At the American Swedish Institute in Minneapolis, the Swedish-Somali artist Salad Hilowle captivates viewers with one of his striking large-scale photographs. This image, with its rich, vibrant colors reminiscent of a painting, features bold canary yellow and lush avocado green that echo the ornate floral crown moldings adorning the old Turnblad Mansion.
In this work, Hilowle is portrayed seated in an orange armchair, adorned in a traditional Somali sarong, his head caught in a moment of delicate motion blur. Behind him hangs a majestic 18th-century portrait of Adolf Ludvig Gustav Albert Couschi, painted by renowned Swedish rococo artist Gustaf Lundberg. This interplay of modernity with a nod to the past is not merely an aesthetic choice; it’s a deliberate challenge that prompts us to reconsider the narratives represented in art history.
Describing this photograph, Hilowle shares his intent, speaking of it as “a riff on some kind of art history.” He bridges the Western canon, illustrated by iconic figures like Francis Bacon, with Swedish tradition symbolized by Lundberg’s portrait. This cross-cultural dialogue is pivotal to the essence of his exhibition titled—a profound exploration of Blackness within both Swedish and broader art history.
“Salad Hilowle: Inscriptions” marks the artist’s debut exhibition in the United States, a collaborative endeavor between the American Swedish Institute and The Somali Museum of Minnesota. The exhibit, which runs through October 27, challenges the perceptions of Black identity in a predominantly white art environment, compelling viewers to question their understanding of history.
Highlighting the intricate narratives of Black figures in Swedish history, Hilowle states, “They’re ghosts coming out from the wall. The Black gaze is looking back at you.” This poignant observation is intricately woven into series of plaster moldings included in the exhibit, serving as evocative reminders of untold stories and identities.
During the opening on June 21, Hilowle and his creative collaborators—curator Sagal Farah and graphic designer Oskar Laurin—navigated the castle-like ambiance of the exhibition. Together, they unpacked the complexities of the Afro-Swedish experience, emphasizing that “the presence of Blackness is broader than just the Afro-American perspective,” as Hilowle puts it. “We’re presenting Blackness in a global context, particularly in a Swedish framework.”
Farah offers an essential perspective, asserting, “His work is not just part of Black art history; it’s integrated into Swedish art history.” This reflection invites us to reconsider how different cultural identities coexist and influence one another. It prompts us to think: How often do we overlook the diasporic narratives that shape our communities?
Hilowle’s own journey adds another layer of depth to this exhibition. Originally from Mogadishu, he moved to Gävle, Sweden, at the tender age of seven. His connection to Minneapolis is personal; he once had an uncle residing there. The city’s Somali community is an integral part of his experience, warmly embracing those like Farah, who also has family ties to the Minnesota region.
Among his impactful works is the short film “Vanus Labor,” prominently displayed at the exhibition. This film serves as a response to a 17th-century painting of the same name by David Klöcker Ehrenstrahl, which features a solitary Black child surrounded by white peers. Reflecting on this moment in his life, Hilowle expresses his astonishment—how many young people grow up without recognizing the depth and breadth of their own history?
In “Vanus Labor,” we not only witness Hilowle’s personal narrative; we see friends, family, and children engaging playfully with the painting while the artist’s own opera libretto intertwines in the background. “I want to illuminate the visibility of African people in Swedish art history,” he explains, underscoring the significance of representation.
In another intriguing piece, “Sylwan,” Hilowle reimagines the iconic 1949 Swedish film “Pippi Långstrump” (“Pippi Longstocking”), highlighting the hidden history of Black actor Joe Sylwan, who starred in the original. What stories have we overlooked in our pursuit of cultural narratives, and how do they shape identity and belonging?
The Somali Museum of Minnesota is also presenting a featured film by Hilowle titled “Letters to Sweden.” This creates an opportunity for cultural exchange, making connections between timelines, histories, and experiences in an engaging manner.
Moreover, the American Swedish Institute is facilitating exhibition tours in both English and Somali, promoting inclusivity within the community. Notably, the institute and museum are organizing a “Somali-Swedish Culture Exchange” event on August 3, which will celebrate this vibrant blend of cultures through live music, dance, and culinary delights from the Somali and Swedish Minnesotan communities.
Hilowle’s work is not merely an artistic exhibition; it serves as a powerful reminder that history is a tapestry woven from diverse threads of identity, culture, and experience. How do we engage with this tapestry? Are we taking the time to understand the multiple perspectives that color our historical narratives?
Edited By Ali Musa
Axadle Times International–Monitoring
