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Helena Wikström

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Helena Wikström

  • works
    • mot marken
    • listen
    • armillaria mellea
    • Är vi en orkester?
    • The Great Noise
    • dryader och najader
    • jordkikare
    • Tallyhoo, tallyhoo jag har skjutit en dront
    • Bottnens beskaffenhet
    • Sett i det strömmande vattnet och hört i den viskande vinden
    • Retake
    • ANIMA
    • den gyllene kvisten
    • under marken
    • Calando
    • Sheki
    • agsu
    • THE BUBBLE FLOATS BEFORE
    • Radio Black Peter
    • Hide or reveal
    • Emergency Exit
    • Facility D-O
    • Vadaren
    • DELTA
    • Another City is Possible
    • Portrait in a painted landscape
    • Light projects
    • Kasteelberg Mountain bush fire dress
    • remember to respect your mother
    • As far as the sun reaches and where the moon shines
    • behind this mask another
    • history
  • Updates/News
  • CV
  • Contact

Med ett öra mot marken

(With an ear against the ground)

Konsthall Väst på Fjället 22.8 - 6.9 2026
6-channel sound installation, video, paper-maché sculptures

Wikström questions hierarchies between species and forms of expression—between what counts and what is discarded as noise. Listening becomes an ethical act, an acknowledgment that the human being is one voice among others, rather than the orchestra’s conductor. Her art often inhabits these marginal zones, close to the ground and beneath the surface. She creates an understated yet precise staging of coexistence, in which the pace of perception is slowed down while its sensitivity is heightened.

Victoria Engholm for the online art magazine Volym

Med ett öra mot marken

(With an ear against the ground)

Konsthall Väst på Fjället 22.8 - 6.9 2026
6-channel sound installation, video, paper-maché sculptures

Wikström questions hierarchies between species and forms of expression—between what counts and what is discarded as noise. Listening becomes an ethical act, an acknowledgment that the human being is one voice among others, rather than the orchestra’s conductor. Her art often inhabits these marginal zones, close to the ground and beneath the surface. She creates an understated yet precise staging of coexistence, in which the pace of perception is slowed down while its sensitivity is heightened.

Victoria Engholm for the online art magazine Volym

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