Alla inlägg av Alex

2017, Pressmaterial, Utställning

Hillside Projects (Emily Mennerdahl & Jonas Böttern)

Galleri

[slideshow_deploy id=’1319′]

Hillside Projects (Emily Mennerdahl & Jonas Böttern)

ID:I Galleri

Looking for a Bird

5 oktober – 12 oktober 2017

Vernissage torsdag 5 oktober 18 – 21 

Performanceföreläsning

torsdag 5 oktober kl 17

Looking for a Bird, (2017)

Video, LED-sign, drawings on white-board film and lecture performance.

Looking for a Bird includes several works that weave in and out of the history of a disappearing blue bird. Through a re-tracing of the memories and emotions of this specific bird, the work connects concepts of migration and displacement to a larger political understanding of belonging. In the late summer of 1967, the European Roller (blåkråkan) left Sweden and has since not been seen nesting in the country. There are now several initiatives attempting to reintroduce the bird back to Sweden. Land is rearranged, sand is moved and tress are chopped down and replanted in order to create a desirable environment for the bird. In a process of mapping out and telling the story of the European Roller, events are retold and reimagined. Concepts around movement and identity are brought to surface as well as an exploration around narrative structures and mythmaking.

Who or what belongs where? Who decides who or what belongs where?

Looking for a Bird is developed, produced and performed by Hillside Projects (Emily Mennerdahl and Jonas Böttern). Hillside Projects work interdisciplinary, always trying to dismantle and re-consider events and facts. Reflecting upon ways of presenting information and the questioning of its value, research material is reconstructed and presented in a manner, where past, present, truth and fiction become blurred. Different angles arise and new meaning is created.

Who decides what is to be told? Who decides how it is to be told?

Making use of found material from public and private collections as well as closed archives, Looking for a Bird is manifested in several parts over the course of several years. It has and continues to include video, drawings, photography, text, and lecture performances. Many walks, field excursions, found maps, slides, myths, diagrams and conversations have all been considered, documented and woven together. Routes, history, events and emotions have been charted and mapped out as the European Roller leaves Sweden in 1967. Following its course of migration as the bird travels south and eastwards, Looking for a Bird sets out to question The European Rollers need for departure but even more so, the strong national desire for its return.

—————————————————

Mennerdahl and Böttern have collaborated as Hillside Projects since 2011 and are based in Stockholm. Böttern holds an MFA from Konstfack, Stockholm and Mennerdahl an MFA from Concordia University, Montreál. They have created site-specific installations, exhibited and taken part in residencies together at (amongst others) Galerie Dazibao, Galeri Articule, Neu Now Festival, CFF, Lunds Domkyrka, Banff Centre, AIR TCG Nordica and Lijiang Art Centre.

2017, Pressmaterial, Utställning

Karin Häll

Galleri

[slideshow_deploy id=’1309′]

Karin Häll

ID:I

Månen som är nästan full

8 september – 1 oktober

Vernissage 8 september 17 -21

Månen som är nästan full. Titeln på Karin Hälls första utställning på ID:I känns tvetydig. Månen, denna självklara storhet på himlavalvet som sedan urminnes tider varit föremål för mänsklig fascination. Ur ett konstant underläge har vi betraktat månens tilltagande och avtagande fyllnad och spekulerat i dess inverkan på kropp och psyke – ett skeende vi saknar makten att påverka. Och kanske är det just detta existentiella dilemma som Karin Hälls utställning tar sitt avstamp i; de givna förutsättningarna och vanmakten i att i slutändan sakna kontroll. Hur vi än vänder oss är våra föreställningar och drömmar om livets mål och mening, lycka och olycka underordnade våra personliga livsbetingelser.

Karin Hälls arbeten återkommer till frågan om människans relation till det universella; till vad vi kan kontrollera och inte, vad som är utbytbart och inte – vilket inte minst den mänskliga kroppen kan väcka frågor kring, i synnerhet hos dem vars liv i någon form varit hotat. I utställningen möter vi ett antal fristående objekt som alla på något sätt kan härledas till enskilda kroppsdelar; armen, foten, huvudet, håret. Varje verk med sin egen berättelse och sitt eget temperament. Materialen är enkla och ”låga”; halm, plankor, återanvända kläder laddade med mänskliga avtryck. Det konstnärliga uttrycket hemmahörande i arte poveratraditionens upphöjande av vardagens ting och anspråkslösa materialvärld, som öppnar till samtal om komplexare frågor.

Karin Häll intresserar sig för språkets ambivalens och mångbottnade möjligheter. Hon rör sig mellan det materiellt, språkligt explicita och ett lågmält, introspektivt landskap. Mellan det yttre och inre, kroppen och våra föreställningar om densamma. Det finns en ton av både något allmängiltigt, mänskligt nedärvt och något djupt personligt; av tillgänglighet och integritet – som i flödet av teckningar, till synes tillkomna i stunder av ocensurerat kluddande, när handen löper utan krav och prestation, men där en inre värld öppnar sig, frestande att tolka och analysera. Även om intet är nytt under solen, så är människan ett helt universum.

Pia Kristoffersson,
tidigare chef på Konstcentrum Gävle och f d curator Kulturhuset, Stockholm

Karin Häll är utbildad på Konstfack, MFA och på Konsthögskolan, Stockholm.
Hennes verk har visats på ett flertal gallerier och konsthallar i och utanför Sverige. Under de senaste åren kan nämnas Alma Löv Museum, Schillerspalais, Berlin, Husby  Konsthall, Stockholm, Galleri Huuto, Helsingfors m fl. För tillfället arbetar hon inför utställningar på Hilbert Raum, Berlin och Örnsköldsviks konsthall. Karin Häll är representerad på bl a Teckningsmuseet i Laholm, och tilldelades nyligen Västmanlands landstings kulturstipendium samt Bror Marklunds Skulpturpris 2016.

2017, Utställning

Artemis Potamianou

[slideshow_deploy id=’1293′]

Artemis Potamianou

The Unknown masterpiece 25/8-3/9 

Vernissage Fredagen 25 Aug kl 18-20

Öppettider Tor-Fre stängt, Lör-Sön 12-16

This series of works The Unknown masterpiece refers to and originates from the book of the same name, Honoré de Balzac’s The Unknown Masterpiece (1831). The book describes an encounter between fictional characters – artists, Frenhofer and Porbus (based on real-life court painter Franz Pourbus) and real life, Nicolas Poussin. Poussin visits distinguished painter, Porbus in his studio and is admitted by painter, Frenhofer. In his quest for absolute beauty, the old painter, Frenhofer, attempts to create the absolute masterpiece and goes on “improving” his painting for ten years, ending up to an illegible composition thus destroying his life’s work.

The two central characters of the story, the great maître Frenhofer and the young artist Poussin, were the inspiration and reference of many essays on art and the role of the artist Frenhofer’s utter devotion to his art inspired Cezanne, Picasso, Rilke and many other artists. Paul Cézanne particularly strongly identified with him, once saying ”Frenhofer, c’est moi” (I am Frenhofer). The book fascinated Picasso enough for him to undertake its illustration in 1921. Indeed, he identified with Frenhofer to such an extent that he moved to the rue des Grands-Augustins in Paris, where Porbus’s studio was placed. It was here that Picasso painted Guernica.

In the encounters between Frenhofer and Poussin however, there is another important character, the lover of Poussin – Gillette. She was the muse and the exchange ”object” between the two artists, a tragic figure determined by the decisions and choices of the men of the story.

In my series of works The Unknown masterpiece, famous portraits of women, having earned a place in the history of art for their virtuosity in painting, are deconstructed and offer an initial “canvas” that is reconverted and recreated by pieces of portraits of famous men. It constitutes a sharp comment on the position of women in society and the ”male” roles they have to adopt. The picture created in the end is a nightmare image, a “hermaphrodite”, a “Frankenstein” monster composed by “perfect” integral parts.

2017, Pressmaterial, Utställning

Sofie Grevelius

Galleri

[slideshow_deploy id=’1285′]

A REST

Sofie Grevelius

ID:I Gallery 170810-170818

Private view Thursday 10 august 18 – 20

(thurs-fri: 12-18, sat-sun: 12-16)

A REST revolves around a choreography of isolation.

It refers to the Swedish word ’rest’ meaning residue or paraphernalia. 

It refers to resting, and to an involuntary stop – an arrest. 

Sofie creates a world of signs, symbols and objects that appear familiar but are not quite what they seem. She finds her inspiration in the many shapes, forms and colours that animate and demarcate our built environment, from road markings and signage to physical fixtures such as railings and doors. By a process of subtle modification, she turns these everyday reference points into something altogether more elusive and perplexing. Her colourful prints and three-dimensional objects remind us of everyday urban experience, but also hint at the complex inter-relationship between autonomy, dependency and control. 

Grevelius did her BA at Central St Martins and graduated with an MA in Fine Art from the Royal College of Art in 2012. She lives in Stockholm, Sweden.

www.sofiegrevelius.tumblr.com

2017, Pressmaterial, Utställning

Ella Tahkolahti Hanna Marno

Galleri

[slideshow_deploy id=’1273′]

GREY HERON

Ella Tahkolahti

Hanna Marno

Visiting hours Sat – Sun 8.-9.7 at 12 to 4 PM

Opening reception on Friday 7.7. at 6 to 8 PM, warmly Welcome!

Grey Heron is a collaborative installation between Hanna Marno and Ella Tahkolahti of the Oksasenkatu 11 gallery. It is the first part of a gallery swap between ID:I galleri Stockholm and Oksasenkatu 11 Helsinki.

Grey Heron is a site-specific installation built for ID:I gallery that is a staged replication of the street view of Tjärhovsgatan. The taxidermic heron in the window of Öppet becomes a patient witness and a motive. In Egyptian mythology the Fenix bird is represented as a Grey Heron.

Having that there is no knowledge of the reality that lies within the facade of Tjärhovsgatan, we decided to provide an alternative interior from the perspective of the Grey Heron.

Ella Tahkolahti (born 1981 in Espoo) is a visual artist who works with installation and performance. Her main interest is in the relation of reality and image, the dynamics between spectator and the space, or the “non existing” artwork that only occurs in the encounter with the piece.

Graduated from the Time & Space departement of  Finnish Academy of Fine Arts in 2010. Member of Oksasenkatu 11 collective since 2014.

Hanna Marno b.1981 is a Helsinki based artist who lives and works in Nummi-Pusula. Her work consists of fictional narratives, translation and manuscripts. She works with sculpture, poetry, still and moving images. She’s a member of the Oksasenkatu 11 gallery – artist collective since 2013.

Concurrently she’s working on a street art project Horse Poem No. 1-23.

www.hannamarno.com

http://oksasenkatu11.fi/

Thank You ID:i gallery, Dan Lageryd and Alex Mood, Nordisk Kulturkontakt, Svenska Kulturfonden and Finska Kulturfonden