Sanna Helena Berger

Sanna Helena Berger work 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, Kunstkritikk

Upcoming exhibitions
Alter-Phd (group), 1.1, Basel, November, 2019
New Dance (group), Cell Project Space, London, January - March, 2020

Oyster, Dusk and Dawn look just the same (group), PiK – Projektraum im Kunstwerk, Cologne, October, 2019
Rust to Rust, The Mycological Twist, Project Space Berlin, May, Berlin (group)
Nome d'us, Shore, Vienna, May / June (curated, group)
SALE (of 'A sale'), PS120, Berlin, March (solo)
Mahnmal w. Marie Lüder / Miranda Keyes, Le Bourgeois / 3236rls, London, February

A stock-take, Super, Berlin, May (solo)
A smile-strike w Vera Karlsson, Index, The Contemporary Art Foundation, Stockholm, July
Intermission, Delfi, Malmö, September (group)
A sale, Brussels Art Weekend represented by Super, Brussels, September (solo)
Seizing, wanting, sweating, Country Music Launch, Monarch, Berlin, August (event)

Vienna, Cordova, Vienna, June (solo)
Vienna, Cordova, Barcelona, August (solo)
Maybe there is a substitute for exhibiting, Minibar, Stockholm, June (group)
Arbetstitel (offentligt verk) w. Benjamin Flesser, Delfi, Malmö, August
Always first demolition, Dispersed Holdings, New York, November (group)

Agency (properties of pseudo-public spaces as a prelude), Sorbus, Helsinki, October (solo)
Agency (properties of pseudo-public spaces as a prelude), Kulturforum, Staatliche Museen zu Berlin, November (event/ publication)
Work for modular synthesizer, with Benjamin Flesser, Spektrum, Berlin, November
A sequence which corresponds, Union Gallery, London, May (solo)
The edge must be scalloped, Diorama, Oslo, April (solo)
A reference to monumentality, Garage Sanremo, Milano, April (event)
Lease of Poem “Number 4”, Vantaa Airport, Finland, April (event)
Domestic Manifesto, Modern Museum, Stockholm, October (group)
Longshore Drift, Sorbus, Helsinki, April (group)
She hated Haiku, Poppy’s gallery, Sacramento, April (group)
The body as function, Shanaynay, Paris, February 2016 (group)

A range, Jupiter Woods, London, October (solo)
The foundation is a body, All Welcome, Vilnius, September (solo)
Archives, Poligon Kultur Centrum, Ljubljana, Slovenia, April (solo)
A-formal (wet suit) w. Marie Lüder, HFBK, Academy of Fine Arts, Hamburg, December

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, Available via Printed Matter, NY
Speed of Resin, Dispersed Holdings, NY, 2019, Available at MoMA Library, NY, Hauser & Wirth, the estate of Eva Hesse and Printed Matter

Selected Artist Residencies (by invitation)
Sorbus Galleria, Helsinki, Oct 2016
Union Gallery, London, April/May, 2016
Jupiter Woods, London, Oct 2015
Rupert, Vilnius, Sept 2015

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