The Grief Prophesy
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The Grief Prophesy, 12" LP. Image: Hendrik Zeitler.

The Grief Prophesy
09 September – 19 November 2017
Göteborg International Biennial for Contemporary Art (GIBCA)
WheredoIendandyoubegin: On Secularity
Musiclovers Records, Krykogatan 13, Göteborg & Ramberget 417 01 Göteborg, Sweden

Curator: Nav Haq

Unreleased 12" LP pressed on 180 gram black vinyl (416 copies); 2 x 04:17 audio recordings (oud, vevlira); commisioned album cover by Kristian Wåhlin; 2 x photographic images; unrealised proposal for Keillers Park water tower.

Project credits:
Producer: Maddie Leach
Musicians: Anders Ådin (vevlira)
Filip Bagewitz (oud)
Sound engineer: Mappe Persson
Mastering: Oskar Karlsson
Cover image: Kristian Wåhlin
Design: Warren Olds / Studio Ahoy
Recorded at Kulturtemplet, Göteborg, Sweden
Pressed at Disc Manufacturing Services Ltd, UK

Listen to The Grief Prophesy

The Grief Prophesy - filmed and produced by Kristina Meiton for GIBCA 2017

Supported by:
The Culture Foundation of the Postcode Lottery
Valand Academy University of Gothenburg
Musiclovers Records, Gothenburg

With warmest thanks to:
Nav Haq, Ola Carlsson, Kristian Wåhlin,
Anders Ådin, Filip Bagewitz, Mappe Persson, Anders Björnsson, Jorge Alcaide, Peter Uhr, Adrian McCleland, Dr Thomas Bossius,
Kristina Meiton, Hendrik Zeitler
& Julian McKinney

Haq & Leach GIBCA catalogue text
Mapping and interpreting the historical specificity of a particular site, Maddie Leach’s project for the Göteborg International Biennial has concentrated on places in Gothenburg and the town of Strömstad, delving into the phenomenon of black metal subculture in Sweden and the wider Nordic region. In particular, Leach has looked at the story of renowned band Dissection who formed in Strömstad before moving to Gothenburg, becoming recognised as black metal pioneers in the 1990s. As typical within black metal culture, the group’s identity adopted images and symbols of darkness associated with the occult and the satanic, such as the inverse pentagram or inverse crucifix.

On the evening of 22 July 1997, the band’s lead singer Jon Nödtveidt together with his friend Vlad murdered Josef Ben Meddour, a homosexual and Algerian national, in Keillers Park at Ramberget in Gothenburg. Meddour was found dead near a stone water tower, having been shot with a gun through the heart and the head. Registered as a homophobic hate crime, both men eventually confessed and were imprisoned for the murder. Nödtveidt was released in 2004 and briefly reformed Dissection, with a new line-up, before committing suicide in 2006.

The title of Leach’s project, The Grief Prophesy, refers to Dissection’s first demo tape The Grief Prophecy released in 1991. Leach has collaborated with the artist Kristian Wåhlin (Necrolord), who produced a suite of album cover artwork for Dissection, asking him to create an image depicting Keillers Park, its water tower. In Leach and Wåhlin’s view, we also see the more recent addition of Göteborgs Mosque, symbolising the pluralisation of beliefs and backgrounds of people in Sweden over recent decades. This image appears on the cover of a new vinyl recording containing slowed-down versions of a Dissection instrumental called Into Infinite Obscurity performed on vevlira and oud. Vevlira (or Hurdy Gurdy) is strongly associated with the kind of Swedish folk music positively promoted as ‘swedish culture’ by groups such as Sverigedemokraterna. Oud is an instrument originating in North Africa and the Middle East. As a form of lament, these elongated recordings sit in relation to ideas of continued invisibility and memory that underpin The Grief Prophesy project.

An unrealised part of the project was based in Keillers Park itself. Leach observed a roughly drawn inverted pentagram, marking the water tower site, on a public map depicting key features in the park. As a response to this coded gesture, the artist proposed to engrave a small pentagram on the water tower’s entrance. The pentagram, a symbol common to different religions and folklore is, in the minds of many, inextricably linked to satanic aesthetics and the occult. However here the pentagram was to be configured the ‘opposite’ way round, in which it is associated with notions of protection, banishing, harmony and justice. Intended as a quiet counter-action to mark 20 years since Meddour’s murder, the proposal was declined by Göteborgs Stad the same week an inverted pentagram and the words ‘Död åt Josef. Hell Jon & Vlad’ (Death to Josef. Hail Jon & Vlad) were graffitied on the water tower.