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Exhibition and release of Linda Spåman’s fanzine
- a colouring book that guides you as you explore your inner self while learning from the universal symbolism of the Tarot cards.

24 September 18:00–18:45

Artist and comic artist Moa Romanova enters the world of games. Together with game creator Elvira Mattsson, she has created the interactive fanzine game A Walk Through Kramfors, which will be released as an app ahead of the Gothenburg Book Fair.

Described as “Twin Peaks meets Game Boy meets point-and-click”, the game is planned to be developed into a full-scale game over the coming years.

Alexandra Dahlberg, author and game developer, leads a conversation about the work with the game, the interplay between art and games, and what happens when the two worlds meet.

Presented by: Gothenburg Book Fair and Syntropia Art Space

“Our hands become each other’s. We see, choose and place — almost like a spell.
Four arms reach further than two.

Sometimes we crawl inside the sculptures, hold our hands against our hearts and gather strength. For a moment, we become the sculpture, and then we become ourselves again.

We carry what has been, what is, and perhaps also what has not yet happened."

week 30-32

Syntropia Art Space, in collaboration with Mothers in Residence. Mothers in Residence, in collaboration with Syntropia Art Space, offered a self-organised summer residency in Gothenburg. The residency was given to the sisters Tekla & Rakel Bergman Fröberg who very much work in symbios.

Syntropia Art Space, in collaboration with Linda Spåman, is implementing a smaller writing residency to create a space for writing where literature meets other artistic practices.

Opening 9 April - 1 May

At the core of the exhibition lies a more silent inheritance. During the upbringing of Kero’s mother and her sister, their mother’s Tornedalian identity was almost invisible. It lived quietly, in small gestures: when she counted in Meänkieli, when she took her daughters’ temperature, when she spoke with her siblings. An identity not erased, but turned inward—shaped by a culture of shame that emerged in the wake of assimilation policies in the late 19th century.

Kero’s work approaches this inheritance indirectly. The vessels hold and withhold at once: they suggest familiarity and function, yet remain partially closed, resisting full access. In this way, they become material reflections on something carried across generations—present, but not always spoken.
A Conversation with the Torne Valley unfolds as a dialogue between place, material, and memory—where making becomes a way of tracing a heritage that is both near and distant, visible and obscured.