Short presentations by the artists
Sometimes I collect stones or moose poo. Sometimes I go through art reviews with a fine tooth comb. Sometimes I draw. Sometimes I walk through a shopping centre with my dog off the leash. During or after performing these concrete actions I reflect on my work and my own position in relation to the structure of society or my conception of the world in which I find myself. The reflection often leads to a verbalisation about the whole process and becomes a visible part of the work. I use different media, but mostly text and film. I am interested in how power is constructed, exercised and maintained, and how different hierarchical systems work. And since I’m in the system called “the art world” I have, in some of my works, tried to understand its complex nature.
I hold a Master’s degree from Konstfack, the University College of Arts, Crafts and Design, and a Bachelor’s degree from the Iceland Academy of the Arts. I have exhibited at, among others: Studio 17, Husby Konsthall, ABF-Huset, Kjarvalstaðir, Skövde kulturhus, Skövde Konstmuseum, the Gothenburg Museum of Art, the City of Gothenburg’s Municipal Library, Liljevalchs’ Spring Salon and Skaraborgssalongen.
(1983, Jerusalem) studied architecture at ENSAPLV School of Architecture (L'Ecole Nationale Supérieure d'Architecture de Paris La Villette), specializing in urban sociology in post-conflict areas.
Boyadgian works on research-based projects that explore themes revolving around heritage, territory, architecture and landscape. He mostly uses painting and drawing as main tools to convey his subject matters.
His solo shows are A journey into Abstrabesque, Al Ma'mal Foundation, Jerusalem (2013), and Vanishing Landscapes, Al Kahf Gallery, Bethlehem (2010). Boyadgian also internationally exhibited in Jerusalem Show VII, under the coverage of Qalandiya International Biennial, Jerusalem (2014); Spinning On An Axis under the coverage of curated by (2014), Mario Mauroner Contemporary Art, Vienna (2014); Line, Art Rooms, Kyrenia (2015); Stepping over the Borders, European Mediterranean Art Association (EMMA), Nicosia (2015); and Shared Religious places, Museum of European and Mediterranean Civilizations (MuCEM), Marseille (2015).
Boyadgian attended the Young Artists Residency Program of Confrontation Through Art Project, organized by EMAA and Rooftop Theatre Group, Nicosia. He was co-awarded the Ismail Shammout Prize 2015 in Palestine.
Boyadgian lives and works in Jerusalem.
(Lisa Gideonsson, born 1986 and Gustaf Londré, born 1985 live and work in Stockholm).
GIDEONSSON/LONDRÉ research various structured circumstances for working in, where the individual subject can be contravened both individually and together with others. What results from this process is called the third, like a co-worker who is brought forth by suggestion; a person who is assumed to be present but who does not exist. Their method of working consists of private experiments, public performances, interventions and installations.
The boundary between work and leisure functions as an artistic platform on which GIDEONSSON/LONDRÉ act in order to complicate the dividing line. They treat all of their presence as activity and interest themselves in the frictions and mergings that take place when everything can be found on the same level.
The greater the influence on daily life, the more important the isolation, parallel movements forwards and backwards. These isolated conditions are investigated by means of repetitive structures without a preordained product. Without limits to the activity the outer aspects become essential interfering moments in the constructed situation.
The more we restructure, the more we become caught up in the dust. Based on an oscillation between exhaustion and recovery, GIDEONSSON/LONDRÉ work with different experiences of time and of how different rhythms dictate mental and physical activity. By means of texts, readings and bodily compositions they investigate these temporal rhythms. Everything happens in a constant exchange, changes character and is handed on all the while that it answers for new contexts.
GIDEONSSON/LONDRÉ was founded in 2009 and received a master’s exam from Stockholm’s Royal Institute of Art in 2014. They have also studied at the Academy of Fine Arts in Vienna. Selected exhibitions and residencies: Skaftfell, Iceland; Maria Bonnier-Dahlin stipendiaries exhibition, Stockholm; Moderna Bar, Stockholm; Galleri Nordenhake, Stockholm; Bodrum Biennale, Turkey; ZK/U, Berlin; Æringur, Iceland.
Henrik Lund Jørgensen
Henrik Lund Jørgensen works with video/film, performance, photography, installation and text. The point of departure for his work is an examination of moving and still images, how they are perceived and the effect they have. Lund Jørgensen explores, in a thematic fashion, how Western identity is based on a definition of the Other and how this view is reproduced in images. His work is based on narratives reminiscent of movies and documentaries, but instead of simplifying he creates complex stories that correspond to the complexity of the themes.
Henrik Lund Jørgensen received his MFA in 2005 from the Art Academy in Malmö, where he lives and works. He has also a BA in photography and an MA in film. Recently he has lectured on the MA programme “Processes of Filmmaking” at Valand Academy, Film, University of Gothenburg.
An enfant terrible of his generation, Alex Mirutziu’s installation-based performances and writings question the ways in which the space after something ends is orchestrated. He uses design in its most bureaucratic sense, collecting imprints of personal and historical events, and using understanding and sincerity as factors in the materialization.
The artist has also created a collective which includes a hyper-object — namely himself at 29 – and often operates within its structure. The collective’s modus operandi is retroactive irony.
In recent years Mirutziu has lectured in performance- and theatre-focused institutions such as Royal College of Arts, London, to Von Kraal Theatre, Estonia, and has collaborated with artists including, Grit Hachmeister (DE), Paul Devens (NL), Elias Merino (ES), Graham Foust (US), Bjorn Friborg (SE). His most recent projects have been hosted by ZDB, Lisbon, Power Plant, Toronto, The Glass Factory Lab, Boda, Mucsarnok Kusthalle, Budapest and the Center for Contemporary Art, Warsaw.
Allison Smith’s artistic practice investigates the cultural phenomenon of historical reenactment, or Living History, using it as a means of addressing the relationship between history, social activism, craft, and identity. Living History is founded on the idea that historical events gain meaning and relevance when performed live in an open-air, interactive setting. With craft and war conjoined at its center, this collaborative form of history in-the-making has been a pivotal focus of her work, offering up a rich set of activities and objects that she brings into association with contemporary art.
Smith has produced over twenty-five solo exhibitions, installations, performances, and artist-led participatory projects for the San Francisco Museum of Modern Art, Public Art Fund, and Aldrich Contemporary Art Museum, among many others. Smith has received generous grant support from organizations such as United States Artists, Arts Council England, Foundation for Contemporary Arts, and Artadia. Notable residencies include ArtPace (San Antonio, Texas); the International Studio & Curatorial Program (Brookyln, New York); the Carpenter Center for the Visual Arts at Harvard University (Cambridge, Massachusetts); and the Museum of Modern Art “Artists Experiment” series (New York City). Smith has lectured on her work extensively at art schools and research universities in the United States and abroad, as well as at the Museum of Modern Art, the Whitney Museum of American Art, the Metropolitan Museum of Art, SculptureCenter and the Vera List Center for Art and Politics. She completed her studies at Parsons School of Design, the New School for Social Research, Yale University, and the Whitney Museum Independent Study Program. Smith lived in New York City from 1990 until 2008 when she relocated to the San Francisco Bay Area to join the faculty of California College of the Arts, where she is a tenured professor and Chair of the Sculpture Program. During her residency at Iaspis, Smith will present a solo exhibition at Signal -- Center for Contemporary Art in Malmö, Sweden.
The foundation of Sara Wallgren’s art is drawing and sound. She is fascinated by the physical properties of the material, its constraints and possibilities. Her work has often focused on the communication that occurs between creators, artworks and viewers in which the artwork becomes the bearing language. Expectations are fundamental in her working process. Her own, which arise during the process, as well as the viewer’s expectations of the image. What it brings with it, communicates or how it appears. She is often looking for ambivalence. Her drawings may appear differently depending the viewer’s distance to the work. She utilizes mishaps and misunderstandings that arise. What the viewer projects and expects of what they see or hear is central in her work. Her art is very much about both presenting and at the same time concealing information. Nothing is ever just one thing or is only present on one level at a time. It is based on questions and a fascination with the lines that separate phenomena, communication, media and language.
Sara Wallgren studied at the Malmö Art Academy and received a Masters degree in 2010. She spent one term at the Cooper Union School of Fine Art in New York. Since graduating she has exhibited at, among others, Magnus Åklundh in Malmö, Anna Thulin in Stockholm, Martin Bryder in Lund, the Museum of Drawings in Laholm, Maria Bonnier Dahlin Foundation exhibition at Bonniers konsthall and Bror Hjorths hus in Uppsala.