I know I feel dizzy, here in between different ages and possible futures, so to counteract this constant vertigo, the spring of 2022 I started practicing the five Tibetan rites. Every day I spin 21 times – towards the right as I live on the Northern hemisphere – and then I remember that I am part of nature, air and the ocean, and the oceanic part of me is connected by memory to all the water on Earth and we are spinning, moving together. I was traveling by train this summer – through Europe, from Cambridge to London to Paris to Prague to Vienna to Budapest, seeing the landscape unfolding slowly, floating by outside the window in the same pace as we have been traveling for the last 200 years, and quite different from the hectic feeling of air travel – while reading Peggy Guggenheim’s memoirs I came across her notes about Hedda Sterne. After both women were forced to flee Europe during the WW2 Sterne was as so many other artists starting a new life in exile in NYC, and she was included in the legendary exhibitions “31 Women” in 1943 and “The Women” in 1945 at Guggenheim’s Art of this Century gallery, with surrealist iconic artists Leonora Carrington, Leonor Fini, Meret Oppenheim, Dorothea Tanning and Frida Kahlo among others. Surrealism has a history of traveling – from all over Europe in the early 20th century to Paris, to NYC during the 1940s, and onwards to and merging with the art in Mexico, and in the surrealist art you see their world and people reflected as through an obscure and magical looking glass, sensual and amazingly mesmerizing, an animated, surprising and emancipated world not constricted by normal laws of neither physics nor realism.2 How do we, artists, curators, and writers respond to our current crises and conflicts – how do we react to this time in our art? The current Venice Biennale explores ecofeminist visions, by remembering the past and rewriting herstory, and finally gives Leonora Carrington her due place in art history. Similarly, Documenta in Kassel introduce new perspectives; collective and activist art practices that take inspiration from the global south, the value shifted from the art objects and to the actual effect on local communities, and nonlinear perspectives and an expanded understanding of time, rituals and history as illustrated by projects such as Black Quantum Futurism, Saodat Ismailova and OFF-Biennale Budapest.

Perhaps a new wave of surrealism is on the horizon. Similarly to the 1920s post pandemic, post first world war-feelings of upheaval and chaos, now again in 2022 surrealism makes sense. When Sector 1 gallery’s director Andreea Stanculeanu asked me to curate a show this new wave of surrealism was the theme I chose to focus on. As an artist my curatorial method is intuitive and based on collective artistic research, and in LES FEMMES DU FEU we present a group of Norwegian and Romanian artists who are all working within the landscape of surrealism, reflecting on the surreal with various mediums and methods and from different viewpoints. The artists in LES FEMMES DU FEU are all women and within the exhibition we are weaving spiderly threads through time and space and creating a collective conversation, from the original surrealist works of Hedda Sterne (1910-2011) and Geta Brătescu (1926- 2018) to new works by the contemporary artists Mi Kafchin, Ioana Ursa, Tincuța Marin, Codruța Cernea, Marianne Darlén Solhaugstrand, duo Karoline Hjorth & Riitta Ikonen and Ingrid Torvund. I am happy to present to you the group show LES FEMMES DU FEU at Sector 1 gallery Bucharest and would like to thank the artists for sharing their visions of new, parallel and alternative worlds and mystical, mythical and magical creatures with us.
(Text by curator Thale Blix Fastvold, Oslo, September 2022)