Pussy control, C-print

1 - 4, C-print, Valentin Byhr, Göteborg, 2004

Galleri Rotor, Göteborg, 1999

Galleri Leena Kuumola, Helsingfors, 1999

Sparwasser, Berlin, 2002

Stor grå virkning, Galleri Leena Kuumola, Helsingfors, 1999

Sparwasser, Berlin, 2002

Iaspis Open Studio, Stockholm, 2003

Iaspis Open Studio, Stockholm, 2003

Utan titel, brons, Stockholm, 2003



Titel: Reflecting on patterns
Galleri Rotor, Göteborg 1999, Index , Stockholm 2000, Leena Kuumola, Helsingfors 2001, Sparwasser, Berlin 2002, Nordic Photography Center, Oulu 2003, Röda sten, Göteborg 2005, Soft, Oslo 2007.

Under perioden 1996 – 2003 virkade Renström fram ett arkiv av objekt i varierande storlek. Renström visar objekten i platsspecifika installationer, som fotografier i utställningar och publikationer. Renström har även gjutit de virkade objekten i brons.

About my work with the chrocheted objects
When I make the objects the form is not predetermined. I make it up as I go. Sometimes I develop a form Iʼve discovered in an earlier object. I compare my method with what you do when you scribble, for instance while youʼre talking to someone on the phone and unconsciously scribble forms on a paper. My way of working reminds me of that state of mind: to draw a mental map with a needle instead of a pencil. Every object has a relation to the day and place of its creation. They all evoke memories, chains of associations. Lately I have become increasingly interested in the problem of how the objects define – and hopefully enhance – the viewersʼ perception of the room, how they make the room more distinct. The installation changes from one exhibition to the next, depending on what the rooms look like. In that regard I guess you can call the installations “site specific”.

About the exhibition at Sparwasser HQ Berlin 2002
The interior of the Sparwasser Gallery in Berlin, where elements from the roomsʼ previous functions have been preserved, is pushing the installation to its extreme. Itʼs not that usual that the gallery room in this way preserves layers from earlier uses of the room. It was exciting to work within that unusual condition. In all of the three installations at Sparwasser I tried to show the ambivalence inherent in my work. I think it is interesting to investigate the materiality of the objects and to work with them in a dramaturgic way, so to speak.

About my working method
In my work I also use photography. Iʼm a trained photographer. Itʼs important to me not to be confined to one medium, but to be able to switch between different materials and forms of expression. By working with both the two-dimensional and three-dimensional, I can evoke different questions and tell different stories that demand different forms or strategies of representation. In the future I would like to develop new relations to the crocheted objects. During the spring I will make bronze casts of them. The crocheted objects are soft and variable in their form, and I would like to see what happens when they are cast in an unchangeable fixed form

About feministic art in the seventies
I am well aware of the seventiesʼ movements and discussions, with artists like Faith Wilding, and I respect these artists for their work. Most contemporary artists, at least the female ones, are well aware of gender theory and past and present discussions. The awareness is always there in the background, but I would like to break free from that perspective in order to be able to work freely with any kind of media. Being reminded that youʼre a woman working with a traditionally female material can become a trap that once again only reminds you of how suppressed we have been. Historically, women have been dominated, but now one is trying to let go of that and continue beyond this.

Mija Renström 2003