EmiliaBergmark

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	<title>EmiliaBergmark</title>
	<link>https://emiliabergmark.com</link>
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	<pubDate>Thu, 19 Feb 2026 13:43:29 +0000</pubDate>
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		<title>landningssida</title>
				
		<link>https://emiliabergmark.com/landningssida</link>

		<pubDate>Mon, 22 Jul 2019 20:20:08 +0000</pubDate>

		<dc:creator>EmiliaBergmark</dc:creator>

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		<title>About</title>
				
		<link>https://emiliabergmark.com/About</link>

		<pubDate>Thu, 08 May 2025 07:08:19 +0000</pubDate>

		<dc:creator>EmiliaBergmark</dc:creator>

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Read More:
von Bartha artist profile

Article Elephant Magazine
Artist of the week Artmatter.dk

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		<title>The Forest Tapestries</title>
				
		<link>https://emiliabergmark.com/The-Forest-Tapestries</link>

		<pubDate>Thu, 19 Feb 2026 11:24:48 +0000</pubDate>

		<dc:creator>EmiliaBergmark</dc:creator>

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Boreal Natural Forest, 2025

Narrative wool tapestry, 214 x 300 cm

The tapestry is inspired by the Kerrosmäki-forest, a boreal natural forest in Dalarna, Sweden. Along the lower black-and-white border of the tapestry, an ancient pine, which has lived in the forest for 350 years, shares its reflections on the changes it has witnessed in the Swedish forests. Its thoughts travel through its underground root communication system, popularly known as “the wood wide web.”

A natural forest is a forest that has never been clear-cut. It is a complex ecosystem shaped over thousands of years and home to a multitude of species. Many of the natural forests that once dominated the landscape of Sweden have been clear-cut, and a significant number of the species that once thrived there are now endangered. If the remaining natural forests are lost, biodiversity gets lost, and with it, ecosystems that may never be regained.

The tapestry’s motif is based on a species survey of the Kerrosmäki-forest conducted by Bergmark and forest biologist Sebastian Kirppu in the summer of 2024. The woven motif features the species found in the forest, including important biodiversity markers such as pine trees in all stages of their life cycles: ancient pines, silver logs, and charred stumps. 


Emilia Bergmark, exhibition view, Going, Going, Gone., view on Boreal Natural Forest, 2025, von Bartha, Basel, 2026. 
Photo: Finn Curry / von Bartha
	
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Boreal Tree Plantation, 2025

Narrative wool tapestry, 214 x 300 cm


The tapestry is inspired by a boreal tree plantation near the Kerrosmäki-forest in Dalarna, Sweden. In the comic-strip-style graphic of the bottom black-and-white border, a white moose tells the story, from its own perspective, of how Sweden has shifted from being a land rich in forest to one dominated by the tree plantations of the forestry industry. The moose thus acts as first-hand witness to the changes the forests have undergone and to the very real consequences for him and his co-inhabitants.


A tree plantation is an industrial forest, planted for harvesting within 60–100 years. Nearly all trees are of the same species and the same age. Many forest-dwelling species cannot survive in such forests, as these forests lack ecological diversity, continuity, and old or dead trees that can provide shelter and nourishment.


The tapestry’s motif is based on a species survey of the forest plantation conducted by Bergmark and forest biologist Sebastian Kirppu in the summer of 2024. The image depicts the species they found in the forest. The rich biodiversity found in natural forests is missing here, illustrated by the contrast between the two tapestries.

Emilia Bergmark, exhibition view, Going, Going, Gone., view on Boreal Forest Plantation, 2025, von Bartha, Basel, 2026. 
Photo: Finn Curry / von Bartha


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		<title>Norrlands Flora i Färg</title>
				
		<link>https://emiliabergmark.com/Norrlands-Flora-i-Farg</link>

		<pubDate>Mon, 22 Apr 2024 08:23:13 +0000</pubDate>

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	Photograpy by Malle Madsen
&#38;nbsp; &#38;nbsp; Norrlands Flora i Färg , 2023
Terravision, Von Bartha Copenhagen, DK, 2024 Varde 
 
Digital woven tapestry in plant dyed wool, 170 x 210 cm.Norrlands Flora i Färglooks upon the meadows of north Sweden and its flora. During a recidency in the north of Sweden, Bergmark was interested in meadows, an inherently antropocentric type of landscape with a rich flora and fauna. Meadows and the rich biological diversity they are home to, are rapidly disappearing from the Scandinavian landscape as traditional farming with gracing cattle is replaced with industrial large scale agriculture.


The sketches from the residency was developed into a three-part-tapestry woven at a digital loom during a residency at Statens Værksteder for Kunst. It is a narrative tapestry that is a portrait of a landscape through its flora, and a portrait of time, by way of the changes to that flora. The material that make up the tapestry is Swedish wool dyed in the eighties by the artist’s mother with local plants. Using this plant dyed yarn Bergmark portrays the wild flowers of the meadow. The material’s history is closely tied to the motif itself –the yarn is spun from wool, cut from sheep that graced the meadow and given colour by flowers from that same landscape.


The tapesty is part of the ongoing research project Human Nature (2021–2026). Here the artist creates a series of narrative tapestries about the post-industrial nature in Scandinavia. Each work focuses on a specific landscape and the stories and creatures that inhabit it.


&#38;nbsp;


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		<title>Verdens Ende</title>
				
		<link>https://emiliabergmark.com/Verdens-Ende</link>

		<pubDate>Mon, 22 Apr 2024 07:48:48 +0000</pubDate>

		<dc:creator>EmiliaBergmark</dc:creator>

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Photography by Rikke Ehlers and Scott Raby&#38;nbsp; &#38;nbsp; Verdens Ende, 2023‘Verdens Ende’ a solo exhibition by Emilia Bergmark at Skal Contemporary, Skagen, DKIf we imagine the horizon for our inner gaze, what does it look like? Perhaps it is exactly the point where the sky meets the sea. Maybe there is only sky and sea. Perhaps it seems untouched by human influence. And perhaps such a horizon does not exist at all in the world we inhabit.The newly produced exhibition Verdens Ende by Emilia Bergmark tells a story about the landscape at Skagen in our anthropocene age where nothing is untouched by humans; not even the sky meeting the sea at the horizon, or the flight of birds crossing the sky. Central to the exhibition is a large woven tapestry, the motifs of which were created during a stay at the Skagen Fuglestation (Det Grå Fyr), where Bergmark in the early spring of 2023 lived and worked together with the local and international community of bird watchers, researchers, and birds who live on site.Verdens Ende takes its point of departure from Grenen near Skagen, but just like the migratory birds that migrate from Grenen to large parts of the world, the exhibition also relates to global tendencies and challenges. We live in the midst of a mass extinction caused by human's predatory nature and overuse of its resources. Bird life, which can be observed at Skagen, for example, is an important indicator of the state of the local and global ecosystems. Changes in the bird population are an essential indicator of biological cascade effects, and it has therefore been particularly interesting for Bergmark to investigate a place where the birds have been the protagonists for a long time.
Verdens Ende was curated by Anne Møller Christensen and Sara Løvschall Grøntved and kindly supported by the Danish Arts Foundation, North Denmark Region, 15 Juni Fonden, the Municipality of Frederikshavn, and Grosserer L.F. Foght's Fond. Emilia Bergmark has collaborated with the Naturstyrelsen Vendsyssel, Skagen Fuglestation, and a number of knowledgeable locals in the development of the exhibition.
Curatorial text written by&#38;nbsp; Anne Møller Christensen and Sara Løvschall Grøntved


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&#38;nbsp; &#38;nbsp;Verdens Ende, 2023A narrative tapestry in wool, woven on a digital TC2 loom,&#38;nbsp; machine embrioidered text and graphics, 210 cm x 270 cm.The World’s End is the name of the outermost peninsula of Skagen where many of the local birders go to count birds. Bergmark borrows this ominus name for her large narrative tapestry that turns our gaze to the horizon. The motif tells a story of an age where nothing is untouched by humans, not even the sky that meets the sea at the horizon, or the flight of birds crossing the sky. 

Bergmark builds a visual narrative of the ongoing ecological crises in a time when the impacts of climate change and biodiversity loss are increasingly perceptible in our everyday life. Dead fish are washed ashore, suffocated by oxigen depletion, the weather is crazy, the fall is hot, and violent cloudbursts cause floods all over Denmark. Embroidered on the weave are short texts that capture feelings of fear, sorrow, and loss sometimes diagnosed as climate anxiety. The work is produced at the National Workshops for Arts. The machine embroidery is made by Malmö Embroidery. The yarn is dyed with plant dyes and acid dyes with Karin Bergmark.&#38;nbsp;


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		<title>Going, Going, Gone.</title>
				
		<link>https://emiliabergmark.com/Going-Going-Gone</link>

		<pubDate>Thu, 19 Feb 2026 13:20:52 +0000</pubDate>

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Emilia
Bergmark
Going,
Going, Gone.January
16–March 7, 2026
von
Bartha, Basel

An
exhibition about Swedish forests, endangered species, and a special
place in heaven where extinct animals go.

In
her work, Emilia Bergmark reflects on the rapidly changing natural
environment of her Nordic homeland. Two large, narrative tapestries
trace the post-industrial shift of Sweden’s natural forests, while
additional textile and ceramic pieces pay tribute to extinct and
endangered species. For them, the artist has created a heavenly
sanctuary, realized in a striking installation made specifically for
the ceiling window at von Bartha in Basel, Switzerland.


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EX
(Passenger Pigeon),
2025

Wall
installation of ceramics with fluorescent red fly-tying eyes, 300 x
500 cm

The
installation portrays a flock of passenger pigeons flying toward the
gallery’s ceiling window. Once the most abundant bird species in
North America, passenger pigeons formed enormous flocks that could
block the sun for hours or even days as they passed. The species was
since driven to extinction due to intensive hunting and
deforestation. EX (extinct) is a reference to the species’ Red List
classification.

Through
the use of materials – clay pigeons and fluorescent red eyes used
for fly fishing, representing the passenger pigeon’s characteristic
carmine-red eyes – the installation references hunting and fishing.
Both practices have, throughout the history of mankind, led to
species becoming extinct as humans have spread across the globe,
disrupting the natural ecological balance of diverse ecosystems,
making humans the ultimately most invasive and destructive species.


Emilia Bergmark, exhibition view, Going, Going, Gone., view on EX (Passenger Pigeon), 2025, von Bartha, Basel, 2026. Photo: Finn Curry / von Bartha


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YOLO
Dodo,
2026

Four-panel
painting on repurposed fabric, 342 x 416 cm

YOLO
Dodo&#38;nbsp;is a large-scale work made specifically for the ceiling window at von
Bartha in Basel. Looking down at the visitors is a dodo, accompanied
by five passenger pigeons, a bluebuck, a loomery of great auks, a moa
bird, a swarm of Roberts Stoneflies, a huia, a southern pig-footed
bandicoot, a Pecatonica River mayfly, a golden toad, a robust
burrowing mayfly, a Falkland Islands wolf, a smilodon, a
gastric-brooding frog, a Stephens Island wren, a slender-billed
curlew, a Bramble Cay mosaic-tailed rat, a Spix's macaw, an aurochs,
and a Caribbean monk seal.

All
of these species were driven to extinction as a result of human
activity, whether it be hunting, climate change, or diseases
introduced by humans to new continents. The story of each species’
extinction resembles a saga or a modern mythology. 

YOLO
Dodo portrays the animals looking down on visitors. In turn, visitors
are granted a glimpse of a special place in heaven where extinct
animals spend their afterlife, safe from humans.
Painted
on repurposed hospital sheets, the choice of material forms a bond
between fragile, sick, and perhaps dying humans and their extinct
animal counterparts.


Emilia Bergmark, exhibition view, Going, Going, Gone., view on 
YOLO Dodo, 2025, von Bartha, Basel, 2026. Photo: Finn Curry / von Bartha


	&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/bba4fbf8d2c99a3800afac92ef22ae46364cacd6303b37a9e315c5cbe5b68b06/Emilia_Bergmark_Going_Going_Gone_2026_04.jpg" data-mid="245067038" border="0"  src="https://freight.cargo.site/w/1000/i/bba4fbf8d2c99a3800afac92ef22ae46364cacd6303b37a9e315c5cbe5b68b06/Emilia_Bergmark_Going_Going_Gone_2026_04.jpg" /&#62;


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NT
(Garnlav),
2025Jacquard wool weave and embroidery, 77 x 106 cm
VU
(Knärot),
2025Jacquard wool weave and embroidery, 77 x 106 cm

NT
(Lunglav),
2025
Jacquard wool weave, 77 x 106 cm


NT
(Tallticka),
2025Jacquard wool weave, 77 x 106 cm


The
four textile works portray threatened species living in the Swedish
forests. Such species are often difficult for the human eye to
perceive; they may be small, shy, hidden in deadwood, or very rare.
By remixing traditional Swedish textile techniques and local
patterns, Bergmark has created vibrant portraits of each species,
magnifying their size and giving them a visual presence that cannot
be overlooked.

The
labels NT (near threatened) and VU (vulnerable) refer to a species’
status on the so-called Red List, an international system that
assesses the conservation status and extinction risk of species. In
Sweden, species surveys are one of the few tools available to
activists seeking to prevent the logging of biodiverse natural
forests. If several threatened species are found in a forest
scheduled for clear-cutting, logging
permits can be paused or contested. As a result, NT- and VU-listed
species, especially the small orchid knärot, are
loved by activists and biologists and hated by the forest forestry
industry.


Emilia Bergmark, exhibition view, Going, Going, Gone., view on 
NT (Garnlav) and VU (Knärot, both 2025, von Bartha, Basel, 2026. Photo: Finn Curry / von Bartha


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</description>
		
	</item>
		
		
	<item>
		<title>Clear-Cut</title>
				
		<link>https://emiliabergmark.com/Clear-Cut</link>

		<pubDate>Thu, 19 Feb 2026 13:43:29 +0000</pubDate>

		<dc:creator>EmiliaBergmark</dc:creator>

		<guid isPermaLink="true">https://emiliabergmark.com/Clear-Cut</guid>

		<description>&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/b800cdb6864323b07e30c8ac2b5cf2aefcc0c623c7e8aa769c68fae0dcdc74df/002_250714_EB_clear_cut_MD_4707.jpg" data-mid="245067754" border="0"  src="https://freight.cargo.site/w/1000/i/b800cdb6864323b07e30c8ac2b5cf2aefcc0c623c7e8aa769c68fae0dcdc74df/002_250714_EB_clear_cut_MD_4707.jpg" /&#62;
	

CLEAR-CUT, 2025


Exhibition at Orsa Konsthall showcasing two large narrative tapestries, drawings and sculptures.


The summer exhibition ’Clear-cut’ by Emilia Bergmark at Orsa Konsthall, centres on Sweden’s forests in a time of climate crisis and biodiversity loss. In the small town of Orsa, forestry has shaped both the land and the lives that grew up around it. It helped build the village and laid the groundwork for the regional welfare. But today, only fragments remain of the old, ecologically rich forests once rooted here.


In the summer of 2024, Bergmark spent time in Orsa, walking through the woods, speaking with biologists, forest owners and foresters. She listened to their stories and perspectives - personal, practical, scientific - and gathered them into a larger question: what is a forest, really? And what kind of forests do we want for the future?

From this fieldwork, ’Clear-cut’ took shape. At its core are two woven tapestries, each telling the story of a forest. One shows a natural, ancient woodland - an unruly, living world, shaped over millennia, teeming with species and symbiotic life. The other depicts a plantation: straight lines of identical trees, planted to be felled in steady cycles, measured in decades.


Many of the plants, fungi and animals that thrive in wild forest can’t survive in the uniform landscapes of the production forest. Though Sweden is still rich in trees, the last old-growth forests - those that have grown wild, 
untouched by machines and clear-cutting - are disappearing. And once they’re gone, we may never see their like again.

Throughout the exhibition, threads of imagery and language tangle and connect. Lichens like quiet signals of age. 


Daldräll and Rosengång, regional weaving patterns. Root threads and fungal networks. Fäbodristningar, carved messages from the past. Knärot, a shy orchid that live in the wet mosses of old-growth forests. Moose. Pine. Clear-cuts. Together, they form a web of local forest lore - one that reflects much broader, planetary questions about how we live with and within nature.


The exhibition was kindly supported by Region Dalarna, Danish Art Foundation, Danish National Workshops for Art, Orsa Besparingsskog, Grosserer L. F. Fogats Fond, Jorck’s Fond, Vevft and Leveld Kunstnartuin. In the making of the exhibition Emilia have received help and knowledge from Naturskyddsföreningen i Orsa, Skydda Skogen, Orsa Besparingsskog, Spillkråkan, Orsa hembygdsgård, and several knowledgeable locals, thank you for your generosity.


Emilia Bergmark, exhibition view, Clear-Cut, Orsa Konsthall, Orsa, 2025. Photo: Maja Daniels


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Cut and Burn


Twelve charcoal drawings in charred pinewood frames, 36x45 cm


In the series ’Cut and Burn’, we see charcoal drawings made in the summer of 2024 in two old natural forests near Orsa, which are about to be logged or have already been clear-cut. These forests had high ecological value and were home to several endangered species that were destroyed during logging.


The series title ’Cut and Burn’ is a commentary on the fact that 80% of the wood that is logged is turned into short-lived products like toilet paper, packaging, and biofuels. Most of the harvested wood, therefore, ends up as products that are soon burned up. The frames are custom-made by designer Christian Fisker, using charred pine wood, with carvings inspired by ’fäbodristningar’ a type of local engravings in trees.

Emilia Bergmark, exhibition view, Clear-Cut, Orsa Konsthall, Orsa, 2025. Photo: Maja Daniels


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</description>
		
	</item>
		
		
	<item>
		<title>Det vokser vildt!</title>
				
		<link>https://emiliabergmark.com/Det-vokser-vildt</link>

		<pubDate>Thu, 19 Feb 2026 13:07:30 +0000</pubDate>

		<dc:creator>EmiliaBergmark</dc:creator>

		<guid isPermaLink="true">https://emiliabergmark.com/Det-vokser-vildt</guid>

		<description>&#60;img width="2700" height="1800" width_o="2700" height_o="1800" data-src="https://freight.cargo.site/t/original/i/e0e8db12b4f17236ce393e95d23e3eb6e5c76010fe700fd55beaba7832d308f0/2_Oversigtsbillede_Det-vokser-vildt_Emilia-Bergmark_Mrkhj-Park_005_Photo-by-David-Stjernholm.jpg" data-mid="245066813" border="0"  src="https://freight.cargo.site/w/1000/i/e0e8db12b4f17236ce393e95d23e3eb6e5c76010fe700fd55beaba7832d308f0/2_Oversigtsbillede_Det-vokser-vildt_Emilia-Bergmark_Mrkhj-Park_005_Photo-by-David-Stjernholm.jpg" /&#62;
	IT’S GROWING WILD! is a 22-meter-long wall frieze created by the artist Emilia Bergmark for the newly renovated Enghavegård School and the cultural center Mørkhøj Park in Gladsaxe Municipality.

The wall frieze, made of valchromat and ceramics, reflects the natural surroundings of Mørkhøj Park and its development from a flourishing meadow landscape to lawns with hardy invasive plant species. Across several floors, the artwork invites viewers to explore the life unfolding above and below the ground among flowers and insects. The narrative and figures of the piece were developed in dialogue with students from Enghavegård School through a workshop program at the Urban Ecology Center in Gladsaxe.

The work was commissioned by Gladsaxe Municipality. Lotte Boesen Toftegaard of Umage served as the artistic advisor on the project. The production was supported by the Danish Art Workshops and the Danish Arts Foundation. Signage design by Kiosk Studio. 
Photography: David Stjernholm
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	</item>
		
		
	<item>
		<title>Spurvevenner</title>
				
		<link>https://emiliabergmark.com/Spurvevenner</link>

		<pubDate>Wed, 07 May 2025 06:15:44 +0000</pubDate>

		<dc:creator>EmiliaBergmark</dc:creator>

		<guid isPermaLink="true">https://emiliabergmark.com/Spurvevenner</guid>

		<description>
	
	
Gråspurvevenner, 2024Public art comission for Spurvelundsskolen a primary school in Odense. A wind vane mounted on the top of a flag pole. 


	&#60;img width="2500" height="3125" width_o="2500" height_o="3125" data-src="https://freight.cargo.site/t/original/i/9aec7d43907f682dbfe1db9b9246cf2ae7dbc29a13f2971d6a602b45aef00c51/Emilia-Bergmark_Spurvevenner_Portrait-45-WEB.jpg" data-mid="232881640" border="0"  src="https://freight.cargo.site/w/1000/i/9aec7d43907f682dbfe1db9b9246cf2ae7dbc29a13f2971d6a602b45aef00c51/Emilia-Bergmark_Spurvevenner_Portrait-45-WEB.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Narrative Container (Tulipomania)</title>
				
		<link>https://emiliabergmark.com/Narrative-Container-Tulipomania</link>

		<pubDate>Fri, 18 Feb 2022 13:13:21 +0000</pubDate>

		<dc:creator>EmiliaBergmark</dc:creator>

		<guid isPermaLink="true">https://emiliabergmark.com/Narrative-Container-Tulipomania</guid>

		<description>
	
	
&#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021


’Flowers in Art’ Arken Museum of Modern Art, DK, 2021


A ceramic vase in marbled ceramics decorated with engobe and engraved motifs. In the vase is a series of nineteen sequential bouquets of fresh flowers, one for each week of the exhibition. Each bouquet spells out a sentence in the language of flowers.&#38;nbsp;
In the exhibition ’Flowers in Art’ at Arken, 4 September – 9 January 2022 an arrangement of living flowers adorns a vase. On the vase we see a series of engraved images. The pictures on the vase narrates the seventeenth-century tulip crisis, generally regarded as history’s first financial bubble. The flowers in the vase tell their own story about the crisis through the flower language of the nineteenth century. Here, each flower were ascribed a specific meaning and bouquets were used to transmit emotional messages that were too inappropriate to say aloud. Using this cryptological language known as the language of flowers, the artist has translated a text of nineteen sentences, into nineteen bouquets that replace one another, one for each week of the exhibition. The text of nineteen lines will slowly unfold during the course of the exhibition, into a story about the flower industry, consumer culture and the commodification of nature.&#38;nbsp;Supported by Statens Kunstfond, DK.&#38;nbsp;
Flowers arranged in collaboration with Holly Flower Studio.&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;


&#38;nbsp;


	&#60;img width="2000" height="2800" width_o="2000" height_o="2800" data-src="https://freight.cargo.site/t/original/i/dd815ecb6e6a06bef42f6d09819e02984f97a9f27e7cb2afe496130382049b8f/BLOMSTERN-I-KUNSTEN_ARKEN_013_Photo-by-David-Stjernholm.jpg" data-mid="158309002" border="0"  src="https://freight.cargo.site/w/1000/i/dd815ecb6e6a06bef42f6d09819e02984f97a9f27e7cb2afe496130382049b8f/BLOMSTERN-I-KUNSTEN_ARKEN_013_Photo-by-David-Stjernholm.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;(01) Boom to Bust, Commodity and Lust&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

	&#60;img width="1875" height="2500" width_o="1875" height_o="2500" data-src="https://freight.cargo.site/t/original/i/cdc5ddaee61586d8fcbb815214a5f9213a4b2df3778467cca6315ec4ebd64daa/01_DS_Boom-to-Bust-Commodity-and-Lust.jpg" data-mid="158309068" border="0"  src="https://freight.cargo.site/w/1000/i/cdc5ddaee61586d8fcbb815214a5f9213a4b2df3778467cca6315ec4ebd64daa/01_DS_Boom-to-Bust-Commodity-and-Lust.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (02) In the first modern economy&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="4357" height="5808" width_o="4357" height_o="5808" data-src="https://freight.cargo.site/t/original/i/a1e26dd220c927d24e2f983388d15a7b21e5eadb17626f0325784f5fe95e3be0/02_In-the-first-modern-economy.jpg" data-mid="158300042" border="0"  src="https://freight.cargo.site/w/1000/i/a1e26dd220c927d24e2f983388d15a7b21e5eadb17626f0325784f5fe95e3be0/02_In-the-first-modern-economy.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;(03) Colonies and trade, a new kind of wealth&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;  &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3662" height="4883" width_o="3662" height_o="4883" data-src="https://freight.cargo.site/t/original/i/7cdbc0cb7467acc399afbdeae4e0f08a3d6293f3a7eaedf8cd5992bcc1e866be/03_Colonies-and-trade--a-new-kind-of-wealth.jpg" data-mid="158300043" border="0"  src="https://freight.cargo.site/w/1000/i/7cdbc0cb7467acc399afbdeae4e0f08a3d6293f3a7eaedf8cd5992bcc1e866be/03_Colonies-and-trade--a-new-kind-of-wealth.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (04) Renaissance explorers of botany &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="2309" height="3079" width_o="2309" height_o="3079" data-src="https://freight.cargo.site/t/original/i/e14eabe64205631eb5a6da2e556fce587c9e6da4a724e4d6138c0146484b6360/04_Renaissance-explorers-of-botany.jpg" data-mid="158300044" border="0"  src="https://freight.cargo.site/w/1000/i/e14eabe64205631eb5a6da2e556fce587c9e6da4a724e4d6138c0146484b6360/04_Renaissance-explorers-of-botany.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (05) Collecting curiosities and wunders of the world &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3974" height="5298" width_o="3974" height_o="5298" data-src="https://freight.cargo.site/t/original/i/0cb19e4dcc720d42378c0c9d50c7365a47a47ff6281515d9851c4b0720981ada/05_Collecting-curiosities-and-wunders-of-the-world.jpg" data-mid="158300045" border="0"  src="https://freight.cargo.site/w/1000/i/0cb19e4dcc720d42378c0c9d50c7365a47a47ff6281515d9851c4b0720981ada/05_Collecting-curiosities-and-wunders-of-the-world.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (06) New luxury products&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="4164" height="5552" width_o="4164" height_o="5552" data-src="https://freight.cargo.site/t/original/i/338d3fe30dd3a7b85da0d69f742dcf0d012bce76a22dab5534af2633bbd37465/06_New-luxury-products.jpg" data-mid="158300046" border="0"  src="https://freight.cargo.site/w/1000/i/338d3fe30dd3a7b85da0d69f742dcf0d012bce76a22dab5534af2633bbd37465/06_New-luxury-products.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (07) A new found obsession with tulip bulbs unfurled&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3438" height="4584" width_o="3438" height_o="4584" data-src="https://freight.cargo.site/t/original/i/325482b55fd7356dfeebab063b156fb7f5e338a829aae4e5e2df7e01cf1661c4/07_A-new-found-obsession-with-tulip-bulbs-unfurled.jpg" data-mid="158300047" border="0"  src="https://freight.cargo.site/w/1000/i/325482b55fd7356dfeebab063b156fb7f5e338a829aae4e5e2df7e01cf1661c4/07_A-new-found-obsession-with-tulip-bulbs-unfurled.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (08) Broken bulbs – multicoloured profit&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
	&#60;img width="3542" height="4723" width_o="3542" height_o="4723" data-src="https://freight.cargo.site/t/original/i/44f764c07aed2df731f4d0b2b0a68120c00c4b4b6bbabd8c88ea0a208d365e3f/08_Broken-bulbs--multicoloured-profit.jpg" data-mid="158300048" border="0"  src="https://freight.cargo.site/w/1000/i/44f764c07aed2df731f4d0b2b0a68120c00c4b4b6bbabd8c88ea0a208d365e3f/08_Broken-bulbs--multicoloured-profit.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (09) November 1636 – bulbs dug in the ground&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
	&#60;img width="3705" height="4940" width_o="3705" height_o="4940" data-src="https://freight.cargo.site/t/original/i/1808580e134443ec98c2957df191d4467de0717438e2da5a5bd7d86b19d4551a/09_November1636--bulbs-dug-in-the-ground.jpg" data-mid="158300050" border="0"  src="https://freight.cargo.site/w/1000/i/1808580e134443ec98c2957df191d4467de0717438e2da5a5bd7d86b19d4551a/09_November1636--bulbs-dug-in-the-ground.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (10) Hidden signal-less capital&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3516" height="4688" width_o="3516" height_o="4688" data-src="https://freight.cargo.site/t/original/i/80febc932b8ed289e27f09ee07dccbe4980840aea451010c436964a9e5921c55/10_Hidden-signal-less-capital.jpg" data-mid="158300051" border="0"  src="https://freight.cargo.site/w/1000/i/80febc932b8ed289e27f09ee07dccbe4980840aea451010c436964a9e5921c55/10_Hidden-signal-less-capital.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (11) Trade all night debauchery, prices that astound&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3837" height="5116" width_o="3837" height_o="5116" data-src="https://freight.cargo.site/t/original/i/f964d12b7e8d089bdcc80a825dc3748624c5bc3c463234abb9c0086b78433e20/11_Trade-all-night-debauchery--prices-that-astound.jpg" data-mid="158300052" border="0"  src="https://freight.cargo.site/w/1000/i/f964d12b7e8d089bdcc80a825dc3748624c5bc3c463234abb9c0086b78433e20/11_Trade-all-night-debauchery--prices-that-astound.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (12) Tulip futures – just scraps of paper&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3948" height="5264" width_o="3948" height_o="5264" data-src="https://freight.cargo.site/t/original/i/a39e66d33698a4df503445ff481db1145bc40ddae7d68792dc52187565d8597c/12_Tulip-futures--just-scraps-of-paper.jpg" data-mid="158300053" border="0"  src="https://freight.cargo.site/w/1000/i/a39e66d33698a4df503445ff481db1145bc40ddae7d68792dc52187565d8597c/12_Tulip-futures--just-scraps-of-paper.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (13) Everyone loves tulips, tulips, tulips, tulips, tulips, tulips&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3879" height="5172" width_o="3879" height_o="5172" data-src="https://freight.cargo.site/t/original/i/c40587f2157f2c24b826dff16fd62b83708359f6c658b54a67b07e544cfc2081/13_Everyone-loves-tulips--tulips--tulips--tulips--tulips--tulips.jpg" data-mid="158300054" border="0"  src="https://freight.cargo.site/w/1000/i/c40587f2157f2c24b826dff16fd62b83708359f6c658b54a67b07e544cfc2081/13_Everyone-loves-tulips--tulips--tulips--tulips--tulips--tulips.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (14) Riches and status with tulips, tulips, tulips, tulips, tulips, tulips&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3694" height="4925" width_o="3694" height_o="4925" data-src="https://freight.cargo.site/t/original/i/71db414a9ebd1912dce8bf90604259badfb2904b6c63bce63ab71cca87ab8a65/14_Riches-and-status-with-tulips--tulips--tulips--tulips--tulips--tulips.jpg" data-mid="158300055" border="0"  src="https://freight.cargo.site/w/1000/i/71db414a9ebd1912dce8bf90604259badfb2904b6c63bce63ab71cca87ab8a65/14_Riches-and-status-with-tulips--tulips--tulips--tulips--tulips--tulips.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (15) February – tulip sprouts pop with tulips, tulips, tulips, tulips, tulips, tulips&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3650" height="4867" width_o="3650" height_o="4867" data-src="https://freight.cargo.site/t/original/i/fbc7913efc4df64c14c16fe6cc2577c7f95b7afbe6397e8a6acfadbf7f4ef4ad/15_February--tulip-sprouts-pop-with-tulips--tulips--tulips--tulips--tulips--tulips.jpg" data-mid="158300056" border="0"  src="https://freight.cargo.site/w/1000/i/fbc7913efc4df64c14c16fe6cc2577c7f95b7afbe6397e8a6acfadbf7f4ef4ad/15_February--tulip-sprouts-pop-with-tulips--tulips--tulips--tulips--tulips--tulips.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (16) And here comes the trouble&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3976" height="5302" width_o="3976" height_o="5302" data-src="https://freight.cargo.site/t/original/i/267569f1bc93bfa95a0eec1c2522f0802f77786e9d97dc53d49170b46013e0fb/16_And-here-comes-the-trouble.jpg" data-mid="158300057" border="0"  src="https://freight.cargo.site/w/1000/i/267569f1bc93bfa95a0eec1c2522f0802f77786e9d97dc53d49170b46013e0fb/16_And-here-comes-the-trouble.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (17) Too many tulips to support the price&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3935" height="5247" width_o="3935" height_o="5247" data-src="https://freight.cargo.site/t/original/i/8b670d327333e17f3d0b45b8b09c8c0af3c9d4c7ffa62e4fafe51b2fb4951e63/17_Too-many-tulips-to-support-the-price.jpg" data-mid="158300058" border="0"  src="https://freight.cargo.site/w/1000/i/8b670d327333e17f3d0b45b8b09c8c0af3c9d4c7ffa62e4fafe51b2fb4951e63/17_Too-many-tulips-to-support-the-price.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (18) BOOM! Goes the bubble&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3728" height="4971" width_o="3728" height_o="4971" data-src="https://freight.cargo.site/t/original/i/4cca1030da7fda559e8bb35ac3de57ad42920c80f16ce4519edb85425e518200/18_BOOM-Goes-the-bubble.jpg" data-mid="158300059" border="0"  src="https://freight.cargo.site/w/1000/i/4cca1030da7fda559e8bb35ac3de57ad42920c80f16ce4519edb85425e518200/18_BOOM-Goes-the-bubble.jpg" /&#62;

	Emilia Bergmark &#38;nbsp; &#38;nbsp; Narrative Container (Tulipomania), 2021 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; (19) Boom to bust, implosion of trust&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	&#60;img width="3897" height="5196" width_o="3897" height_o="5196" data-src="https://freight.cargo.site/t/original/i/b32a97b8ce856ef16eba1466adf39abf2e8d7f97b38dd1612d1993f49ef55933/19_Boom-to-bust--implosion-of-trust.jpg" data-mid="158300060" border="0"  src="https://freight.cargo.site/w/1000/i/b32a97b8ce856ef16eba1466adf39abf2e8d7f97b38dd1612d1993f49ef55933/19_Boom-to-bust--implosion-of-trust.jpg" /&#62;
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