Short presentations by the artists
Patrik Aarnivaara (b. 1977) is interested in the interaction between the viewer and optical instruments, employing sculpture and photo-based works to explore the act of observation. He situates his sculptures in landscapes or gallery spaces. They are reminiscent of camera equipment that reflects, filters or mirrors light and images of a place. Mounted on tripods, they are mobile and easily disassembled, like tools with interchangeable parts which can be used for various purposes: as projection surfaces or props for a photo session. The point of departure for his photo-based works is often architecture. Through walks and visits he explores how buildings affect a viewer in motion and function as ocular tools.
His recent exhibitions include: Narrative Gallery, London (2013), Embassy Gallery, Edinburgh (2013), Kim? Contemporary Art Centre, Riga (2012), Galleri Charlotte Lund, Stockholm (2012), Lunds konsthall, Lund (2010), Malmö Konsthall, Malmö (2010).
My work is based in sculpture and drawing with the point of departure in places, situations and materials. I am looking for connections in the gap between culture and nature where there is a space of freedom to create something unexpected.
Since 2009 I run the organisation Local A. in collaboration with artist Felice Hapetzeder. Among other things, Local A. has conducted workshop-based artistic projects nationally and internationally in cooperation with art institutions. Local A.’s working method aims to develop new artworks, projects and working methods in which we strive to achieve an improved understanding of art and the value of artistic processes, for example by inviting people to participate in the artistic process, which we call Workshop-as-Research. The research is based on the encounters and the social situation that emerge in the work. We also work with Klinik, which is a workshop for project development with artists. During 2014 Local A. work in close collaboration with Gävle Konstcentrum with a project (issue) based on a number of performances situated in Gävle.
Since 2009 I have frequently collaborated with the choreographer Marie Fahlin. Most recently in the work
the second part of a triptych about the relationship between choreography and sculpture. In the work, the same physical material is recycled, and the questions turn on a discussion of artistic practice regarding the reincarnation of a work, how its new form relates to the content and structure of the previous one.
Kah Bee Chow
Chow works with the vulnerability of architecture; vaporous discourse and literal supports, thinning and sacrifice implied in uneven codependency. She observes that in crisis situations, the idea of shelter is often reduced to a two-dimensional plane: a piece of board, a police riot shield, a thin sheet of armour with which to draw a line and protect the body. Her recent work employs these lines to generate alternate links and flows; in imagining psychic friends in puffy animals, or the compacting of spatial depth in display systems and surfaces as modes of surveillance.
Sindri raises questions about the autarchy of work and the product it yields as well as pointing towards the process itself. The alienation of labor is perhaps in contrast to the objects where the process, the labour as such, becomes the leader instead of the emerging product. Labour is maintained, for labour’s sake, and in the process various by-products and unambiguous signs of some sort of presence formulate. This derives partly from a fascination of tools where they are used to build other tools and the definite line between a tool and a sculpture is blurred. While working the artist awaits for something to materialize and at the same time questions what is concrete and what isn’t and who is in control and gets to decide upon that. All details are in a state of constant renewal and traces are purposefully left on site. There is no obvious conclusion but the possibility of progress.
Sindri Leifsson is an artist from Reykjavik, Iceland. He graduated from Iceland Academy of the Arts in 2011 and earned an MFA degree from Malmö Art Academy in 2013. Recently based in Reykjavik he is associated with the artist run space Kunstschlager and runs various other iniatives and projects.
Alexandra Zuckerman is Tel-Aviv based artist. She was born in Moscow , Russia in 1981. At the age of ten immigrated to Israel, where she currently lives and works.
Zuckerman studied B.F.A at Bezalel Academy of Arts, Jerusalem and participated in student exchange program in Stadelschule, Frankfurt am Main. Additionally she graduated B.S.c in Biology at Tel-Aviv University in 2010. Zuckerman’s main medium of practice is painting especially drawing and works on paper. Her diverse and imaginative imagery oeuvre has it’s roots in traditional painting as well as illustration,folk art, personal every day encounters and childhood memories. Zuckerman’s works are often very detailed, demanding a close look, with a spacial emphasis on the flatness of the surface. Zuckerman has been awarded Excellence Painting Prize, Bezalel Academy of Arts and America-Israel cultural foundation Sharret scholarship. Her works have been displayed in solo shows in Europe and Israel such as "Klaus", Noga Gallery of Contemporary Art, Tel Aviv, "In the Shadow of Young Girls in Flower", Gallery Christian Nagel, Berlin, "The Olympians", Open Space, Art Cologne, “What the moon saw”, Noga gallery, Tel-Aviv. As well as in several group shows such as The 1st Herzliya Biennial of Contemporary Art, Herzeliya, “As if words mean nothing", Kunstbuero Temporary Gallery Vienna, Wien, "Garbage Man Please Garbage Me", Brun,Düsseldorf and Magasin 3, Stockholm.
Christian Nyampeta is a London based artist. He is interested in the understanding of physical and historical distance from long lasting suffering, how this condition in turn speaks to us, and what artistic gestures and philosophical strategies can address the disorientation raised by this suffering.
Nyampeta's ongoing contributions include
Tagore's Universal Allegories.
Current writings include a contribution to Stephen Willat's
magazine. Recent exhibitions include
How To Live Together
(2013) at Casco – Office for Art Design and Theory in Utrecht, and upcoming exhibitions include
at Casco in Utrecht and
at The Showroom in London. He is also a PhD candidate in Visual Cultures at Goldsmiths in London.
Finnish/Israeli Artist Dafna Maimon b.1982 works with video, performance and sculpture. Her work explores human dramas through constructed autobiographical characters that battle with the configuration of individuality, alienation and the perception of reality. Her projects showcase the economy of close personal ties as well as materialize through them, placing value on the idea of community on a grassroots level. Equally central within Maimon’s practice is the research and employment of the constructs of cultural artifacts such as cinema, theater and science.
Maimon holds a BA from the Gerrit Rietveld Academy, and an MFA from The Sandberg Institute. She has been a resident at Lower Manhattan Cultural Council New York, Skowhegan School of Painting and Sculpture Maine. Maimon has shown her work internationally in venues such as PS1 Moma New York, Kunst-Werke Berlin, Centre for Contemporary Arts Uzajdowski Castle Warsaw, Moscow Museum of Modern Art, Based in Berlin, W139 Amsterdam, Annie Wharton Gallery Los Angeles and Project Native Informant London. Maimon currently lives and works in Berlin.
Marianna Christofides (born in Cyprus, 1980, lives and works in Cologne) is a visual artist and experimental film maker examining the perceptional possibilities that lie beyond the pictured. In her practice images are considered as visual documents of stories and places that have the potential to be renegotiated and reconfigured. Displacement, shift and a poetic transfer are constitutive parts of her approach. Such journeyings take the form of sequences of images, word and objects that unfold in spatial installations to reveal at times alienated narrations where past and present seem to coincide and where a specific time and place allocation drifts apart. A geological narrative often runs parallel to a sociohistorical. This narrative is also rooted in a physical engagement of the artist and her biography with the actual places.
In 2011 Christofides co-represented Cyprus at the 54th Venice Biennale. She has received numerous grants and scholarships, among them: Stiftung Kunstfonds, Künstlerhaus Schloss Balmoral, Kunststiftung NRW, Kölnischer Kunstverein and Imhoff Stiftung, Jean-Claude Reynal Foundation, Onassis Foundation and was shortlisted for the Deste Prize Athens. In 2014 she was holder of the Villa Aurora Grant in Los Angeles. Recent exhibitions and residencies include: 2014 Here let me stand, Galerie Campagne Première, Berlin (solo) / National Museum of Contemporary Art, Bucharest / Museum for Modern and Contemporary Art, Rijeka 2013 Archaeologies of the Future 2, Galerie Campagne Première, Berlin / Afresh, National Museum of Contemporary Art, Athens / Recorded Memories, Museum for Photography, Braunschweig / DESTE Prize 2013, Museum of Cycladic Art, Athens / Gasworks/TrAIN, London / Cinema Aurora, miart, Milano (solo), with Laveronica, Modica / l’histoire d’histoire d’une histoire, Kölnischer Kunstverein OG2, Cologne (solo) 2012 Reluctantly Real, Laveronica, Modica (solo) / Errant Images, Omikron Gallery, Nicosia (solo) / Museum of Contemporary Art, Siegen / BOZAR - Palais des Beaux-Arts, Brussels.
At the beginning there was air. A biography without a name. And then there was walking, on a bridge arbitrarily constructed, a bridge spanning between two banks of void. A passageway, a bridgeway and two empty envelopes. And then there was crossing, on the bridge of language: a waymaking. Going from here to there, from there to here. What is given to the world and what is received from it. How did I get lost? How did we get lost? A biography is the rushing from one side to the other side of the void - a busy-ness she refuses to adhere-to, to obey, to achieve or to accomplish.
This short note is written on Thursday September 26 initiated exactly at 3am at the 66th street stop, while on the Bronx Bound 1 Train. It is the kind of day that crows don't crow anymore. It's the kind of day that the scandal is no longer scandalous. A pan shot widens to show a landscape without landscape, a waterfall without water, a cowboy, a buffalo, a mortuary, a noose, a jury hung. A day without justice and without breath. A day which exceeds itself in delivering the night. A day not unlike itself, a day like any other. It is a judgment day without judgment. It is a hell without the heaven. It is a day of reckoning with nothing. And thus the fullest day. A day full of biographies whose lives escape them. 3:21, 157th street.