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All Movable Wonders...

Plats:IASPIS GALLERIET
Kim Bouvy, Phil Collins, Johan Svensson, Christian Andersson, Jenny Crisp, Björn Kjelltoft (Pina Colada™ In association with Cecilia Hansson & Björn Kusoffsky), Mai Hoffstad Gunnes och Gunilla Klingberg. Curator: Chus Martinez. 16 november - 19 december 2004. ÖPPNING 16 NOVEMBER KL. 17-20. IASPISGALLERIET, Fredsgatan 12, 2 tr. Tis-fre 11-17, lör-sön 12-16.
ALL MOVEABLE WONDERS...

A collaborative project with Kim Bouvy, Phil Collins, Johan Svensson, Christian Andersson, Jenny Crisp, Björn Kjelltoft, Mai Hofstad Gunnes and Gunilla Klingberg

You could argue that taking part in a residency programme is like being involved in a strange experiment on reclusion, during which one is expected to arrive at a better understanding of oneself and to negotiate the role of each person’s work in the space created by the collective, a temporary community of neighbours suddenly joined by the housekeeper, the curator. The essence of this community is the arrival and departure of different people and the effort made by everyone to adapt, almost to turn a blind eye to the state of flux so as to be able to create a stable group in which it is possible to work. The artists in this exhibition make up one of these temporary communities. Being asked to put on an exhibition with artists-in-residence, I was curious to explore what one of these groups created by circumstances might share. It would be a mistake to force all these works to come together under a single theme; equally it would be wrong to think that what we have here is the sum of unconnected individualities.

Instead our opening hypothesis could be that each of the works is an invitation to explore the various possible ways of reading, implementing, reverting and imagining social space and the place that art might occupy here. The title “All Moveable Wonders” is taken from a line by the English poet William Wordsworth. Wordsworth lived in the Lake District all his life and travelled only rarely to London. As a result, such trips entailed a spectacular shift in perspective for him, an incursion into the multitude, a space inhabited not only by individuals but also by the total sum of the expectations that each person represented and projected onto the others.

It is fascinating to put together a collective exhibition in a gallery space that can be compared to the group’s living room. The architecture of the gallery speaks to us of expectations, and places art and works in a specific discourse, just as a residency programme does, though with different parameters. The city, the institution and the interpersonal relationships contribute to an architecture of discourses that could ultimately become opaque. The figure of the artist is then not just that of a creator and maker invited to take part in a structure, he or she is responsible for reinventing this space and for endowing it with meaning. The common denominator in all these works on display is unquestionably this endeavour.

Each of these artists approaches social space as something that is unfinished and which needs to be complemented, not by adding more reality but by fictionalising everyday life. In this way, any attempt to artificially sweeten reality will be subverted, as in the burlesque, cartoon-like installations by Jenny Crisp. Also urban space can become the space for the prophetic, as in the intriguing video by Mai Hofstad Gunnes, in which the towers in Stockholm decide to launch themselves into space, or the investigation of different intensities and traces of modernisation as in Kim Bouvy’s maps and photographs of Stockholm. Interpersonal relationships are investigated through the conversion of a corporate brand into a collective asset in the Piña Colada project by Bjorn Kjelltoft, and in Phil Collins’ personal invitation to receive a slap in your face if you are part of the art world. Power and its forms of representation are satirized in the underworlds constructed by Johan Svensson, put on an almost scientific formula in Christian Andersson’s experiments with matter and invisibility, or imbued with a mockingly spirituality in Gunilla Klingberg’s mantra-like compositions that take the corporate image as their starting point.

What does this sum of works and diverse interests offer us? It provides us with the opportunity to be amazed by the fact that the matter of this world is entirely malleable. Each of the works experiments with this hypothesis. The transformation of the social space into a space in which it is still possible to envisage other ways of thinking and other forms of human relationships requires us to approach the ideological systems that shape our societies as if they were just one among thousands of possibilities that we imagine lie within our reach.

Chus Martínez

 

Uppdaterad: 2009-02-11 Tipsa om sidan
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