Viktor Berglind Ekman – Kungl. Konsthögskolan

I hate being aware of when someone enters the room. Sometimes I instinctively turn to seek eye contact, as if compelled. It makes me feel exposed, like I care too much. And I do. I’ve always been ambivalent between groups. The in-between is both my obstacle and my safe space. In the in-between, I notice how attention shifts, how conversations redirect. A silent social hierarchy emerges, altering the dynamics of the space. Nervousness lingers, frustration builds. Bodies tense, and silence stretches.

The word shibboleth is used when linguistics becomes a test to distinguish between groups or individuals. The origin of the word tells of how one group had taken control of a river crossing, and to identify those trying to flee, they asked each person to say the word shibboleth. Those who couldn’t pronounce the “sh” sound and instead said sibboleth revealed their identity and were then captured or killed. Since then, shibboleth has come to symbolize the subtle linguistic markers that can be used to identify and often exclude people.

In my manic attempt to understand my inner self and surroundings, I create spatial objects. I work with repetition, construction, and deconstruction through sculpture, installation, drawing, scent, and sound. My processes are closely tied to materiality and spatial contexts. I’m interested in navigating power structures, and how semiotic objects and situations create a sense of inside, outside, and in-between. Bodies, places, and identities are represented and separated through welded metal, tractor tires, and urinal fresheners.

Images:

01.

Enterway (2025), welding material, steel, wire, pulley, aluminium bar 271 x 189 x 3 cm Photo: Jean Baptiste Béranger

02.

Enterway (2025) shadowplay

03.

Podium with orange (2025) welding material, steel, oranges 110 x 57 x 11 cm Photo: Jean Baptiste Béranger

04.

Read the room, exhibition view

05.

Red the Room, minority stress (2025) various size, copper, steel, pipe fittings, latex

06.