sorbus, Helsinki, October
'A sequence which corresponds', Union Gallery, London, May/June
'The edge must be scalloped', Diorama, Oslo, April
'Domestic Manifesto', Poppy’s, Sacramento, April
'Lease of Poem “Number 4”', Sorbus, Helsinki, April
'A reference to monumentality' 1, Garage Sanremo, Milano, April
'Reading of leased poem “Number 4”', Vantaa Airport, Finland, April
'Semla', Jupiter Woods, London, February
'The body as function', Shanaynay, Paris, February

'A range', Jupiter Woods, London, October
'The body is a foundation', All Welcome, Vilnius, September
'The foundation is a body', Rupert, Vilnius, September
'A-formal', HFBK, Academy of Fine Arts, Hamburg, December
'Untitled (break activities)', Poligon Kultur Centrum, Ljubljana, Slovenia, April

'A principal division of a larger movement' 2, Frankfurt Am Main Galerie, Berlin, October
'A principal division of a larger movement' 1, berger gray, London, October
'A close-knit symphonic texture', berger gray, London, September

Published works
'Domestic Manifesto', Las Injurias, Caracas, Venezuela, 2016
'The edge must be scalloped', Diorama, Oslo, Norway, 2016

Selected Artist Residencies
Sorbus Galleria, Helsinki, Finland, October, 2016
Union Gallery, London, U.K, April / May, 2016
Jupiter Woods, London, U.K, October 2015
Rupert, Vilnius, Lithuania, September 2015

Artist development grant, British Arts Council, 2015
Project grant, Swedish Arts Council (Konstnärsnämden), 2017

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