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

'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 II, Berlin, tba

Spektrum, Berlin, November
Modern Museum, Stockholm, October
Kulturforum, Staatliche Museen zu Berlin, October
Sorbus, Helsinki, October
Union Gallery, London, May/June
Diorama, Oslo, April
Poppy’s, Sacramento, April
Sorbus, Helsinki, April
Garage Sanremo, Milano, April
Vantaa Airport, Finland, April
Jupiter Woods, London, February
Shanaynay, Paris, February

Jupiter Woods, London, October
All Welcome, Vilnius, September
Rupert, Vilnius, September
HFBK, Academy of Fine Arts, Hamburg, December

Frankfurt Am Main Galerie, Berlin, October
berger gray, London, September

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