• photography Sandra Myhrberg

    fashion Louise Dyhrfort


    top and skirt Ono Ateliers
    earrings and ring Ole Lynggaard

    Diane Emerita on Music, Memory, and Momentum

    Written by Sandra Myhrberg

    After a whirlwind year filled with praise from major media outlets, airplay on P3, and a standout performance at Way Out West, singer-songwriter Diane Emerita finds herself both exhilarated and grounded. Her music—intimate, conceptual, and often rooted in family and memory—has resonated widely, yet she still writes songs on her mother’s piano and juggles her music career with a mathematics degree.

    Sandra: You’ve had quite a whirlwind year—praise from major media, airplay on P3, and a performance at Way Out West. How has this rise affected you, both creatively and personally?
    Diane:     It is fun and scary and interesting. I am taking my time to process it all. I still can't believe I have done certain things like having a song of mine in the game SIMS. But then most of the times I am just myself and not my “artist persona” so really I am quite calm and don't think about it too much. I study a bachelor in maths and besides music that pretty much fills up my thoughts. Creatively, I am just excited that people seem to get something out of my music and buy tickets to my shows and that I get to see how far the music can reach. I remember a line in Frank Ocean's song Futura Free saying “Play these songs, it's therapy momma, they payin' me momma, I should be payin' them” and I resonate with it a lot. I get so much out of reflecting my own thoughts and emotions and expressing them through my music that mostly I am just thankful that I get to do and make a living out of it as well. So then, I write and sing to find out what I have to say.

    S: Your music feels deeply personal, often rooted in storytelling. “Indigo Bruised” is another collection of songs based on stories about your family. What draws you to these themes, and what can listeners expect from this EP?
    D:     I looove storytelling. I like to intentionally work with concepts because it somehow becomes a challenge for me to master - a problem solver. Music and the visual expressions, including styling and performances become so much easier for me to coordinate when they have a connected concept. I get emotionally invested. Also I think it is quite refreshing working with themes because it is easier for me to understand where I start and where I draw the line and move on to the next project. For instance “Indigo Bruised” has four tracks in it because I wanted to dedicate one song to my mom, sister, father and brother, simultaneously as making each symbolise a season as well. But there are only four seasons, so that is how many songs I made. Listen to “Indigo Bruised” and see if you can guess which song is what season. (Either way you are right)

    S: You’ve continued working with producer Hampus Norén, who also contributed to “Traveling Forever.” What is it about this collaboration that keeps you coming back? How has your sound evolved together?
    D: I think I like the way how he challenges me to let go a bit. To see it all more as a game than something serious. Well I still take music very serious because it makes me feel so much, but it has definitely been a nice journey to allow some imperfections into creating the sound of my songs. There is a clear seriousness to the songs I released before “Travelling Forever”. Hampus brings in an aspect of playfulness and “dirt” into the productions. He likes for it all to not sound all too clean and perfect, which I think helps giving the music emotional depth. And also it takes a long time for me to let someone into my creative space, so he has also become a comfortable teammate to keep because he know gets me. I know what I want my music to sound like and I always have very clear references for the production if I am not producing myself and then he always manages to give me more than I've asked for, which is great. And then we have our incredible mixer Sven Johansson who just elevates everything we do and gives the sound the last needed edge.

    S: Despite all the buzz, you still write your songs at your mother’s piano. Is that a grounding ritual for you? What’s your songwriting process like—does melody come first, or do lyrics lead the way?
    D    :I have a lot of siblings, so my mother's place is a very lively house. Most of all I love playing on her piano because I get to disappear into my own bubble in the way I always have done even when I was younger and was still living there. So I float away into my bubble, but life around me kind of goes on. My songwriting process is a long one, I play the piano and after some time, perhaps weeks or a day or a second lyrics arrive. But the music, the playing always comes before the singing starts. I also love when some of my siblings start singing to along to what I am playing. You could indeed call it a grounding ritual, it gets my creativity flowing. I feel like Sampha's song “No One Knows Me Like The Piano” when I play.

    S: You’ve described Malmö as a creatively thriving scene. How has the city and its artistic community influenced your work?
    D:     Malmö feels warm and open both in climate and culture of the people. I really love the fact the artistic community is inclusive and welcomes everybody. Like there is no need to feel like you are competing with other artists for attention of others, everyone kind of supports everyone. It sounds very cheesy but ultimately I find it to be a very respectful, warm and vibrant place. I work mostly in Stockholm when it comes to music, so when I am at home in Malmö I get to chill and study which for me has been such a necessary place of refuge.

    S: Your handmade “ugly cups” have become something of a signature. What sparked the idea, and do you see this kind of hands-on creativity as an extension of your artistry?D: My mom has had ceramics as a passion of hers for as long as I can remember. So I used to come along to her studio and just spend hours exploring clay without ever really properly learning how you throw or build in a traditional way. That's were the idea came from to make “ugly cups” when I started picking up ceramics again in my own studio in Malmö last year. To make cups not because they would be perfect, but make them because it was fun. It is a nice way to show appreciation for the people that listen to my music, because I sold them very cheap and they were very much made with love and care - each exemplar was unique. But making ceramics merch was such a long and intense process taking several weeks for cups to get done. So I am taking a small break from it for now before starting producing cups again for when I release my album next spring.

    S: “Indigo Bruised” is described as both ‘driving and soft’ with intricate production details. How do you approach this contrast in your music—balancing energy with emotional depth?
    D:     Most of my songs include the first take or single takes of me singing. Which basically means that I like to keep the first impressions that I gave when singing the songs for the first time in a microphone. I think that gives my lyrics emotional depth. I like the idea of honesty in it, surely I am quite the perfectionist at times and also can try to take the same line of singing a thousand times to make it as perfect as I think it can be. But ultimately and most often I chose to go with the first time I recorded a song, it becomes symbolic, like a picture of the time I find myself in at the moment. But both Hampus and I strive very much towards good dynamics in the sound of the songs, I want there to be a driving pulse, he wants to feel the honesty in my voice. And Voilá a diane emerita song is made, soft and driving.

    S: With so much momentum behind you, what’s next? Do you see yourself experimenting with new sounds or collaborating with other artists in the near future?
    D:     I am making an album right now, and it is almost done, but I also haven't written most of the songs yet. Which is funny. But in my head it is very clear that “what is next” will always be me exploring my musicality and effectively the time of my life when I write it. So basically I am just making a soundtrack to my own life. So yes there will be new sounds and collaborations. For this new album I am seeing a lot of colour in the sound (whatever that might mean) and a dancing pulse. And I am counting with at least two, three featuring collaborations. But like I said, I now need to go and actually let the ideas out of my head and make them listenable to others. I am sure everything will fall into place.

    S: If you could collaborate with any artist—living or dead—who would it be, and why?
    D    : Uh nice and hard question. Too many to choose from, and the list is always changing. But I'll give you a cute short list:
    - Little Simz, because she is the greatest rapper of all time
    - Obongjayar, because of the way he sings
    - Jeff Buckley, I liked his lyrics
    - Robyn, because I love to dance to her songs  

    S: Finally, what’s something unexpected
    D:     I really like libraries, I think they should become the new supermarkets.

    top Ono Ateliers
    trousers Kristin Svensson
    shoes Cos
    earrings Stylist's Own
    rings Taffy Rainbow
    top Kristin Svensson
    trousers Stylist's Own
    shoes Carin Wester
    earrings Pearl Octopuss.y

    photography Sandra Myhrberg
    fashion Louise Dyhrfort

    makeup Alicia Hurst

    body Sini Saavala
    skirt Avalon For All
    shoes Julia Broscheit
    ring Ole Lynggaard

  • images courtesy of Joakim Züger / BARSK Projects

    SPECTRUM an Interview with Julie Quottrup Silbermann

    Written by Natalia Muntean by Sandra Myhrberg

    CHART, the Nordic art fair, has become a cornerstone of the area’s contemporary art scene since its beginnings in 2013. What began as a collaborative e!ort among five galleries to showcase Nordic art has evolved into a dynamic, multi-faceted event that transcends the traditional art fair model. Today, CHART not only highlights leading and emerging galleries from the Nordic region but also integrates a rich public programme of performances, talks, and exhibitions, all aimed at making contemporary art accessible to a wider audience.

    In 2023, CHART welcomed an impressive 22,000 visitors, reflecting its growing influence and appeal. As Julie Quottrup Silbermann, Director of CHART Art Fair, explains, “We aim to be more than just an art fair. The fair itself features 28 to 40 galleries, but around it, we’ve expanded into a larger public programme that includes performances, music, and talks - all free of charge.”

    CHART is dedicated to fostering collaboration among galleries, rethinking public spaces, and prioritizing sustainability, all while creating an inclusive platform for Nordic art. As Silbermann says, “We’re not just building an art fair; we’re building a community.”

    Natalia Muntean: How has Chart evolved since it started in 2013?
    Julie Quottrup Silbermann: Chart is an annual art event that began in 2013, created by five galleries to showcase the Nordic art scene. Initially focused on collaboration among Nordic galleries, the format evolved three years ago to include a broader program and a partnership with Tivoli Gardens for outdoor exhibitions. Today, Chart invites Nordic galleries to participate, emphasising that it is more than just an art fair. The event features performances, emerging musicians, and a talks program with discussions relevant to contemporary art, all free to the public. Additionally, collaborations with other institutions allow visitors to explore new exhibitions and attend previews during the event.

    NM: The Nordic region is often seen as progressive and forward-looking - how does Chart reflect or challenge these ideas?
    JQS: We aim to present a broad view of Nordic art by inviting both established and emerging galleries from the region and beyond. There’s a growing trend of galleries balancing art and design, with artists creating functional sculptures, particularly in small, artist-run spaces like Coulisse Gallery and Public Service Gallery in Stockholm. This reflects an increasing interest in unique artworks for personal collections. While emerging galleries are thriving, mid-tier ones face challenges, while established galleries have a steady audience. Since Chart’s inception, both invited and self-nominating galleries have participated. I visit Nordic capitals annually to discover new spaces and gather recommendations from established galleries, ensuring we showcase the most exciting new Nordic talent at Chart.

    NM: What do you think is the role of CHART in shaping the Nordic art market?
    JQS: For the participating galleries, it’s an important part of their year to take part in a fair that specialises in the Nordics. We create a community around it, and it’s not just about the fair itself. Throughout the year, participating galleries present their exhibitions, and we collaborate on art calendars. We also reach out to art professionals, organising online curator meetings five times during the spring to introduce galleries to them. I feel the galleries are part of this community, and they’re introduced to art professionals in a meaningful way. I hope and I feel we’re giving a lot back to the galleries by fostering collaboration and mutual support. This is reflected in the fair’s design. When you enter, you don’t see long aisles or booths. Instead, you step into rooms that might feature three galleries at once, creating a cohesive exhibition experience. This setup allows art professionals, collectors, or firsttime visitors to engage openly with the galleries. You’re essentially walking in and out of different gallery spaces seamlessly, without the barriers of traditional booths.

    NM: This is the last year for Chart Architecture why did you decide this would be the last year?
    JQS: CHART Architecture has been running for ten years. Over this time, we’ve invited young architects to create pavilions in the courtyard, and it’s been very inspiring to see their creative, innovative designs. But after ten years, we felt it was time to try something new. This year, we’re introducing CHART Public and it’s essentially an open call. We’re asking architects, designers, and artists to submit proposals on how to create a more inclusive, creative, and aesthetically engaging public space in front of Charlottenborg.
    The goal is to rethink how public spaces can be more than just places we pass through - how they can become areas where people want to gather, sit, talk, and connect. We’re also exploring how this space can serve as a way finder, guiding visitors from the Kingsway in front of Charlottenborg through the courtyard and into the art fair.

    NM: And what about the outside exhibition at Tivoli?
    JQS: This is also going to be the last time for CHART at Tivoli. It’s been such an exciting project and so much fun for the artists to put up sculptures or installations. For instance, last year, we had a sculpture standing in one of the fountains, an artist created a project for the roller coaster, and we showed art films on big screens next to the huge stage where they have concerts. This year, we’ve also started inviting galleries to participate, so I have absolutely no idea what to expect. There are so many places around the gardens that we can use, and I’m really trying to encourage all the galleries and their artists to come up with art pieces that will be placed throughout the garden. When you walk around, it’s a 180-year-old amusement park with flower beds, fountains, roller coasters, and restaurants, and then, suddenly, you come across a contemporary art installation placed in one of the classic settings. The openness of an institution like Tivoli to collaborate in this way has made it a very fun project. For the audience, it’s unexpected because they go to Tivoli expecting roller coasters and then see a contemporary art installation next to it. It’s something they might never have thought about.

    NM: Speaking of this year, are there any particular trends or themes you’re noticing?
    JQS:     I’m excited to see how the open call for the courtyard evolves and what ideas will come in. I’m also looking forward to our “Start Collecting” exhibition with CHART. This initiative started two years ago, invites galleries to submit artworks priced at a maximum of 3,000 euros. In a space called The Chapel, we present affordable artworks from both emerging and established artists, aiming to spark conversations about art collecting. Many are interested in collecting but think it requires a fortune. We want to show that unique art can be accessible at lower price points. Attending an art fair is a great way to explore various galleries and styles. It helps you discover your own preferences, whether you’re drawn to paintings, photographs, or conceptual art. At an art fair, you’ll encounter works that surprise you and others that you can’t resist.

    NM: What advice would you give to someone attending CHART for the first time?
    JQS:     Be very open to everything you see and be curious. Don’t hold back in asking questions to the galleries, they want to talk about the artworks they’re presenting. They’re there with a concept and a submission from the artist, and they want to share the artist’s stories and the concepts behind the works. You’re being introduced to so many different galleries, so take advantage of that.

    NM: Sustainability is an important focus for art fairs globally. How is CHART addressing this issue?
    JQS:     Having a sustainable strategy is essential for institutions and industries today. Last year, we joined the Gallery Climate Coalition (GCC) to actively report our carbon footprint and outline our sustainability plans. We take action by reducing printing, boosting social media visibility, and collaborating only with local food and drink partners. Instead of building new structures, we utilise existing ones. At the fair, we use glasses instead of plastic and have partnered with a transport company for shared transportation. We’re also organising meetings with the GCC to help our galleries adopt sustainability initiatives and focus on the Nordic region rather than flying in international galleries or artists. It’s important for CHART to be aware of its local footprint and support the Nordic community. We encourage collectors to plan purchases sustainably instead of opting for overnight shipping.

    NM: What is the biggest challenge in organising Chart?
    JQS:     The biggest challenge is that it takes a year to build up the fair. As a non-profit organisation, we really depend on funding, sponsorships, and partnerships. Without them, we can’t exist. Of course, our most important clients are the galleries. Without them, we wouldn’t exist either. Keeping the galleries as our priority is essential. One of the biggest challenges is being a non-profit organisation while growing and securing partners and sponsors every year.

    NM: We’ve talked about CHART in the context of the Nordics. What do you see as CHART’s role in the broader contemporary art ecosystem?
    JQS:     I see the Nordic art scene as very international. Artists represented by the galleries often go abroad, whether to study, participate in gallery shows, or exhibit in museums. I feel we have a very international art scene, and the galleries need to go beyond the Nordics to present their artists. I see a growing interest in the Nordic art scene, and it’s developing well, especially for emerging artists. However, it’s also a tough time due to the current economic situation.

    NM: Looking ahead, what are CHART’s ambitions to further sustainability and diversity within the programme and the Nordic art scene?
    JQS:     Of course, we want to be more visible in the Nordics. Right now, we’re focusing a lot on art professionals, combining them with the galleries and creating a network where curators, museum people, and others can come to the fair, meet the galleries, and connect with artists. For us, it’s about creating a platform where people in the industry can network. Another part of it is to remain as open and inclusive as possible for a broader audience.

    images courtesy of Joakim Züger / BARSK Projects
  • photography Josefin Osis
    fashion Ulrika Lindqvist
    hair and makeup Sandy Alfares
    all clothes Viktoria Chan
    all shoes Flattered

    An Interview With Viktoria Chan

    Written by Ulrika Lindqvist

    Structured elegance, subtle strength, and timeless design. Viktoria Chan’s fashion philosophy is as thoughtful as it is empowering. Since launching her eponymous brand in 2013, the Swedish-Chinese designer has redefined minimalism with a distinctly modern edge, creating pieces that elevate rather than overshadow the wearer. In this interview, Viktoria speaks with Odalisque about architectural inspiration, the art of balance in fashion, and how clothes can quietly yet powerfully boost confidence in the women who wear them.

    Ulrika Lindqvist: Your brand embodies structured simplicity and modern sophistication,aiming to empower the urban career woman. How do you translate these concepts into your designs?
    Viktoria Chan:     Simplicity is long lasting and classic, but it can sometimes also be soulless. So our motto in doing design is to always think beyond that, to bring personality in both the pieces and the wearer. As such we have a golden rule, to make something complicated simple, and to make something simple memorable. A very plain T-shirt is a go to in the wardrobe, but it is just a white T-shirt. However if we play with just one seem, it becomes something unique. This doesn’t mean that we just add details just because we have to, but every detail has to make sense!

    UL: Your philosophy emphasizes that it’s not the clothes that should be noticed, but the woman wearing them. How do you design pieces that enhance the wearers presence without overshadowing her?
    VC:     That is also aligns with the fact that we want to do minimalistic yet unique as it wont take over but only add flavor, to spice it up a bit with the same purpose make-up has. In Sweden we call “lagom”, it’s just the right amount of simplicity and complexity and that’s how we aim to enhance and bring personality to the wearer.

    UL. Architecture and natural movement inspire your signature silhouettes. Can you share how these elements influence your design process?
    VC:     In architecture, human body, art and in clothing there are a lot of similarities. The golden ratio is one of them where lines are drawn in the most visually balanced perspective. As such we can most often draw inspiration from both art and architecture as lines can all be applied in the same way. It can be constructed lines, folded pleats, bold swirls etc. The nature is also an important source where the nature has and creates a lot of beautiful elements such as stones, crystals, plants, and much more. For example the movement of the wind can be captured and implemented in our design by draping and choice of fabric.

    UL: Versatility is a key aspect of your collections, allowing for seamless transitions from day to night. How do you approach creating such adaptable pieces?
    VC:     There are different aspects that make it more or less dressed up. The choice of fabric, the design or the styling. Shiny fabrics are visually more dressed up, but styled with something casual, it has a perfect daily look. I personally love wearing nice satin trousers with an oversized top that can easily be transitioned from day to evening look. Some silhouettes are more dressed up already, which we intend to dress down by choosing for example linen or cotton.

    UL: Your designs feature neat tailoring, sleek colors, feminine lines, and minimalist details. How do you balance these elements to maintain your brands essence?
    VC:     I believe by having all these features merged together, that’s how we can maintain the brands essence. Of course, in our collection we have pieces that are more feminine, cooler, or cuter, but they are all representing VC but on different occasions.

    UL. Your collections showcase timeless design elements like knots and curves, infused with a unique, neutral sensibility. What inspires these recurring motifs in your work?
    VC:     As I mentioned before, I really like to express my creativity and design by playing with construction and deconstruction, how to manipulate lines, curves and knots that is shaped . But the details should not be excessive nor too much, they should look like they were meant to be there, just a subtle detail that gives the extra touch.

    UL: You launched your brand in late 2013 and have since expanded internationally. What challenges and milestones have you encountered during this journey?
    VC:     In every stage we face different types of challenges and then there are some challenges that is ongoing, so I guess it will always be like that. I studied business in school so apart from loving fashion, I had no experience nor knowledge about the fashion business. Adding to that, I had no network in fashion either on the Chinese or the Western market. In the beginning I faced challenges to find suppliers, photographers and then of course challenges related to marketing and sales. Apart from these, there are even more everyday micro-challenges to face, such as delivery time, counterfeit products, delays, market demands, and more. At the same time, every milestone is a success. Seeing every editorial, everyone buying and wearing VC, every new store and existing stores are all fractions of the journey that keeps us ongoing.

    UL. Your brand caters to the independent woman who empowers herself through personal style. How do you envision your designs supporting and enhancing this empowerment?
    VC:     I think it would be the answer to previous questions. I believe it’s important to dress for yourself and feel empowered from the inside. I try to boost this in my design, where details, patterns and material can make them feel confident about themselves. We have customers who come to us after a date and say they felt so beautiful that their confidence was noticed. We have customers who buy our pieces for work occasions and will also wear VC on important meetings and conferences because they feel more empowered in the clothing. And they wear it over and over again, it’s like their go to uniform when they’re about to make something important. In the end, we don’t do magic, but through small unique details, we can boost inner beauty, not take over only enhance the wearer.

    UL: Can you describe a typical day in your life as a designer? How do you balance the creative and business aspects of your role?
    VC:     In different periods I do different things. But on a normal day I would come to the office at 10 am starting with checking my emails, then do fabric purchasing, manage delayed stocks and placing more stocks, for lunch I do a quick take-out , followed by more admin tasks. In the afternoon I will start doing some creative design work. During my design period which usually lasts for 2 months in a row before every launch, I will be fully invested in design and fabric sourcing until late evenings. In those periods I normally go home at 8pm and continue working at home. I think the creative part is most difficult when there’s lack of inspiration but we have a deadline coming up.

    UL: Looking ahead, what are your aspirations for the future of your brand? Are there any upcoming projects or goals you’re particularly excited about?
    VC:     I hope to expand internationally, to gain a bigger follower and fan base, to get more retailers to carry us and to do runway shows. In China, if all goes as we want to, we hope to open a flagship store in a mall. The market is pretty unstable so we are very careful with big decisions now. And I also hope to expand our bridal line to different countries worldwide!

    bag Cos

    photography Josefin Osis
    fashion Ulrika Lindqvist
    hair and makeup Sandy Alfares
    model Stina / The Wonders

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