Intertwine
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In 2026, Hedlandet Residens in Torna Hällestad brought together five writing artists from the Nordic and Baltic countries. The residency invites interdisciplinary exchange across writing, book printing, bookbinding and book design.
The aim was to explore the concept of entanglement and to collaboratively create artist books rooted in the traditions of letterpress printing and bookbinding, with a focus on slowness, words, handcraft and the significance of place in artistic practice.
The exhibition is on view from 9 October to 8 November in the bookshop at Malmö Konsthall.
PARTICIPATING ARTISTS
Mia Maria Rohumaa
Emma Kjær Madsen
Kadri Joala
Solveiga Kaļva
Anna Hallin
The books were typeset and printed at Gammelhuset Tryckeri and bound at Hedlandet Residens – all by the artists themselves in September 2026. Cover design and layout by the artists.
Collaborators included conductor Sophie Holgersson at Hedlandet Residens, letterpress printer Helena Magnusson at Gammelhuset Tryckeri, Eva Eriksson at Malmö Nya Bokbinderi, book designer Johan Laserna, and editors Ida Börjel and Lo Sandell.
“Intertwine” was funded by Nordic Culture Point and carried out with support from Region Skåne and Lund Municipality.
“Truly nothing is sterile; and that reality is a terrific danger, basic fact of life, and critter-making opportunity.”
(Haraway, 2026, p. 64)
Coming here reminded me of the forests surrounding the village where I grew up. I looked for fairies and found a Sikorsky UH-60 Black Hawk flying over the fields. In pidgin English, I wrote letters to those who have drifted away, searching for words to describe the feeling of coming home while still having lost my way.
Hi, I’m Kadri Joala. For this project, I found myself in a countryside house with four women, all far from home, surrounded by a magical beech forest. My time here was about taking care of my creativity amidst rules, expectations, and mechanisms that shape the way we work together.
I wandered through the magical forests of Torna Hällestad, across fields and among hundreds of trees and stones, gathering impressions along the way. I preserved these encounters on paper. The slow, meditative rhythm of letterpress became an extension of my way of being with the landscape.
I saw a tree that had grown around another tree. It had changed its direction so they both would have enough space to move in the wind, not interfering with the other’s dance. We work with what we have. It is a good practice to see freedom and possibilities when looking at a frame.