Visual artist Felice Hapetzeder


A Video Art History

July 19

Sculptural Pavilion Local A.

Carousell collaborative video

(the question) and (the answer) Local A.

YWNGD (Lost Monuments)

Konstön (Art Island) Local A.


Limits of forgiveness 2007-


Contact: felice(at)
Home: Karlbergsvägen 76, S-113 35 Stockholm
Studio: Visiting address Industrivägen 12, Solna

Video part of Art Island (10:07 min)

Konstön (Art Island)

Konstön (Art Island) is an art project by the artists Jenny Berntsson and Felice Hapetzeder - Local A. in collaboration with a group of children, a group of young people, Norrköping Art Museum, as well as schools and associations in Skärblacka.
Konstön was carried out in two places in the Municipality of Norrköping and in Riga in 2013. The production of art was undertaken together with the children and young people in workshops and then developed further by the artists. Thematically the workshops were characterized by questions about place, the influence of art in the public sphere, identity building and group dynamics in general.
In practice the workshops for the children were about building model sculptures on their own, a large-scale sculpture in a group and being part in a film-team as a group with rotating responsibilities.
The group of young people made a research travel to Riga to visit museums, exhibitions and memorials. They examined their own feelings in regard to the institutions and the questions addressed in the exhibitions and shared the experience in interviews, which are visible in the video work.

The final work of art incorporates video, sculpture and photography.
Konstön is placed as public work in Norrköping, where it is part of the celebration of the centenary of the inception of Norrköping Art Museum, Library and City Museum. Two permanent public works are placed in Skärblacka, where they become the starting point of a sculpture park KonstÖn.
Project manager at Norrköping Art Museum – Susanne Ewerlöf.

Konstön (Art island) video work

In the video we hear young adults describing exhibitions and artworks. The descriptions are accompanied by critique of the said institutions, personal reflections and thoughts on society. All denominators of place, type of institution, names and descriptions of sexual orientation or ethnic affiliation are cut out of the interviews. The only time the speakers are visible in the work is when they are turning the camera around. It is a symbolic revolution that a new generation is inheriting history and institutions. They are affected by art, seeing historic atrocities with new eyes, and demanding institutions, which are up to the task of discussing the concerns addressed. In this case erasing proper names blurs hierarchies and makes the questions universal: put any name or nationality at it’s place.
The visual stream of the work shows a film team of children preparing for and performing the same scene with different actors: Each actor shows a small, colourful sculpture to the camera and slowly walks to place it on the ground.
The art island is the world of exhibitions where all of this is discussed.
The children are inseminating the earth with sculptures, sowing a future for creativity as positive force.