The Defeated: The Aesthetics of Resistance 2026 at Bonniers Konsthall

Revisiting Literary Foundations for Contemporary Struggle

Bonniers Konsthall prepares to open a substantial group presentation that draws its conceptual framework from the writings of Peter Weiss. Running from 26 August to 8 November 2026, the presentation examines how artistic practice might function as a mechanism for political opposition. The title references two distinct literary projects produced by the Swedish-German creator during his lifetime: an earlier narrative published in 1948, followed by a monumental three-part essay series completed across the latter half of the following decade. That later text mapped European opposition to authoritarian regimes before and during global conflict, blending archival evidence with mythic imagery and underground networks. Its central proposition remains provocative: engaging deeply with cultural artefacts provides a viable pathway for confronting oppressive systems. The current presentation asks whether this methodology retains urgency within today's socio-political climate.

Commissions, Archives, and Curatorial Framework

Invited creators have responded to these prompts by generating fresh productions across multiple disciplines. Paintings, sculptural objects, live actions, moving-image pieces, theatrical interventions, and assembled documentaries all feature within the roster. Participants include Zbyněk Baladrán, Chiara Bugatti, Ali Cherri, Öyvind Fahlström, Harun Farocki, Jean-Luc Godard, Ane Hjort Guttu, Hamedine Kane, Kateryna Lysovenko, Asier Mendizabal, Peter Nestler, Daniela Ortiz, Valérie Osouf, Christoffer Paues, Samuel Richter, Lenke Rothman, and Lina Selander, alongside the foundational figures themselves. Some contributions engage directly with the source material or the broader oeuvre of Gunilla Palmstierna-Weiss, while others adopt more oblique strategies, utilising specific formal approaches or thematic concerns that echo the original publications.

Alongside these newly realised projects, the presentation incorporates a substantial archival layer. Visitors will encounter collages, photographic records, canvases, and cinematic fragments dating from the interwar period through the mid-twentieth century. Additional materials showcase stage designs developed for documentary theatre initiatives during the sixties and seventies, alongside documentation concerning international legal inquiries and decolonial movements of that era. Works spanning the subsequent two decades further illuminate the intellectual networks surrounding the primary authors. This dual structure establishes a dialogue between past and present, allowing historical documents to reframe contemporary responses, while modern interpretations shed light on enduring ideological battles.

The project is organised by Kim West, François Piron, and Joanna Nordin Asp, who have structured the spatial arrangement to mirror the fragmented, multi-vocal nature of the original texts. To accompany the installation, a comprehensive volume will be released, compiling previously unpublished writings alongside fresh essays by academics and cultural commentators. Edited by West and Gustav Strandberg, with visual design by Rikard Heberling, the publication emerges from a joint venture between the hosting institution and Faethon. It aims to extend the critical conversation beyond the gallery walls, offering readers sustained engagement with the theoretical underpinnings of the show.