Camilla E D S T R Ö M Ö D E M A R K



Mouth Pieces
5. - 29. august 2021, solo at Bærum Kunsthalle

My mouth is a portal. The tiny mouths of worms and beetles and flies are archways. There are rooms and places within us where all lines cease to exist. Where bodies are gathered in a collective movement. A violent disappearance and a mindless coming forward. Death and time and the softness of our bodies. I think of it as hopeful.

I think about how time dissolves everything. How it will crumble and maul me down into the ground. Sometimes I want to resist, maybe to live forever. But I’m already an accomplice. An accessory of time, as well. Sent out to break down and blend together. To disintegrate the borders between what is mine, ours and what is all the other things.

Mouth Pieces is a series of sculpture made in mainly rotten birch. The birch, which rots with a marbling discolouration, has traces of fungi, beetles and bugs that where born in and lived off the decomposing wood. The sculptures are made for the exhibition at Bærum Kunsthalle during my residency at FABRIKKEN for Kunst og Design in Copenhagen with the support of the residency program FAIR.

Thank you Theis Wendt, Maria Bregnbak and FABRIKKEN, Hammarhugg and Ove Nordström.

The exhibition was made with the support of FABRIKKEN.

All pictures by KUNSTDOK / Tor S Ulstein.


Struktura. Time
23.07 - 01.08 2021, Oslo City presents at BOA

Yu Shuk Pui Bobby
Kornelia Remø Klokk
Jassem Hindi
Magnus Bache Sønsteby
Margaret Abeshu
Tim Høibjerg
Camilla Edström Ödemark
Reading group with Nikhil Vettukattil - August 1st.

STRUKTURA.Time is a cross-disciplinary initiative for research and practice within the framework of visual arts, media archeology, literature and philosophy. STRUKTURA is an exploration of how visual media contribute to the ordering and production of time, where both past and future exist in a constantly malleable present. STRUKTURA. The ongoing program aims at creating a platform to explore relations between time and image; virtual, real and actual; current modes of how we instrumentalize history and memory; cultural techniques for temporal mediation. It is an independent project initiated and developed by Lesia Vasylchenko.

Oslo City is Supported by Oslo Kommune Kulturetaten. The program is initiated and produced by Hedda Grevle Ottesen.

All pictures by Jacky Yaan-Yuan Kuo.


Dressing Room
16.07.21 – 18.07.21, together with Kaare Ruud at Loftet Kunstnernes Hus

In the dressing room of our studio sets of works has been changed for others. Heeps of discarded trials has gathered in the corners, things organised in sections of what-to-keeps, maybes and definitive no-no’s. 

The dressing room is an intimate room, where uncertainties and flaws are shared under brightly lit lights. Secrets exchanged and friendships forged. We’re happy to invite you in, to see what took place behind the curtains and what was nearly forgotten on the racks.

All pictures by KUNSTDOK / Tor S Ulstein.


Heaven is a Place On Earth
11.09 - 25.10.2020, solo at Norske Billedhoggerforening

In the exhibition Heaven is a Place On Earth, Edström Ödemark explores the borderland between the inorganic and the organic. In an installation referencing the museum, the archive and the medical, the artist presents a number of different objects and sculptures. Sculptural objects of bones in clay are extended with silicone and epoxy prostheses. By working with different durabilities and material properties, the artist asks how our relationship to foreign and industrially composed molecules, outside and inside our perishable bodies, has come to affect our view of life, death and time.

Mixed media installation with sculptures in clay and extensions in silicone/epoxi/metal, steel shelf, cat litter, chewing gum,
plastic, walnut, insects, artificial flowers, fish bones, grapes, nail clippings, lavender scented liquid toilet block etc.
Various dimensions.

Pic: KUNSTDOK / Istvan Virag

Pic: KUNSTDOK / Istvan Virag

Pic: KUNSTDOK / Istvan Virag

Pic: KUNSTDOK / Istvan Virag

Pic: KUNSTDOK / Istvan Virag


October 31st - November 21st 2020, solo at OK Corral

Focusing on science fiction and UFO conspiracy theories, Camilla Edström Ödemark’s exhibition Circles draws parallels between utopian colonisation of space, the dystopian invasion of Earth, and the Western colonisation of Africa.

Addressing the role of the monstrous alien as a tool to form the traditional Western worldview, the exhibition highlights colonial structures that continue to exert influence on the Western identity, mentality and culture.

The work of Edström Ödemark suggests that what is played out in the darkest corners of space, might in fact take place in our own backyard.

Thank you to Norwegian Arts Council, Nordic Culture Point and Galleri CC.

Works: Skin Circuits (multimedia installation) and Alien Nation (video essay).



Mixed media installation with sculptures in clay and extensions in silicone/epoxi/metal, steel shelf, cat litter, chewing gum,
plastic, walnut, insects, artificial flowers, digital clock in wood imitation, grapes, hair, lavender scented liquid toilet block etc.
Various dimensions, shelf 320x140x25 cm. 2020. Pictures by Emanuel Kjellberg


Infinite Circle/Nothing Beyond
11.01 - 17.02.2019, solo at Galleri Sinne

Sinne has the joy of opening the new year with an exhibition by Camilla Edström Ödemark.

Edström Ödemark is from Åland and lives and works in Malmö, Sweden. She works with installation, sculpture and moving images. At the heart of her work is an interest in identity issues, exclusion and capitalism. She searches for traces and structures that create and maintain a Western identity in popular culture and myths. In the exhibition Infinite Circle / Nothing Beyond, she has used the Narcissus myth as an entrance. The new series of works has a theme that is built around self-image, worldview and boundaries. The exhibition consists of video and sculpture. In the exhibition, Edström Ödemark highlights a phenomenon that today follows, controls and shapes us. The algorithms are a flow of instruction that comes from mathematics and is used as a tool to achieve different types of results. Today, the algorithm is an actor that operates behind the scenes deep in our connected everyday life; codes are created to study our behaviour, categorize us, and filter out a reality that the algorithm assumes we want to interact with. Often the interest behind the algorithms is economic or political. A fantastic tool for those who want to gather information and influence large groups of people. At the same time, they create a circle in social media, an echo chamber that confirms and reinforces the individual's worldview and causes delusions and self-centring.

In several of her works, Edström Ödemark focuses on the circulation of these filter bubbles, she uses mirrors, dried plants, mobile phones, selfie sticks moulded in silicone, data cables and images and video material. Her collage-like sculptural works become a kind of extension of the codes with which they can extend into space. The moving footage in the exhibition is taken from various places online, viral video clips, YouTube tutorials etc. The video work Transit continues in the same theme but sees the national border and the passage through and over it, as an identity-confirming mechanism.

All pictures by Otto Byström.

Skin Circuits, 2019
Mixed media installation, flatscreen, silicone, tripods, plastics, styrofoam etc. Various dimensions.

Algorithm, 2019
Mixed media installation, vanity mirrors, flowers, plastic, aluminium. 100x50x30 cm.

Whips, 2019
Silicone, hair strands.

Transit, 2018
Video, 10:03 min.Vimeo


This Happened to Us

Video, 05:51 min. 2016. Vimeo


22.03 - 14.04 2019 , solo at Galleri 54

The emptiness of space is paradoxically claustrophobic. For those who seek to conquer, the thought of a nothingness is frightening. Still, space is ever-present in our Western culture. Out of punishment or out of self-righteousness, we are drawn to narratives of malignant life-forms with superior technical advancement, who seek to colonize the human race.

All pictures by Theo Elias.

ICU, 2019
Video installation, three loops, wire, LED-tape, smoke. Vimeo

Alien Nation, re-edit 2019
Video, 17:12 min.Vimeo


Heavenly Orders #2: Almost the Same but Not Quite
05.09- 03.10 2015, together with Jasmin Daryani at Spriten Kunsthalle.

almost the same, but not quite

Stina: I do not understand why people are more concerned with not being called a racist, rather than not being a racist. Do they not feel that the things they say taste like shit when it comes out of their mouth?

Anna: Yes, but it is very unpleasant to discover that you have eaten poop for several years.

Stina: Yes, but isn't it better to start realizing it, than to go through a life where you think poop is food? Sometimes it feels like the extent of whiteness in the world is overwhelming. The majority of people on this planet are not white, and yet my sister has asked me before we meet new people "do they already know we are brown?". As if all other colours should come with a warning so that people can decide on, and practice, a non-racist reaction, or maybe even come up with a funny white joke to eliminate the embarrassing situation that may occur. Whiteness permeates us all. People of all colours. When we hear about racist incidents, most of us immediately look for an excuse or something that can justify the discriminatory act. Maybe the victim was aggressive, maybe even criminal. Perhaps the victim was not the best-qualified candidate for a shop assistant position even though the person previously ran the largest mattress factory in all of Lebanon? Whiteness can also make you wonder about your own behaviour and complicity in injustice. Did I behave suspiciously? Am I not good enough to get this position? Maybe I was holding something that looked like a gun?

-Stina Ihle Amankwah

Curated by Stina Ihle Amankwah and Anna Ihle.

Leitourgia, 2015
Video, 05:52 min. Vimeo