Meira Ahmemulić’s multifaceted solo exhibition, ”Hemskspråket” (Horrible Language), at Havremagasinet in Boden, delves into the complexities of language, migration, class, and memory. Boden, a city marked by its military history and current industrial expansion, serves as a poignant backdrop for Ahmemulić’s exploration of these themes. The exhibition resonates deeply within this context, where the convergence of old and new workers from across the globe creates a powerful narrative of Swedish nationalism, colonialism, and the loss of language and cultural identity.
One of the most striking pieces in the exhibition, ”Sidenfingar” (Silk Fingers), features a multitude of wool-stuffed fingers suspended above a luxuriously adorned bed. Accompanied by a woman’s voice, the artwork evokes a sense of loss and fragility, particularly in the context of Boden’s industrial landscape. The title work, ”Hemskspråket,” a blue and yellow felted tongue pierced with nails and surrounded by worn travel icons, represents the artist’s struggle with the Swedish language. This piece, along with ”Sidenfingar” and the audio work ”När moster gav SKF fingret” (When Auntie Gave SKF the Finger), pays homage to the physical sacrifices made by workers, particularly the loss of limbs due to industrial accidents. This resonates powerfully in Boden, a city historically reliant on manual labor and currently undergoing a significant industrial transformation.
Ahmemulić, who migrated from Montenegro to Sweden, often explores the loss of language and the challenges of adapting to a new culture. Her work reflects the experience of carrying one’s native language while grappling with the perceived limitations of a new one. In ”Hemskspråket,” however, the focus shifts to class and memory, highlighting the impact of physical labor on the body and the societal devaluation of certain languages and dialects. The exhibition prompts reflection on the experiences of those whose bodies bear the marks of their labor and whose voices are marginalized by dominant linguistic norms. This resonates with Boden’s history as a working-class city and its current influx of migrant workers.
The video work ”Modersmålsmord” (Mother Tongue Murder), also part of Moderna Museet’s collection, further explores the complexities of cultural identity and assimilation. The video depicts the artist preparing a traditional dish of lamb’s tongue, a practice inherited from her mother. This seemingly simple act evokes a range of reactions, highlighting the cultural divide between urban middle-class sensibilities and the traditions of those who maintain a closer connection to their culinary heritage. In the context of Boden, this piece takes on added significance, representing the clash between established traditions and the influx of new cultural practices brought by migrant workers. It underscores the potential for misunderstanding and judgment based on differing cultural norms.
Ahmemulić’s work in Boden takes on a new dimension, connecting with the city’s unique history and current demographic shifts. The exhibition evokes the experiences of previous generations who suffered from industrial accidents or faced linguistic discrimination due to their dialects or minority languages. While perhaps unintended by the artist and curators, this resonance adds depth and complexity to the exhibition’s themes. It highlights the ongoing struggle for recognition and respect in the face of societal pressures towards assimilation and conformity. The exhibition becomes a platform for acknowledging the sacrifices and resilience of those whose voices and experiences are often marginalized.
Through her art, Ahmemulić transforms anger and loss into acts of creative expression. The meticulous crafting of silk fingers and the ritualistic preparation of lamb’s tongue become acts of reclamation and defiance. These artistic gestures challenge the dominant narratives and create space for marginalized voices. The exhibition becomes a site of remembrance and resistance, honoring the resilience of those who navigate the complexities of language, migration, and cultural identity. In Boden, ”Hemskspråket” transcends its artistic framework, becoming a powerful reflection on the city’s evolving social fabric and the ongoing struggle for inclusivity and understanding.
