Short presentations by the artists
I work mainly with photo and video, exploring how various narrative formats and techniques – in collaboration with sound, image and text – transform and change that which is being narrated. My works often comprise installations in which different layers and media interact and subvert one another. I probe the possibilities and limitations of film as a form of expression. Exploring issues of history, experience, technology and media archaeology, I want to address, in different ways, the nature of the image.
In my recent works, I have set off from photography’s proximity to radioactivity, among other things. Radioactivity was discovered through a photographic event; the invisible became visible. With the point of departure in early film’s view of the film medium as a tool for social construction, I have explored the development of the medium of film and photography and its role in modernity and as projection surface for various utopias.
As a continuation of the exploration of the relationship between film and radioactivity, I am now developing a project about the image and its social and technological conditions and how they affect seeing and representation. It is about film and photography’s non-visual dimension, the visual inscription’s invisible core, about the image as an inner object and its relationship to seeing and different representation techniques; in brief, about the uncertainness in regard to our visual access to the real world. New representation technologies and technical media reshape our social and collective memory and affect how we regard history. There are digital cameras everywhere, capturing everything. But the function of the actual camera remains.
Recent exhibitions include: Index, The Swedish Contemporary Art Foundation,
Manifesta 9-European Biennal of Contemporary Art, the Bucharest Biennale 4 and at Bielefelder Kunstverein, Berlin.
José Luis Martinat
José Luis Martinat (Peru) lives and works in Gothenburg. He received his MFA from the Malmö Art Academy and his BFA from the School of Photography in Gothenburg. The point of departure for Martinat’s work is a fascination with images as a purely artificial construction. He is interested in how we experience the real world via images and how the mass-media affects our self-understanding. He often uses material from the mass-media (film, images and sound) which he manipulates and modifies. He endeavours to deconstruct the material in order to demonstrate the mechanisms that govern it. His recent exhibitions include: Gothenburg Museum of Art, Lunds konsthall, Malmö Konstmuseum, Lima Art Museum (MALI), Sharjah Biennial, Bienal de Fotografía de Lima, CC España in Peru.
I work associatively and process-based. I am interested in a kind of painterly fiction that is created in the moment between painting, space and viewer. For me, there is something seductive and suggestive with painting. I want to approach the reverse of the everyday, that which exists in parallel. Themes and expressions that interest me and to which I return include alienation, dreams, escape and emptiness.
I am interested in the material aspect of colour and in the tipping point where it goes from being just colour to representing something else, in an image. For this reason I move between a kind of expressive abstract painting and figurative painting. In this balancing act between the physicality of colour and the illusion, I search for simplicity and presence in colour, which, for me, corresponds painterly to the expressions mentioned earlier: alienation, dreams, escape and emptiness.
Recurring motifs and sources of inspiration come from animals and the natural world, which, for me, is a parallel world because of the feeling that there is something more there, something we cannot perceive – in the sense that it is a world to which we do not have full access. Nature offers us a presence but a turned-away presence – for us partly inaccessible and also foreign. /Johanna Fjaestad, September 2013
Johanna Fjaestad was born in Stockholm in 1979 and received her MFA from Malmö Art Academy in 2012. The same year she was awarded the Edstrandska Foundation Grant and the Anna-Lisa Thomson Grant. In 2013 she received the Ellen Trotzig Artist Award, Malmö Konstmuseum. She has exhibited in, among others, Malmö, Stockholm, Uppsala and Vienna.
Emelie Röndahl is a weaver and installation artist. She started weaving at the Folk High Schools of Wik and Fristad, and continued at the School of Design and Crafts in Gothenburg. As a weaver, she has devoted herself equally to traditional weaving techniques and machine-aided digital weaving. As a student, she went from hand weaving to the expanded possibilities of digital weaving. However, in her master work Return of the Weaver, Part I: A School Drama she returned in grand style to the knowledge of hand weaving. She puts great emphasis on material and technique and has participated in several international technique courses, at Kawashima Textile School in Kyoto, Japan and the Montreal Centre for Contemporary Textile in Canada, among others.
In Stockholm, Emelie will work with the loom Victoria. The technique is the traditional Swedish rya knot and the motif buildings from her native Tensta. Weaving is not a randomly chosen method to convey a conceptual thought – the textile construction triggers memories. The work The Beginning is the next instalment in the fantasy trilogy Return of the Weaver, now about the hero’s return.
Paphonsak La-or received his MFA from the Faculty of Fine Arts at Chiang Mai University in 2013, where he has also served as a guest instructor and co-advisor. He was previously worked for the Land Foundation. He often collaborates with other artist groups and in his own art he has focused on the conditions and perceptions of social frameworks especially in Thai politics.
Edward C. Thomson
Edward Clydesdale Thomson is concerned with the places and objects on the margins of outside and inside, of wild and tamed landscapes. His sculptural works may resembled gates, fences, topiary frames for taming decorative trees, washing lines or hose pipes: sites of transition, marking a place where sanitised domestic life is brought into contact with the natural world.
Thomson’s interest in landscape is by no means tame; in his book As if an entrance is over there – he paraphrases Ann Bermingham to describe landscape as ‘an active battlefield where ideologies are trained, tested, framed and destroyed’. Ideas of landscape have for centuries been at the centre of man’s imagining of nature, our relationship to it, and our place in the universe. The various evolutions of and debates surrounding landscape or garden traditions has also made it the site of contestations for ideologies, both cultural and political, and, increasingly, economical. These ideological notions subsequent assimilation as popular symbols used on lifestyle products is manifest in works that map these once potent ideologies with current consumerist tendencies. In the printed fabrics he appropriates or creates, the wild landscape is domesticated and comes to represent a certain lifestyle choice.
At the heart of his sculptural installation is an exploration of spatial relations. The line or boundary is a metaphorical space that we formulate, then negotiate, and finally transgress. Clydesdale Thomson believes that art does not need to be in constant address to its audience but that it can sleep and wake as we do. As his sculptures rest together, there is also a prevailing sense of their permanent existence well beyond the moment of our experience within the gallery space, just as nature is essentially indifferent to our existence. His sculptures living as though moments in daily life, mimicking design tropes associated with domestic landscapes.
Edward Clydesdale Thomson (b. 1982) (Scottish/Danish) is a graduate of the MFA program at the Piet Zwart Institute, Rotterdam and the Barch program at the Glasgow school of Art. He was resident at the Rijksakademie van Beeldende Kunsten, Amsterdam (2011–12). In 2011 he was awarded the Lecturis Award and nominated for the Prix de Rome. Notable recent exhibitions include 25 jaar Stadscollectie Rotterdam, Museum Boijmans Van Beuningen, Rotterdam, causa finalis, Galerie Fons Welters, Amsterdam (2012), Secret Gardens, TENT, Rotterdam (2012), and Prix de Rome 2011, SMART Project Space, Amsterdam.
Michael Baers is an American artist and writer based in Berlin. He has participated in exhibitions throughout North America and Europe, usually with drawings, offset publications, or poster-works. He has also contributed comics and essays to many publications and print initiatives, including Redhook, the e-flux journal, Convolution, and Chto Delat? He is currently completing his first full-length graphic novel, a commission from the Haus der Kulturen der Welt in Berlin.
Fernando García-Dory’s (b. 1978) work engages specifically with issues affecting the contemporary relationship between culture and nature, embodied within the contexts of landscape, the rural, desires and expectations related to identity aspects, crisis, utopia and social change. Interested in the harmonic complexity of biological forms and processes, his work addresses connections and cooperation, from microorganisms to social systems, and from traditional art languages such as drawing to collaborative agro-ecological projects, actions and cooperatives. García-Dory studied Fine Arts and Rural Sociology in Madrid, Spain.
Fernando García-Dory has exhibited widely, at among others, the Museum of Contemporary Art of Barcelona (2001); Medialab, Madrid (2005); Regina Gouger Gallery, Pittsburgh (2005); Museo de Arte Contemporáneo, Segovia (2006); Galería Rojo Máquina, Madrid (2007); Goethe-Institut, Madrid (2008); Intermediae, Madrid (2009); GlogauAir Kunstraum, Berlin (2009); Laboral Centro de Arte, Gijon (2010); Tate Britain, London (2010); Museo Reina Sofía, Madrid (2010); Grizedale Arts, Cumbria (2011); Haus der Kulturen der Welt, Berlin (2011); Atelier d’Architecture Autogérée–R-Urban, Paris (2012); Brower Center Berkeley, San Francisco (2012); Documenta (13), Kassel (2012); Kunstraum Kreuzberg, Berlin (2012); Mostyn Art Center, Wales (2012); Jerwood Art Center, London (2012); Tenderpixel Gallery, London (2013); Matadero, Madrid (2013).