Dirty & Clean
01 - 25 Apr 2011
Valand School of Fine Art; University of Goteborg
DIRTY & CLEAN
Master Exhibition
1 - 25 April, 2011
Participating artists: Pär Darell, Julie Fournier Lévesque, Jacob Hurtig, Anders Johansson, Kristina Lindberg, Mikael Lindegren, Ulrika Linder, Pernilla Ljungkvist, Sofie Karp, Hans-Owe Rydberg, Mailind Solvind Mjøen & Egill Unndór Jónsson
Curator: Jason Bowman
Göteborgs Konsthall and Valand School of Fine Art are delighted to announce their ongoing annual collaboration in profiling the work of the graduant artists of Valand’s MA Fine Art programme.
The eleven graduants whose works are co-exhibited at Göteborgs Konsthall reveal a contemporary world that bites, chews and spits out any notion of happy aesthetics and speaks volumes about the now that we share with them. Stalking, Identity Dismorphia, Bromance, Legacies of Torture, Global Miscommunication, Domestic Violence, Gender Separatism, Migrancy, Closeted Paranoia and Ecological Co-Dependency are all made visible by this exhibition.
THE ARTISTS
Jacob Hurtig’s (born Sweden,1985) work addresses male bonding within subcultures such as biker gangs and car sports. From research undertaken by the classic dynamic of a Californian road trip, taken last year with his father, he exhibits a sequence of paintings. Outlines of stock car engines are depicted using oily black, paint on coffin-sized, raw plywood. The aerial perspective quietly suggests groups of men bent over car bonnets, appreciating the size of each other’s tanks.
Kristina Lindberg (born Sweden, 1981) makes works that simultaneously reference the conventions and limitations of Modernist sculpture. Her works border on being recognizable shapes; and yet their prop-like status, indicating podiums carries the tortured shadow of a routine of torment by which they were ‘sculpted’ - tied down their blistered surfaces have been slapped into shape, burnt by cigarettes and torched.
Julie Fournier Lévesque (born, 1982 French-Canadian) focuses on cultural difference depicted through language. Suggesting our identities are performed a loop of staged microphones huddle together on a squat podium. Mutated into speakers, they verbalize a quiet collective simmer of five mother tongues. The viewer is invited to encircle this articulation of spoken differences - questioning whether they hear only what they understand already and identify only with what is instantly recognizable.
Pernilla Ljungkvist (born 1981, Sweden) has an expanded practice that involves writing, performance and producing installation works. She regularly addresses the sinister consent we give to being manipulated and coerced when fantasy tenders a preferred situation to the one in which we really are. Supported by a psychic medium - only too willing to facilitate Ljungkvist desire to possess another’s identity - she has produced an installation incorporating sound and image that reverbs on her cultish hunt to possess the spectre of dead American crooner – Roy Orbison
Mailind Solvind Mjøen (born 1981, Norway) produces works that are kitsch and trashy in their aesthetics but belie a dedication to unraveling issues that affect contemporary woman. Known for her previous works concerning street violence in Gothenburg she now exhibits a series of photographs. Characterized as a series of portraits she is disguised as insults as imagined by the twisted tongue and bitter eyes of a telephone stalker.
Hans-Owe Rydberg (born 1976, Sweden) scrawls his paranoid vision of the world directly onto walls using spilled marker-pen ink to depict his psychological stripteases of self-doubt.. Our lives are made meaningful by visual flashbacks of memories and Rydberg demands the viewer become witness to his visual tantrums and self-deprecating humor. Like a dirty flasher his drawings confess to all sorts of poisoned thinking but are exposed only momentarily before the whitewash comes out to provide cover.
Sofie Karp (born 1981, Sweden) makes detailed drawings and prints using tight little slashes of graphite and ink that repeat to create swarms of oppressive patterning. Through labored repetition and reproduction she creates works that are installed as atmospheric clouds of soured expectancy and fogs of looming capriciousness. Her wallpaper resists the notion of façade as she brings to the surface all those marks and all those little scars and all that re-occurrence referencing all those lives lived, for which domestic wallpaper is the only witness of what happens behind closed doors.
Ulrika Linder (born 1984, Sweden) produces video, drawings and makes music. She has been concerned by right-wing political appropriation of Swedish folk culture and its exploitation to discriminate against foreign nationals, migrants, asylum seekers and refugees. Recognizing herself as an informed custodian of folk tradition she has responded to the current political climate by assembling a troupe of international musicians whose musical traditions she has encouraged infecting the supposed purism of her own,
Unndór Egill Jónsson (born 1978, Iceland) is an artist whose work deals with our dependency on planet Earth and our relationship to our environment. His sculpture is a fusion between a fountain and a leak. A water barrel collects rain on the roof of Konsthallen and should be the catalyst for a series of drips that create the identity of the work. On one hand controlled, restrained and engineered; on the other random volatile and entirely dependent on the weather conditions responding to expectation.
Anders Johansson (born 1979, Sweden) works across media producing referential drawings, prints, paintings, sculptures and photographs. His works are concerned with the tropes of art, taste-making and refuting the prediction to arbitrate through one clear visual direction. He exhibits three photographic images; which through the use of a repeated logo colonize individual aesthetic choices made by three people who sport discreet tattoos and are now fashioned by the visual language of advertising.
Pär Darell (born 1979, Sweden) also refutes the traditions of working by singular media. Photographic work, blogging, sculptures, drawing, video and text works are the mainstays of his work. His works often consider the dynamics of male-to-male desire and all male communitarianism. He exhibits an A-board sign that seeks to colonize the whole exhibition by stating that women are not permitted to visit the exhibition. He thereby isolates himself from the project whilst attempting to make demands for an all male space.
Dirt and Clean is curated by Jason E. Bowman who was curator of the official presentation from Scotland at the Venice Biennale in 2005, commissioner of two exhibition by Esther Shalev -Gerz and most recently curator of the first European career survey of American icon of the avant-garde, Yvonne Rainer in both dance and film.
DIRTY & CLEAN
Master Exhibition
1 - 25 April, 2011
Participating artists: Pär Darell, Julie Fournier Lévesque, Jacob Hurtig, Anders Johansson, Kristina Lindberg, Mikael Lindegren, Ulrika Linder, Pernilla Ljungkvist, Sofie Karp, Hans-Owe Rydberg, Mailind Solvind Mjøen & Egill Unndór Jónsson
Curator: Jason Bowman
Göteborgs Konsthall and Valand School of Fine Art are delighted to announce their ongoing annual collaboration in profiling the work of the graduant artists of Valand’s MA Fine Art programme.
The eleven graduants whose works are co-exhibited at Göteborgs Konsthall reveal a contemporary world that bites, chews and spits out any notion of happy aesthetics and speaks volumes about the now that we share with them. Stalking, Identity Dismorphia, Bromance, Legacies of Torture, Global Miscommunication, Domestic Violence, Gender Separatism, Migrancy, Closeted Paranoia and Ecological Co-Dependency are all made visible by this exhibition.
THE ARTISTS
Jacob Hurtig’s (born Sweden,1985) work addresses male bonding within subcultures such as biker gangs and car sports. From research undertaken by the classic dynamic of a Californian road trip, taken last year with his father, he exhibits a sequence of paintings. Outlines of stock car engines are depicted using oily black, paint on coffin-sized, raw plywood. The aerial perspective quietly suggests groups of men bent over car bonnets, appreciating the size of each other’s tanks.
Kristina Lindberg (born Sweden, 1981) makes works that simultaneously reference the conventions and limitations of Modernist sculpture. Her works border on being recognizable shapes; and yet their prop-like status, indicating podiums carries the tortured shadow of a routine of torment by which they were ‘sculpted’ - tied down their blistered surfaces have been slapped into shape, burnt by cigarettes and torched.
Julie Fournier Lévesque (born, 1982 French-Canadian) focuses on cultural difference depicted through language. Suggesting our identities are performed a loop of staged microphones huddle together on a squat podium. Mutated into speakers, they verbalize a quiet collective simmer of five mother tongues. The viewer is invited to encircle this articulation of spoken differences - questioning whether they hear only what they understand already and identify only with what is instantly recognizable.
Pernilla Ljungkvist (born 1981, Sweden) has an expanded practice that involves writing, performance and producing installation works. She regularly addresses the sinister consent we give to being manipulated and coerced when fantasy tenders a preferred situation to the one in which we really are. Supported by a psychic medium - only too willing to facilitate Ljungkvist desire to possess another’s identity - she has produced an installation incorporating sound and image that reverbs on her cultish hunt to possess the spectre of dead American crooner – Roy Orbison
Mailind Solvind Mjøen (born 1981, Norway) produces works that are kitsch and trashy in their aesthetics but belie a dedication to unraveling issues that affect contemporary woman. Known for her previous works concerning street violence in Gothenburg she now exhibits a series of photographs. Characterized as a series of portraits she is disguised as insults as imagined by the twisted tongue and bitter eyes of a telephone stalker.
Hans-Owe Rydberg (born 1976, Sweden) scrawls his paranoid vision of the world directly onto walls using spilled marker-pen ink to depict his psychological stripteases of self-doubt.. Our lives are made meaningful by visual flashbacks of memories and Rydberg demands the viewer become witness to his visual tantrums and self-deprecating humor. Like a dirty flasher his drawings confess to all sorts of poisoned thinking but are exposed only momentarily before the whitewash comes out to provide cover.
Sofie Karp (born 1981, Sweden) makes detailed drawings and prints using tight little slashes of graphite and ink that repeat to create swarms of oppressive patterning. Through labored repetition and reproduction she creates works that are installed as atmospheric clouds of soured expectancy and fogs of looming capriciousness. Her wallpaper resists the notion of façade as she brings to the surface all those marks and all those little scars and all that re-occurrence referencing all those lives lived, for which domestic wallpaper is the only witness of what happens behind closed doors.
Ulrika Linder (born 1984, Sweden) produces video, drawings and makes music. She has been concerned by right-wing political appropriation of Swedish folk culture and its exploitation to discriminate against foreign nationals, migrants, asylum seekers and refugees. Recognizing herself as an informed custodian of folk tradition she has responded to the current political climate by assembling a troupe of international musicians whose musical traditions she has encouraged infecting the supposed purism of her own,
Unndór Egill Jónsson (born 1978, Iceland) is an artist whose work deals with our dependency on planet Earth and our relationship to our environment. His sculpture is a fusion between a fountain and a leak. A water barrel collects rain on the roof of Konsthallen and should be the catalyst for a series of drips that create the identity of the work. On one hand controlled, restrained and engineered; on the other random volatile and entirely dependent on the weather conditions responding to expectation.
Anders Johansson (born 1979, Sweden) works across media producing referential drawings, prints, paintings, sculptures and photographs. His works are concerned with the tropes of art, taste-making and refuting the prediction to arbitrate through one clear visual direction. He exhibits three photographic images; which through the use of a repeated logo colonize individual aesthetic choices made by three people who sport discreet tattoos and are now fashioned by the visual language of advertising.
Pär Darell (born 1979, Sweden) also refutes the traditions of working by singular media. Photographic work, blogging, sculptures, drawing, video and text works are the mainstays of his work. His works often consider the dynamics of male-to-male desire and all male communitarianism. He exhibits an A-board sign that seeks to colonize the whole exhibition by stating that women are not permitted to visit the exhibition. He thereby isolates himself from the project whilst attempting to make demands for an all male space.
Dirt and Clean is curated by Jason E. Bowman who was curator of the official presentation from Scotland at the Venice Biennale in 2005, commissioner of two exhibition by Esther Shalev -Gerz and most recently curator of the first European career survey of American icon of the avant-garde, Yvonne Rainer in both dance and film.