TASTELESS, ODOURLESS, NONETHELESS

 

The gallery doors stay closed. No entry. Quarantine. The space remains empty, alone, visible only through the thick glass of the window – sanitized, virtualized. Through its sheer visibility, the gallery becomes a liminal space and, walking this fine line, the artworks challenge the division between private and public space, between political and intimate.

Just outside of the gallery, like a mirror of the space beyond the glass, is With regards, family and friends by Yogesh Barve. Inspired by sociologists like W.E.B. du Bois and the language of data visualization, the marks on the pavement transpose the per capita residential area in Bombay and the living space per body in the city. By letting passersby interact with the scale of the spaces, Barve makes the public experience the data physically instead of conceptually.

The sound of the 5th December protest in Paris – the beginning of one of the longest national strikes in French history – fills the empty space of the gallery and spills into the street. Through a genuine “performativity of listening” and the act of walking, Niccolò Moscatelli injects a narrative in the record and a dynamic that goes constantly from the collective to the individual and back. The bodies of the people are absent, evaporated by harsher and harsher laws and the sanitary state of emergency that condemned the public practice of politics. Still, the voices, the laughs, the screams, songs and chants are still audible, – like the ghost of a protest, ensemble, marche, proteste resists the passing and disappearance.

Visible through the glass screen, Anno Domini by Saviya Lopes appropriates some of Artemisia Gentileschi’s biblical scenes portraying women and turns them into memes critiquing the male domination of public space. Taking from her own experience and from scholar Shilpa Phadke’s work around loitering, Lopes gives these women active agency and makes them defy the men surrounding them. At the same time, the work questions the “publicness” of public space for women, from biblical times, to the Renaissance until today. 

While having an immense impact on our world, the actual context is not the cause of the issues the works touch, from the suppression of political freedom and democracy, to the policing of women’s bodies in the urban environment, to the overcrowding and housing conditions in our metropoles and many others. Today they are simply exacerbated, stretched to the extreme.

Geraldine Hudson

 

Geraldine Hudson

Rites of Spring – between Ostara and Beltane

25/4 – 3/5 2020

Första akten 25 april 20.00

Andra akten 26 april 20.00

Tredje akten 2 maj 20.00

3 maj öppet 12-17 med bokrelease.

Rites of Spring – between Ostara and Beltane

You are warmly welcomed to observe (through the window) a performative ritual act of invocation and votive sacrifice … As now we exist, in a time which is having a profound affect on us all unreservedly … you are invited to an act which doesn’t propose to offer any solace, but a reminder … a marking of time as the artist continues her work commited to the turning of the wheel and recognition of the cycle of birth – death and rebirth.

There will be 3 acts …
The first act taking place at ID:I Galleri on Saturday 25th
April at 20.00, the next act the same time on Sunday and then the last act the following Saturday at 8pm.
On Sunday 3rd May from 12 -17 is the release of a small artists book publication .. the gallery will be open and it will be possible to come and meet the artist.

Bio
Geraldine Hudson is an interdisciplinary artist from Engand where she received her Bachelors and Masters exams in Art. exam in art.

She has exhibited around Sweden and Europe having been based in Stockholm for 10 years, during this time being involved with various art projects, notably curator at Konstapoteket, being a board member of Fylkingen and being the main producer/curator for the art n esoteric conference Conjuring Creativity – this is a chance to see some of her work before she returns to England to begin the acclaimed MFA programme at Goldsmiths University in London. Geraldines work has been largely concerned with notions of the sacred/profane and communicating the liminal, when relation to psychological, phenomenological states and physical places .. in a possibly misguided quest to become in tune with the cosmos through genuine connection with the land beneath her feet .. as above so below – on both a personal and social level, through a firm belief that our seperation from the land and the ’wild’ is responsible for our subsequent alienation and all that entails … the chthonic being the constant … and Hecate as her guide.

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Rites of Spring – mellan Ostara och Beltane

Du är varmt välkommen att observera (genom fönstret) en performativ ritual av invokation och votivoffer … vi existerar nu, i en tid som har en djup inverkan på oss alla utan förbehåll … du är inbjuden till en performance som inte föreslår att erbjuda någon tröst, men en påminnelse … en markering av tid när konstnären fortsätter sitt arbete som åtagit sig att vrida på hjulet och erkänna födelsecykeln – död och återfödelse.

Det kommer att finnas tre akter …
Den första akten som äger rum på ID: I Galleri på lördagen den 25 april kl 20.00 nästa akt är på söndagen den 26 april, kl 20.00 och sedan den sista akten påföljande lördag kl 20.00 På söndagen 3 maj från kl 12-17 släpps en liten publikation av en konstnärsbok. Galleriet kommer att vara öppet och det kommer att vara möjligt att komma och träffa konstnären.

Geraldine Hudson är en interdisciplinary konstnär från Engand där hon fick sina kandidat och masters examiner i konst. Hon har utställt runt om i Sverige och Europa och har varit baserad i Stockholm i tio år. under den här tiden varit involverad i olika konstprojekt, särskilt kurator vid Konstapoteket, varit styrelseledamot i Fylkingen och varit huvudproducent / kurator för konstn esoteriska konferensen Conjuring Creativity – detta är en chans att se något av hennes arbete innan hon återvänder till England för att börja det hyllade MFA-programmet vid Goldsmiths University i London. Geraldines arbete har i stor utsträckning handlat om föreställningar om det heliga / vanvittiga och att kommunicera liminalen, när det gäller relation till psykologiska, fenomenologiska tillstånd och fysiska platser .. i en eventuellt missvisad strävan att bli i samklang med kosmos genom äkta koppling till landet under henne fötter … som ovan så här nedan – på både en personlig och social nivå, genom en fast övertygelse om att vår separering från landet och det ”vilda” är ansvarig för vår efterföljande främling och allt det som medför … den chonic är konstanten. .. och Hecate som hennes guide.

 

  • Vår 2020
  • 17.1-2.2   Dan Lageryd
  • 7.2-16.2   Florence Wild , Joran Stamatakakos
  • 21.2-1.3  Tiny Domingos
  • 6.3-29-3  Alexander Mood
  • 3.4-3.5      Ann Frössén /inställt pga coronapandemin
  •  8.5-31.5  Marjolaine Lombard

 

Alexander Mood

 

Alexander Mood

Konstitutionen

Only open by appointment this weekend email ore call, alexmood@hotmail.com eller ring 0702647235

Vi kommer att hålla galleriet öppet denna helg bara vid bokning! maila på alexmood@hotmail.com eller ring 0702647235

6/3-29/3

Vernissage 6/3 kl 17-20

Öppettider Tor-Fre 12-17 Lör-Sön 12-16

Med ”Konstitutionen” menas det yttre och det inre system, den uppsättning av regler och förutsättningar, som skapar en (skenbart sammanhängande) identitet. En människas. En nations. Ett påhittat rikes.

Utställningen består av en rad verk som å ena sidan behandlar det rike som konstnären Alexander Moods pappa Lars Karngård under hela sitt liv arbetade på att bygga upp som en (imaginärt) fungerande stat. Ett sorts kungarike där den enväldige härskaren kallades lar och som Lars, som också han var konstnär, utformat in i minsta detalj. I ett konkret bearbetande av den konstitution som Lars lämnade efter sig försöker Alexander Mood att axla rollen som kungariket Romas ende legitima tronföljare.

Å den andra handlar det om en pappa som försvann bort i sin fantasi, som hellre vistades i sitt eget land försvarat av låtsassoldater i målad plats, än med sin levande son.

Inget präglar så som tomrummet, frånvaron. Måste ännu fler soldater målas för att fylla upp det? Ännu en låtsasvärld byggas?

Verken i utställningen ”Konstitutionen” består av text, bild och objekt skapade i enskildhet och i samarbete med andra vars professioner hjälpt till att bända upp en långvarig låsning kring en frånvarande faders slutgiltiga svek: att han dog. Och lämnade en hel obegriplig värld i sonens händer. Porträttfotografen Thron Ullberg har tagit ett porträtt värdig en regent. Statsvetaren Zelal Bal har genomlyst grundlagen och pekat ut problemen med att omvandla ett konungarike till en modern demokrati. Får man ens så besudla en ärvd titel?

Fredagen den 13 kommer Joonas Jokiranta kungen av Finland att göra en gästperformance i kl 17.

The Constitution
 ”The Constitution” is meant as the external and internal system, the set of rules and conditions, which creates an (apparently coherent) identity. A person’s. A nation’s. An Invented Kingdom.
 
The exhibition consists of a series of works which, on the one hand, deal with the kingdom that the artist Alexander Mood’s father Lars Karngård worked on throughout his life to build up as an (imaginary) functioning state. A kind of kingdom where the monarchical ruler was called (lar) and which Lars, who also was an artist, designed in intricate detail.
 
Through interpreting the constitution that Lars left behind, Alexander Mood attempts to assume the role of the Kingdom of Rome’s only legitimate successor.
 
On the other hand, the works reveal a father who disappeared into his imagination, who was better off living in his own imagined country defended by make-believe soldiers in a painted place, than with his living son.
 
Nothing incuses like the void, the absence. Do even more soldiers need to be painted to fill the emptiness? Yet another pretend world constructed?
 
The works in the exhibition ”Konstituionen” consist of text, image and objects created in isolation and in collaboration with others whose professions helped to pry open a long-term lock around an absent father’s final betrayal: that he died.
And left a whole incomprehensible world in the son’s hands. Portrait photographer Thron Ullberg has taken a portrait worthy of a regent. The political scientist Zelal Bal has read through the Constitution and pointed out the problems of transforming a kingdom into a modern democracy. Can one even defile an inherited title in this way?

Tiny Domingos

 

 

Tiny Domingos

JORDSKRED

curated by Alexander Mood

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 22.02 – 1.03.2020

Vernissage  21 February 17 – 20

öppettider Tor-Fre 12-17 Lör-Sön 12-16

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Utställningen Jordskred, framtagen specifikt för ID:I Galleri, bjuder in till att betrakta vår omgivande natur med ny blick. Central i utställningen är videon Flank Collapse, ett verk som ifrågasätter markens upplevda hållfasthet genom att visa hur lösa stenar rullar ned för Sciara del Fuoco på ön Stromboli. Filmen visas här för första gången i Skandinavien.

”Avec l’amour, ou la planète, quand on veut maîtriser, on perd.”
Erik Orsenna, French novelist

Specially conceived for the ID:I Gallery, JORDSKRED is an invitation to take a new look at our own natural landscape. As Erik Orsenna recalled in a recent interview: ”Life is the cocktail of strength and weakness. When you want to dominate, you lose.” The author applies the same principle to our planet. All the more reason to rethink the way we perceive our environment. The core of the exhibition is the video FLANK COLLAPSE that questions the notion of ground stability by displaying the descent of loose stones at the Sciara del Fuoco (Stromboli island) and that will be presented for the very first time in Scandinavia, a region also affected by slope instability, landslides and rockfalls. This video artwork allows a vivid perception of the Greek notion of panta rhei (”all things are in flux”) that rules our landscapes – and our inner rhythms – and aims to raise awareness about the great dynamics and fluidity of geomorphological processes and the challenges they represent in terms of risk management, civil protection and cultural heritage.

JORDSKRED is a continuation of a broad Sciart project entitled LANDSLIDE (Resilience in Unstable Times) that was recently presented at the Joint Research Center of the European Commission in Ispra (Italy) and at BOZAR, Center for Fine Arts, Brussels. LANDSLIDE emerges in a time of various and intense upheavals. Like in an landslide or an earthquake, new faults appear and abysses open up in the foundations of our societies, dividing citizens and decision-makers into apparently incompatible groups while democratic values are subject to erosion. Freedom of press and speech, artistic freedom, minorities rights are at stake while great achievements and advanced research in science and culture are been refuted on the basis of ideology. In response to this context, LANDSLIDE addresses the unpredictability of natural disasters in order to enhance the notion of human resilience based on the development of art and science over time. Indeed, human societies have suffered many disasters throughout their history, but tenacity and scientific and cultural advances have made their resurgence possible.

Paying particular attention to the social impacts of natural disasters, LANDSLIDE stresses their analogy with the consequences of financial collapses on populations and relates the challenges of geotechnics and civil protection with those of economic policies. This is how video and art installations based on scientific monitoring and data visualization used in geophysics, vulcanology, geomatics and econometrics emerge. And how a digital 3D chart of the Euro debt crisis can metaphorically be interpreted as a seismic tremor/slope movement and sculpturally represented as a mountainous landscape with high peaks and deep valleys. A way to give tangibility and greater visibility to the little known efforts undertaken to analyze and prevent these disasters and to delay and mitigate their effects.

In this very same spirit, JORDSKRED underlines the ubiquity of the notion of flow and the interconnectedness between phenomena, spheres of knowledge and levels of action apparently far apart. A thread that recalls the cross-curricular spirit and the enormous curiosity of the Renaissance and the need to continue building bridges that facilitate the decompartmentalization of knowledge and the exchange between separated communities.

ABOUT THE ARTIST

Tiny Domingos

born in 1968 in Orleans (France). Lives and works in Berlin.

Founder of rosalux, the Berlin-based art space. Holds a degree in Modern Literature and Linguistics at Lisbon University. Studied Painting and Aesthetics Studies at SNBA, Universidade Nova and Faculdade de Belas Artes, Lisbon. Artist in residence at the Joint Research Center of the European Commission, Ispra (Italy) in 2019.


The artistic practice of Tiny Domingos combines space-related work with conceptual approaches surrounding issues on the digital age, economy, earth sciences and pop culture.

His work has been featured, among others, in the Bozar Center for Fine Arts (Brussels), KW Institute of contemporary art (Berlin), Calouste Gulbenkian arts center (Rio de Janeiro) and the Rijksmuseum Amsterdam.

www.tinydomingos.com

Joran Stamatakakos, Florence Wild

 

Joran Stamatakakos, Florence Wild

7/2 – 16/2 2020

Vernissage 7/2 17:00 – 20:00

Tor-Fre 12:00 – 18:00

Lör-Sön 12:00 – 16:00

Local Haunts

 

You will often find us at our local haunts, drinking cheap beers and talking about, around, and across each other on what we are doing, planning, potentially regretting. Ideas (like tongues) become a bit looser after a few drinks, ideas later deemed to be ridiculous, but which here, at our local haunt, get their 15 seconds of fame. They float in the air above the fake wood tables, between the dishwasher-worn glasses and the ubiquitous tea lights.”

In Local Haunts, friends Joran Stamatakakos and Florence Wild present a collection of reworked and reassembled paintings, sculptures and wall works that reflect on mostly invisible (but often audible) aspects of making. Those conversations, links, texts, chats, studio talks, vernissage discussions, bar hangs, rants, doubts, affirmations and decisions that make up the tissue of close friendships and art practices. Both spectral and tangible, like a low fog or giant wobbly blob of jelly.

This ongoing back-and-forth is the other side of our often solitary labours of working, accumulating, drawing, note-making. Half-spun ideas from our local haunts are pocketed away in scribbled notes, phone memos, ‘I-will-remember-this’ memories, until there is time to get to in the small confines of studio to uncork them beneath the unforgiving perpetual daylight fluorescent tubes.

We shared a studio for a short time after art school, but were seldom there together. Joran wasn’t very well, and had little energy to leave the house. In studio, I mainly lay on the couch and knitted spools of fishing line, trying to settle in, but not really succeeding. When Joran left and went back to Australia, dismantling the studio, I saved scraps of the old paintings he destroyed. He threw away most of his things, only to have the belongings he’d decided to hold on to lost in the murky depths of shipping transit.

I, on the other hand, am a saver – a stockpiler and collector of things that may one day come in handy. I stayed in Sweden, moved studios and took whatever might come in useful with me. These remnants, traces of other’s lives and events re-emerge in the works shown here, in found and saved materials, in the knitted sculptures often rolled for ease of storage, and those painting scraps reframing canvases.

Local Haunts uses each other’s works as support structures to build up, hang against and rest upon, referencing the way we use each other to propel and realise our endeavours.

Local haunts are the conversations, work spaces and social spheres we inhabit, as support structures and points of anchorage. For this show we have worked closely together in my studio, riffing off one another, letting ideas stack up and spiral off, imbuing the works with a sense of familiarity, a trading of jokes and anecdotes.

-Florence Wild, January 2020

Joran Stamatakakos is a Stockholm based artist who works across a variety of mediums, utilizing the strategies of the bricoleur. He received his Bachelor in Visual Arts in 2009 at Southern Cross University, Lismore, Australia, and a Masters in Fine Art in 2017 from Konstfack, Stockholm, Sweden.
jorans.tumblr.com

Florence Wild’s (Aotearoa New Zealand) practice includes sculpture, installation and writing, where language and material are treated as intimate bedfellows. She is based in Stockholm and has an MFA from Konstfack (2017) and a BFA from Elam School of Fine Arts (2009).
florencewild.com

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