AllArtNow

During the summer of 2026, Dimitra Konstantinidi was a guest of the Stockholm Summer Studio, a three-month residency initiated by AllArtNow. The art space became her temporary studio and a place for research, experimentation, production, and dialogue. The project Carry Me Home developed during this residency.
The exhibition brings together two narratives that emerge from the Trojan War but approach its aftermath from radically different positions. Homer’s Odyssey follows Odysseus, the returning warrior, on his long journey from Troy to Ithaca. Euripides’ The Trojan Women remains with the women of the defeated city as they mourn their dead and await captivity. One narrative is organized around nostos, the ancient Greek idea of homecoming; the other begins when return is no longer possible.
Konstantinidi brings these perspectives together in a walk-through installation that reimagines the Trojan horse. For the Greeks, the horse marks a path towards victory and eventual return. For the Trojans, it brings destruction, displacement, and captivity. The exhibition invites us to consider the two positions: the returning warriors and those who lost home forever.
Even for Odysseus, return does not restore an untouched past. Time has passed, relationships have altered, and Ithaca must be recognized and reclaimed. The surviving Trojan women are denied even this difficult possibility. Their city has been destroyed, and they are forced to travel not towards home, but away from it.
Homecoming is presented not as a circular journey, but as an uncertain passage between memory and present reality, sustained through fragments, stories and the body.
Carry Me Home asks what “home” can mean after war, separation and prolonged absence. Is it possible to return without confronting what has happened and changed there?

The exhibition explores a space where the intimate and the structural meet without resolution. Ola Nilsson approaches the domestic not as stability, but as a space where memory, absence, and perception remain in motion. Inspired by Édouard Glissant’s “trembling thinking,” the works present instability as a condition of understanding, where all living things can be understood as vibrating, and where oscillation marks a continuous movement between positions that never ceases.
At the center lies a gesture of return. Photographs taken in the artist’s mother’s home after her passing hold a moment that resists closure. The room remains unchanged, but the space is empty. Presence becomes absence, carrying a silent rupture not as opposition but as structure. The loss here is embedded.
The blinds create rhythm and repetition that unsettle perception. Their movement extends the sense of instability, what is revealed soon withdraws, and what disappears returns. The viewer enters a cycle where the boundaries between self and other remain fluid.
Nilsson maintains these tensions without seeking resolution. The domestic becomes a place where care and its withdrawal coexist. Rather than telling a story, the work opens new horizons where absence is not an end, but something that stays with us.

One Room, Many Stories brings together female artists whose works emerge from lived experience and attentive observation of the world around them. Each artist presents a fragment, a gesture, a trace of a story that reflects the moment we inhabit.
The works move through questions of struggle, authority, memory, and resilience. They do not attempt to explain or resolve these stories. Instead, they offer statements that open different ways of seeing the forces that shape our lives.
Within the limits of a single room, the works encounter one another and form unexpected relations. One work answers another across the space, and what once appeared distant begins to feel familiar.
The room becomes a place of encounters where narratives approach, separate, and return in different ways. Meaning moves between the works and those who spend time with them, as the stories begin with the artists and extend outward to touch other lives and places. In that movement, the hidden threads that connect our worlds slowly become visible.

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