The two artists have made one video work together, TOUCHING TIME, mediations on memory, i.e. time, remembering and forgetting. They have spent three months on an art residency engaged in each other's practices.


Hallberg is the in-house curator and founder of the art center BKN in the Northern Stockholm Archipelago (se). Her curatorial practice in Sweden includes; ”The Sea That Surrounds Us” , Bygdegårdarna Stockholm (2022), ”Distancio”, Region Jönköping (2017-21), ”CityArtLab” (2010-11) and ”Mural 2012” (2011-2012), Mariestad, CityArtLab - Minsk”, Belarus (2011). In addition she co-formed the micro institution AVIEW to tour the installation ”State of Mind” for 10 years (Sweden, Russia, Belarus, Austria and US). Agency and public assess are focuses as well as art in rural areas and small towns.

The video based installations have been shown as solo or duo exhibitions in post Soviet States, US, Mexico, Austria and Sweden in addition to screenings and group shows. Her installation works have been funded by several municipal and regional arts grants in Sweden as well as by The Swedish Arts Grants Committee, Swedish Institute, Barbro Osher Foundation etc. Artist residencies include Nifca/ProArte (Saint Petersburg, 2005), Region Jönköping/Vandalorum center for Art and Design (Värnamo, 2014) and SWAP/SPACES (Cleveland 2015).

She has held numerous presentations among them at School of Photography in Moscow (RU), Södertörn, Gothenburg, and Karlstad University, University of California at Berkley and at academic art conferences in Lisbon, Los Angeles, Berkley, Warsaw, Gothenburg and Stockholm. Hallberg is a graduate from Stockholm Film School and holds a B.A in Curatorial and Cinema Studies from Stockholm Uni (2003) and a Msc in International Museum Studies, Gothenburg Uni, (2006)

Chrono CV >>>


Oona Hyland is a visual artist and a recent graduate with an MA in art research and collaboration from IADT in Dublin (2022) and an Mfil in Irish Art History TCD (2017). She is currently working out of Dublin. She has during the last few years been on numerous residencies, among them Fundacion Joan Miro, Agalab Amsterdam, BKN Sweden, Edition Basel and Typa Museum in Estonia. She was shortlisted for The On Paper Print Award in Barcelona (2021). She received The Emerging Artist Award from DLR, Dublin (2022).

She represented Ireland at the Onsaemiro Project, a research and exhibition in the Joint Security Area between North and South Korea in 2019 and the Sao Paulo Biennale event 'Beyond the Horizon' in 2018, the LAF17 Festival France and in 2016 participated in 'Patrons Prizes Paradigms', The Ernie O Malley Art Awards Ireland. Hyland studied Cinematography at BCFE Dublin.

Hyland was elected to The Royal Society of Painter/Printmaker in London (2021). She is a member of Graphic Studio Dublin and 9 Dragonheads.

For 17 years she founded and managed the fine art printworkshop, Clo Ceardlann na


My works are time and site sensitive, they insert disruptions in dominant narratives. The method is often research oriented, situating a select group or topic to intervene in a process to dismantle social or geopolitical contingencies. It does not explore objectivity as a philosophical reason, but is based in responsiveness to personal and collective testimonies and set in context to other pre-negotiated narratives to create new discursive contexts. In this essence I see art as a site for elasticity, for critical dialogues, for doubt, for attempts for re-establishing a sense of direction or rhythm to disengage with conformity.

I see my practice as a critical tool to reveal covert layers in society and explore the dimension of art as a reflective ground for consciousnesses of shared space and resources, from a vantage point committed to society a public entity. The works include thorough research and are presented in art installations with fluid and multiple ways of interpretation. Photography, video, sound and text are used for installations or interventions.

My curatorial practice is based on interpersonal skills and critical thinking on society where the art is a laboratory for trying new perspectives and through this, perhaps, move boundaries and barriers. Central is the approach of everyday life and the rendering of collective memory and social justice topics. My work as artist/ curator are socially and politically engaged. Often the duration of works stretch over several years commitment.


An echo is a print of sound. Lithography works on the simple principle that oil and water do not mix. I am fascinated by this process, the idea that something so simple produces such a fine and particular effect. One thinks of a print as one surface, in reality it is not planographic it is embossed into the material. It is more than a mirrored image or a negative space.

My interests are interlocked in the materiality of print itself and what such processes can convey towards a conceptual art practice. My method is a vehicle to articulate processes of memory, concepts of boundary, resistance, erosion and decay. In this sense my work tends to draw from traditional printmaking even as I expand into various other media, such as sculpture, film and video. In my works I argue that the knowledge(s) of printmaking can be applied to existential matters. Learning from the stone.



Title: Borderland (ch 1)
Series: Imperial Differences
Trt: loop, 1 ch
Format: ProRes, stereo sound, 2.35:1 (cinemascope) Speakers Year: 2015

Immersive forest view in slight fog/smoke, 1 scene with music

Title: Overlap Between Two(ch 2)
Series: Imperial Differences
Trt: 20 min
Language: English and Russian Subtitles: English Format: ProRes, stereo sound, 2.35:1 (cinemascope)

Year: 2015
Experiences of migration and world order in Post Soviet communities of Cleveland, USA


Title: Mellan mig och dig
English title: Between the Two of Us
Media: Performance in front of a camera listening to the 4 adaptions of the Swedish National Anthem
Format: Single channel work, color, soundtrack
Duration: loop (45.18)
Presentation: projection (headphones)
The work brings forward and critiques the fragile state of the subject, intertwined with contemporary contingencies, touching up on geopolitics, remembrance and status within society.

Co installed with

Media: Color photographs, Laminated pigment print on aluminium, edition 1/1
Format: (2 Size: 90x60cm, 3 46x70cm, 1 50x33 cm.

The series Outpost (Swe: Utpost) is set on the boundaries of private and public and explores how this divide connotes migration and addresses discourses regarding xenophobia and nationalism


Attachment: FDUMV4S2U_CLiMUt-1Lkx?usp=sharing

Title: Active Forgetting
Series of 60 prints
Media: Etching with chine collé Image Size: 30x40 cm

Frame Size: 46x55 Year: 2021
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Title: Active Forgetting - Good Shepherd Limerick Video work in progress
Year: 2021-22
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Title: The Quality of Mercy
Media: Vitrified porcelain, glazed porcelain and raku stoneware, wet plate collodian prints, taxidermy magpie Format: vary
Year: 2019
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Title: The Accounts
Installation 25 laser cut birch disks Media: wood, steel typography table Size: 100x60 cm + disks 15 cm diameter Year: 2022
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Title: Balance
Trt: 3 min 43 sec (on loop) Language: -
Sound: music
Media: Video, 1 channel Year: 2020