"Traveling from Vancouver to Rejmyre – I thought: will I ever find my way back home?
In actions I re-enacted my childhood-games, using materials that exist and inform my grown-up consciousness.  Via the device of regression I have tried to create a map that might help me find my way home." - Anna Karin Johansson  

"In an effort to shift focus towards working with Rejmyre as site, I inhabited the inside of the old glass mill, in an empty space that was once used for storage.  Here I carried out four 'urges' to try to become familiar with the space. "The four urges (extractions and imaginations of a place)", with four subtitles: "Sound recorded with no-one in the room", "Segment with surface removed (194 grams of dust)", "The death of a glassworker" and "Imprints of a wall", I investigated the materiality of layers of dirt, the residue of wall paint turning slowly to dust and the soundscape of an empty room where sound was echoing from the floors underneath and the roof above. In the smallest room, farthest away from the exit, a mass of blood-red and bone-white glass shards from the factory was piled on the floor to satisfy my imagination of a past, fatal event taking place in these deserted spaces." - Stine Bidstrup

"The notion of ‘right’ and ‘wrong’ place [from the Miwon Kwon text we explored in the theory reading group] became a model for working with the town of Rejmyre. Being trained as an architect I am concerned with place not only physically, but also on social, political, and cultural terms. My goal since my arrival has been to exercise these terms as way to question fixed identities, and perhaps heighten tensions.

All my projects here were thought of as collaborative works, some informed and made by the community and others as offerings to be interacted with by the community." - Alex Auriema

"For me the ideal place takes certain elements of the known and the unknown to fulfil its title of the “ideal”; 1) one should be a foreigner, 2) but a foreigner who to some degree understands the spoken language, and 3) a foreigner who is physically neutral.

These elements form a situation where the surroundings can be experienced as through a filter. Being on foreign ground, ground that does not tie into one’s history and identity creates a condition that allows one to take on the role of the observer, of covert “other” rather than active participant. Within these parameters the feeling of the recognizable, the familiar is mixed and challenged with the unfamiliar and strange. The experience can manifest itself, given each individual, as a synchronicity of elements or as a complete disparity of elements. In this spirit I asked the group to go for a walk in the forest listening to a soundtrack that I provided. This work solicited a variety of reactions that passively or actively accepted or denied the juxapositon of site and sound - of union or elimination." - Pernille Braun

"Loveable places in Rejmyre marked out by a kiss and suggestions how to visit them.

The list is random, the different places are equally loveable,

If You have suggestions or find a new loveable place in Rejmyre, then kiss it and send the update to: nina@ninawestman.se...

...4.
The attic. Above the café lies an attic where time has stood still. Ask permission to enter. Pretend that You are a glassblower ghost.

5.
The café “Lill Annas Café”. Fantastic breakfast served by fantastic ladies.
Ask for extra butter in Your oatmeal.

6.The Glassfactory. Enter the factory and pretend that You are the little boy in the movie “Mitt liv som hund”. If You don’t know that movie, just pretend that it is 1850..."
- text from Love Trail of Rejmyre by Nina Westman

"I gathered broken glass pieces at the factory’s trash site and puzzled them together in a small secret room in the attic of the studio building. At the same time, I left a pile of gum for the glassworkers to chew, along with a receptacle for the chewed pieces and a written request for their asssistance in chewing the gum for me. I waited for them to be chewed and retrieved the results. Through these practices and actions, I was attempting to make a comment on the current situation of Rejmyre. As time passed, however, I realized how little I knew about this town and began to question all my thoughts. Do I really know Rejmyre? The essence of Rejmyre is not easy to ascertain nor is it something I can determine. I realized I didn’t have any right to define Rejmyre, being there doesn’t mean belonging there." - Jimin Park

"The Camper has, for me and as a final work, come to symbolize the core of the Rejmyre Matters workshop. It’s about the idea of memory as a place and how to interact in other people’s memory as to create a fictive place. I’m telling a story about "our" great camp-experience to a group of people to whom I’ve redistributed [in the form of individualized letters] a memory which is not theirs. The story inter-weaves these redistrtibuted memories. Does the story become real in the recognition of fragments in the story? Do I create a place inside the groups memory? Can that place be real?" - Ylva Holmén