Art

When Politics Divides, Art Refuses to Stay in Place text Jahwanna Berglunds   In a world increasingly fractured by war, political polarization, and rigid borders both physical and ideological, it is easy to assume that cultural dialogue is breaking down. Governments clash, narratives harden, and positions calcify into identities. Yet, amidst this discord, art operates on an entirely different plane.    Art moves with a rare fluidity. It traverses boundaries, resists simplistic interpretation, and refuses to be confined to a single perspective. Where political discourse often demands clarity and alignment, art embraces contradiction. It holds tension without needing resolution, offering space for ambiguity in an era that increasingly demands immediate answers.   This became especially clear to me during Stockholm Art Week, not as an abstract idea but as a lived experience. At the Market Art Fair, my attention was drawn less to the explicit “meaning” of each work and more to its “doing.” Across booths and exhibitions, there was a quiet but persistent engagement with global realities: identity, migration, memory, and belonging. These themes were not presented as statements or slogans, but as fragments, gestures, and questions that resisted closure. Perhaps it is in this resistance that genuine cultural dialogue begins – not in agreement, but in proximity.   Cultural exchange, in its most authentic form, is rarely neat or conclusive. It does not culminate in consensus but unfolds in liminal spaces between cultures, interpretations, discomfort, and recognition.   Anders Krisár High Diver, Stockholm Art Week, ODALISQUE  Issue 17  Katherine Bradford Encounter In The Sky, Stockholm Art Week, ODALISQUE Issue 17 This idea gained sharper resonance during a conversation hosted at the Residence of the U.S. Ambassador to Sweden, Christine Toretti. The discussion, led by Destinee Ross-Sutton and featuring Rugiyatou Ylva Jallow, Jordan Zayas Kelly, and Chuck Ohlson, stood out for its candor and openness. It was not about reaching agreement, but about creating exposure allowing diverse positions, backgrounds, and lived experiences to coexist without being reduced to a single narrative. In a climate where conversations often feel pre framed, managed, or performative, this openness felt radical. It created room not only for speaking, but for listening across perspectives that do not need to align. Outside these rare spaces, there is constant pressure toward simplification: to choose a side, define a position, and compress complexity into something immediately legible. But art resists this urgency. It slows perception, inviting us to remain with ambiguity rather than resolve it too quickly. Still, it would be naïve to suggest that art alone can bridge political or cultural divides. It cannot. It does not replace diplomacy or resolve conflict. What it does offer is more subtle but equally important: it creates space – space for contradiction, nuance, and voices that might otherwise remain unheard outside formal structures of dialogue.     This is why long-term cultural initiatives are becoming increasingly significant. Programs connecting cities like Stockholm and New York, bringing artists into sustained residency, offer a different model of exchange. These are not symbolic encounters but lived engagements; not representation from a distance, but participation within shared time and space. True dialogue does not happen in passing. It requires time, friction, and a willingness to remain in relation even when understanding is incomplete.   We are witnessing a broader shift. Cultural landscapes once seen as stable shaped by geography, history, and inherited narratives are now in constant reassembly through movement, migration, and the circulation of images, ideas, and people. What emerges is not the replacement of one culture by another, but a layered condition: a continuous negotiation of identity that resists final form. Art exists within this condition. It absorbs what was, responds to what is, and gestures toward what could be. Increasingly, it feels less like representation and more like an atmosphere shared but not owned, sensed rather than defined. A language that may not translate cleanly, but still communicates deeply. “EARL”. Deborah Roberts, In Changing Black Voices curated by Destinee Ross Sutton Image Curtesy Of The Artist. Art is not a solution or an answer. It is a space where things can remain open without being forced into closure. This, perhaps, is the most lasting impression from Stockholm: not clarity, but a different relationship to complexity. A reminder that cultural dialogue is not measured by agreement, but by the willingness to remain open within difference. In a divided world, that openness is not softness, it is work.

Chellis Baird Redefines What a Painting Can Be text Anna Mikaela Ekstrand body suit Capezio  tights Falke  trenchcoat Lapointe  heels Christian Louboutin Over the past decade, of showing at prestigious galleries, institutions, and the odd member club, her work has been presented by leading galleries in New York and Paris. We visited her Long Island City studio to talk about how her work pushes boundaries by combining dress, movement, and the mechanics of fabric in new ways.   “After visiting the Museum of Modern Art, in my late twenties, I remember standing in front of a Barnett Newman painting and starting to cry. It was at that point that I knew I was going to share my art with the world,” Chellis Baird commented in a 2023 interview. In her early twenties, she was living in New York and working as a designer at Ralph Lauren, making her own art when she was off the clock. A dream for many, but she hadn’t quite made it yet. Hailing from a South Carolina textile town and educated at the Rhode Island School of Design—known for fostering cross-disciplinary education—Baird not only had a deep understanding of fabrics and their innovation from the get-go, but a passion for continuing to push their boundaries. Movement is deeply embedded in her practice, dancing ballet multiple days a week, she sees it as a hobby, but when a principal dancer from the New York City Ballet saw her, he likened her to a professional. She’s a Type A creative.          When Baird transitioned into making art full-time, living her dream, she literally painted the town red. The Touch of Red at the National Arts Club is among the many exhibitions that centered on her signature hue, red. Her works are sculptural paintings, or painterly sculptures—twisted, draped, and bound fiber that is dyed and painted. They are hard to pinpoint because she has created her own artistic language. Arguably, she is the leading artist who is moving the needle in fiber, painting, and sculpture, all wrapped up in one. She is also preparing for a museum presentation at the Bo Bartlett Center from August through December 2026, with a larger gallery footprint, she is thinking more expansively about spatial rhythm, duration, and how viewers physically move through and between the work. “I am especially interested in using color as atmosphere and shadow as a structural force,” she explains to me on a sunny afternoon.    Baird has had an extraordinary year with a major solo show in Paris with RX&SLAG and several shows with Hollis Taggart in New York, and during Miami Art Week, marking a significant expansion of her gallery presence. It’s really a big break, but to Baird, it feels less like a sudden opening and more like time finally cracking the pavement. We are in her Long Island City studio. The studio is a daily ritual for the artist, for her creation is a form of breath, like her ballet practice. Correcting me, she explains that rather than a breakthrough her work is a continuation of ongoing discipline, diligence, and an obsessive devotion to her craft.  dress Emma Krikorian  heels Christian Louboutin dress Emma Krikorian  heels Christian Louboutin  All around us are pieces from different times in Baird’s artistic career, finished and in progress, as a testament to her hard work. Her sun-drenched studio is filled with reference material as well—fabric and color swatches on hand and many museum catalogs on fashion, textiles, and art tucked away in various places. To avoid high shipping costs, ahead of her show in Paris, the gallery set her up with a local studio where she constructed a new choreography of making. Keeping a sketchbook recording color formulas, fabric techniques, title ideas, and personal notes. As she temporarily was away from her husband and very young children, Paris gave her a greater freedom, a fluid daily structure. Working under an intense deadline, the long, focused days, often seven to ten hours, and then moving through the city at night, dancing or lingering over late dinners, reminded her of her student years at RISD, when time felt expansive and porous. This sense of freedom and the city’s material palette and chromatic range — living near the Picasso Museum and the Centre Pompidou — deeply informed what became her most colorful body of work.  body suit Capezio  tights Falke  heels Christian Louboutin Embodiment, being in one’s own body, is spoken about when it comes to performance, but not often discussed when it comes to painting or sculpture; however, this grounding and playful aspect of the body is present in the art-making process. Sartorial experimentation helps guide Baird; sometimes she cosplays when she makes work—wearing period-style clothes to feel connected to her lineage and labor. “Clothing shifts posture, tempo, and emotional tone,” Baird explains.   At other times, she dresses formally to slow her gestures. Through these actions, the studio becomes a private territory where she can experiment with identity without external scrutiny. “Overall, the body is one of my most important tools; knowledge lives in muscle memory, in gesture, in rhythm, which is why I wear specific fabrics or silhouettes to harness a mood,” she continues. Having formerly worked as a clothing designer and now exploring textiles, Baird has a sophisticated understanding of fabrics, and her work delves into their composition, movement, and history. “High heels, for example, create elegance through precariousness. They reorganize the body’s relationship to gravity and time. These tensions, structure and softness, constraint and freedom, directly inform how I sculpt material,” Baird explains. In Paris, she began using the heel of a stiletto to create physical ruptures in the canvas, a gesture that is both elegant and violent. Acclaimed craft historian, Glenn Adamson described her piece Lace III, 2024 as representing the DNA of his group exhibition Drop, Cloth, as her work reveals rather than conceals the substrate, one of the conceptual bases of his show.  This new monochromatic body of work explores lace, explores

Changing Black Voices Curated by Destinee Ross-Sutton This April, curator and gallerist Destinee Ross-Sutton will present a special exhibition at the 20th anniversary of Market Art Fair in Stockholm, marking six years since her groundbreaking exhibition “Black Voices/Black Microcosm.” The presentation coincides with a concurrent show at her new Stockholm gallery, revisiting the ideas that helped shift global attention toward contemporary Black art.   Ross-Sutton first emerged as a leading voice during the 2020–21 season after curating three influential exhibitions: “Black Voices/Black Microcosm” at CFHILL in Stockholm (8 April–9 May 2020), the only physical exhibition to open as the world shut down due to Covid-19; “Black Voices: Friend of My Mind,” her inaugural gallery exhibition in New York; and the widely discussed “Say it Loud” series at Christie’s New York.   The Stockholm exhibition closed just 13 days before the killing of George Floyd sparked the global Black Lives Matter movement. Arriving at a pivotal moment when interest in contemporary art from the African diaspora was accelerating, these exhibitions helped expand the artistic canon and the art world’s commitment to artists of color. Since then, Ross-Sutton—splitting her time between New York and Stockholm—has continued to curate and advise independently.   “Honestly, I personally do not like too much attention,” she says when we meet for her third interview with Odalisque. “I prefer the work to speak for itself.” Often described as a visionary curator and tastemaker, Ross-Sutton has built a reputation for championing emerging artists—particularly young and underrepresented artists of color and female artists—often giving them their first gallery exhibition or international debut, something that most commercial galleries deem to “risky” financially. She is also an advocate for artists’ rights, implementing resale restrictions in her sales agreements since 2021 to help support a more sustainable secondary market. Her curatorial work spans major international platforms. She internationally debuted Khari Turner during the 59th Venice Biennale and co-curated “4000+ Years of African Art” at the Wall House Museum on St. Barths. Artists including Kehinde Wiley, Amoako Boafo, Tim Okamura and new stars like Vanessa Raw, have cited her as a muse, inspired by her dedication to reshaping the art world. “EARL”. Deborah Roberts. Image courtesy of the artist.  Through her foundation, Black Artist Collective, Ross-Sutton supports emerging African artists, LGBTQ+ artists, and women artists. Her 2024 Venice Biennale exhibition “Unapologetic WomXn: The Dream is the Truth” brought together thirty-four artists aged 25 to 89 exploring female sexuality and identity through the female gaze. The project grew out of conversations she began in 2021 with her husband about the complexity of womanhood—shaped by culture, race, economics, politics, and social expectations.   Continuing to prioritize international female and underrepresented voices, Ross-Sutton remains committed to a globally engaged program. On her opening her first gallery outside New York, Market Art Fair Director and CEO Sara Berner Bengtsson says, “I think you will contribute so much to the Stockholm art scene.”     We meet the 30-year-old curator on her way back to New York after the Cape Town Art Fair, making a brief stop in Stockholm for the opening of “Listening to Light” with Iranian painter Rey Hosseini. Born in Tehran, Hosseini describes the portraits as reflections of self-examination. Created in the aftermath of the Woman, Life, Freedom movement, the exhibition resonates with ongoing struggles for women’s rights in Iran.     Ross-Sutton’s Stockholm gallery opened in 2025 with “A New Beginning,” featuring Somali painter Najaax Harun and Sudanese-Somali ceramicist Dina Nur Satti—artists connected to regions long shaped by political unrest.                   Alongside curating and collecting internationally, she advises institutions and collectors on acquisitions, particularly contemporary African and African American art, but not limited to. Artists remain central to her approach. “I’m pretty much the complete opposite of 95% of the individuals at these art fairs,” she says with a laugh, with her colorful braids and being a young Black female. Born in Harlem in 1995, Ross-Sutton closed her first six-figure deal at Art Basel Miami Beach at age 23, placing works by Yinka Shonibare and Deborah Roberts with a foundation. Growing up in Harlem in the 1990s and early 2000s shaped her worldview. She left journalism studies in 2016, disillusioned with sensationalist media and convinced that curating exhibitions could have a deeper cultural impact. Her return to Stockholm was symbolic, marking five years since “Black Voices/Black Microcosm,” which brought together 31 artists from the African diaspora and introduced Scandinavian audiences to voices such as Amoako Boafo alongside artists who had never exhibited internationally. photography Jheyda McGarrell “Suspended Lotus”. Dina Nur Satti. Image courtesy of the artist. August 5th, 2023 (In Memoriam)”.Jordan Zayas Kelly.Image courtesy of the artist. Naomi Osaka and The Divine Mother”. Vanessa German. Image courtesy of the artist.   The project was followed by “Say it Loud: I’m Black and I’m Proud” at Christie’s in summer 2020, amid global protests against racism and police brutality, and later by “Black Voices – Friend of My Mind” her inaugural show at her New York gallery—then the largest exhibition dedicated to contemporary Black art in the United States.In total, fifteen artists—twelve female and three male—are included, with smaller works presented at the fair and larger pieces shown at the gallery.   Joshua Adokuru (Nigeria) – Rita Mawuena Benissan (Ghana) – Amoako Boafo (Ghana) – Phoebe Boswell (Kenya/UK) – Cydne Coleby (Bahamas) – vanessa german (US) – Najaax Harun (Somaliland) – Rugiyatou Ylva Jallow (Gambia/Sweden) – Jordan Zayas Kelly (US/UK) – Turiya Magadlela (South Africa) – Buqaqawuli Nobakada (South Africa) – Deborah Roberts (US) – Dina Nur Satti (Sudan/Somalia) – Larissa de Souza (Brazil) – Khari Turner (US).   “Artists reflect the times we live in,” Ross-Sutton says. “Otherwise, is it not simply decoration? Art should make you feel—it can provoke peace or shake you, asking you to confront your ideas.” Yellow Nails”.Amoako Boafo.Image courtesy of the artist Opening of “Listening to Light”. Destinee Ross-Sutton and Rey Hosseini. ROSS-SUTTON GALLERY, Artillerigatan 8, 114 51 Stockholm

Landet Stay and WAY Gallery Bring Art Into the Swedish Landscape Text by Natalia Muntean “From the first time I experienced Landet Stay, I felt it was a dream project to curate,” says Francesca Berlin, co-founder of WAY gallery in Stockholm. Just outside Trosa, one hour south of Stockholm, a new kind of artistic residency has been taking shape as a result of the collaboration between WAY Gallery and Landet Stay. The cabin hotel, founded in 2024 by Umberto Garabello and Ted Wachtmeister and designed by Andreas Martin-Löf and Tobias Vernon of 8 Holland Street, has been hosting six emerging artists-in-residence this May. “Art has been important to me ever since I was a kid, so it felt very natural for it to become part of Landet Stay from the beginning. We never wanted it to feel like just a hotel in nature, but a place shaped by creativity, culture and thoughtful people,” says Umberto Garabello about the initiative. The residency brings together Tove Eklund, Johan Bjurmar, Anna Mörner, Thyra Weiss, Elsa Ekman and Rebecca von Matern for an open-ended stay on site. There is no fixed brief and no formal exhibition outcome. The works are integrated into the cabins and shared spaces rather than presented as a formal exhibition. Several works have already been installed, and additional works are being created by the artists on site during the residency period. So while guests encounter the works naturally as part of their stay, quietly and without ceremony, the artworks are very much present within the environment. Founded in 2020 by Francesca Berlin, Estelle Graf and Felicia Berlin Baumgardt, WAY Gallery has been seeking a different format to work with art, and the approach developed together with Landet Stay reflects a deliberate departure from the conventional gallery model. “From the very first time I experienced Landet Stay, I felt it was a place where art could exist differently, not confined to white walls, but integrated into the atmosphere, architecture and nature,” says Berlin. Works are available to acquire, offering guests a more direct and personal entry point into collecting. “What also excites me is the idea that guests will encounter these works in a more intimate and unexpected way during their stay, living with them, even briefly, rather than simply viewing them in a traditional gallery setting. The fact that the works are also available to acquire opens up a more personal and intuitive way of engaging with collecting outside the conventional gallery walls.” Elsa Ekman Tove Eklund Rebecca von Matern The artists, for their part, have responded to the conditions the setting offers: more time, fewer distractions, and a material and sensory environment distinct from the urban studio. For Thyra Weiss, who explores the boundary between presence and disappearance through weaving, the landscape became inseparable from the work itself. “My soft materials, meeting the scent of moss and misty landscapes, inspired the creation process. I am interested in what remains hidden around us at all times, things that only become visible if you look very closely,” she says. In her weavings, forms slowly emerge from the surface in a search for the threshold between life and death, lightness and dissolution – “life, grief, and love woven together within the same surface, where memory carries not only loss but also tenderness and warmth.” Tove Eklund, meanwhile, found herself drawing on immediate surroundings rather than memory and imagination for the first time. For Rebecca von Matérn, the experience went further still: “The pieces I created for Landet Stay came from a feeling of being spiritually sheltered and held. I feel connected to the idea behind Landet Stay, that an atmosphere itself can hold you.” “What excites me most is the idea that guests will encounter these works in a more intimate and unexpected way during their stay – living with them, even briefly, rather than simply viewing them. The fact that the works are also available to acquire opens up a more personal and intuitive way of engaging with collecting outside the conventional gallery walls,” concludes Berlin. Thyra Weiss