Uinverse portfolio: Gathenhielmska huset
Isabel Lagos felt an inexplicable pull toward Gothenburg. A city that whispered unseen promises of artistic ventures and creative unity. As if guided by fate, she received a cryptic message from Croatia urging her to seek connections with fellow artists. The message was enigmatic, a whisper from the unknown, with a sense of urgency—"the pirate was going to come back, and when he did, she had to be ready, for so much was going to happen."
Embracing this call in 2016, she embarked on a blind journey to look for her community, her tribe- She envisioned a space where artists could meet, collaborate, and celebrate their diverse talents. Unity was key, togetherness, and somehow it needed to be done quickly, there was not much time to loose.
She took first steps, which was to form Nordic Fringe Network by inviting Holly Lombardo a former colleague she met at the Edinburgh Fringe who ran a wonderful organisation called the World Fringe, together with the newly formed Gothenburg Fringe Festival, a festival she had established a year before, Bergen Fringe in Norway and Stockholm Fringe, it seemed like the perfect catalyst for an artistic alliance, a platform waiting to be born.
To anchor the dream, Isabel sought refuge, she needed somewhere to work in and let people know she was there—a place she felt alive in, a place that resonated with history and storytelling. And she found herself in the attic of a cottage within a piece of land called Gathenhielmska Kulturreservatet, an area full of unfinished stories from the legacy of the 1700s pirates and privateers.
Isabel's journey wasn't just about creating a festival—it was about fostering a haven where artists could flourish, where the echoes of the past harmonised with the innovation of the present. And in the attic of that cottage, amidst the whispers of history, a new chapter of artistic expression unfolded—one that echoed the spirit of together we thrive and the power of creativity.
The cottage (Frigga) held secrets of its own, once the abode of the cook who served a grand ship owned by the East India Company. A place with echoes of bygone eras and now with the new freshness of the artforms and constellations quickly forming, things seemed to be moving in a very good direction.
Isabel secured the contract for the cottage in December and in January 2017 they moved in. With the unwavering support of volunteers from the Gothenburg Fringe Festival they breathed new life into this historical haven. Together, via Facebook, they unveiled its potential to the world, inviting more kindred spirits to join them in this unprecedented artistic sanctuary. As they worked, the cottage gradually transformed into a place for creative souls seeking connection in their shared passion for the arts.
The journey wasn't without its challenges, for building an artistic sanctuary demanded resilience in the face of adversity. Not every step was shrouded in magic; there were hurdles to overcome and compromises to make. Yet, amidst the sweat and toil, a collective vision emerged—a place that attracted artists aligned with similar aspirations and pursuits. What once stood as a testament to a cook's life with his family now buzzed with the energy of a thriving artistic community.
As the cottage blossomed into a hub of creativity, its growth did not go unnoticed by the city clerks who held the reins of ownership over their historical treasure. While some clerks seemed receptive to the transformative vision brewing within the cottage's walls, there lingered hesitancy and reluctance among others. The artistic community struggled to find a unified voice among the bureaucratic corridors but Isabel moved on with the vision.
Amidst this administrative stagnation, a looming presence awaited her—a mysterious house known as Gathenhielmska huset. A grand wooden house, one of the oldest in the city, a stature that beckoned all who passed by, yet its significance remained unnoticed, an invisible monument towering in plain sight. An emblem of unseen stories waiting to be unraveled.
Isabel had mused about this house for months, feeling its potential in multiple streams, opportunities for festivals, concerts, and of course for the artistic community. Feeling the limitations of the cottage, she sought assistance from the city clerks, pleading her case for a space more suited to accommodate an expanding creative collective and to foster new ways to reclaim art and history.
In a surprising turn of events, the clerks introduced Isabel to the tenants — a secret society known as Wänskapsförbundet. This group had inhabited Gathenhielmska for their gatherings and ceremonies since the late 80's, and needles to say, weren't at all keen to move.
Through countless negotiations and presentations laying down her willingness to collaborate, Isabel found herself welcomed into this hidden world of the house, invited to become a tenant herself, with Opera Estrad, an opera organisation she had started with an Thomas Sonefors and Åsa Nordgren in a town called Trollhättan. She was initially offered a space to perform opera, and a place to make film about opera, the doors as time went by swung more and more open and that way Isabel together with several organisations and artists programmed art exhibitions, dance performances, and a myriad of productions and events.
As this introduction draws to a close, we invite you discover more about the events, and the vibrant artistic community by visiting the house's website, see below. There, the story continues with the evolution of our shared visions.
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Credits from the top:
Top image by Lewis Smith who was the second coordinator for the house and established fantastic infrastructures and artistic programmes for the house, Lewis also set up Gathenhielmska's website
Black & white photos of the house and interiors: Sayam Shortip
Coloured photo of Isabella Schou flower arrangement, Versailles room in the Gathenhielmska huset: Juan Carlos Poblete