Signal to Noise* – Nina Canell, Robert Kinmont, Linda Matalon, Rivane Neuenschwander, Amalia Pica, Sophie Tottie and Jan Uprichard

December 4th, 2013 § 1

An exhibition curated by Stefanie Hessler
With a text by Jacquelyn Davis

opening 14/12 16-20
until 19/1

Communication is at the basis of cognition and the functioning of individuals and systems at large. Conveying a message that is understood leads to action and to reproducing the system that transmitted it. Cells constantly send and receive signals. If they do not send impulses, transmit them too late, or respond without having received a signal, the process results in disease or malfunction, triggering another regulatory process aimed at reconstitution.

Nevertheless, systems that constantly reproduce existing patterns impede change at a structural level. Just as language is a closed function based on rules that are nearly impossible to imagine differently from within, the looped feedback of sending and responding can hardly be interrupted productively. Purposefulness and self-regulatory systems from technophile future visions of the 20th century have led to self-management and structures that lack the faculty of imagination, but are aimed at reproducing the existing.

The exhibition “Signal to Noise” proposes a methodology that considers irrational successions, illogical communications, and fatal non sequiturs. It asks what happens if we intentionally do things in another than the logical or best possible way, disrupting the established forms of response, reaction, and linear communication. By not only stepping forward or backward, but sideward, the exhibition proposes to consider communication as untargeted, inconsistent, and non-decipherable, but open for contagion. In the same way that particles in quantum tunnelling can pass through barriers that they classically cannot surmount, it proposes defying constitutive principles and thereby becoming unreadable, unquantifiable, and unusable for the feedback-generating system.

* Signal to Noise is a measure used in science to indicate the quality of a desired signal and its proportional ratio compared to the level of background noise. It refers to the degree of useful information measured against disturbances and irrelevant data, be it in sound, biochemical signalling, or spam in online forums.

Stefanie Hessler

Ilja Karilampi – Medulla Oblongata at The Woodmill GP

December 4th, 2013 § 1

Woodmill GP is pleased to present a new outdoor commission by Swedish artist Ilja Karilampi. This wall painting will be on display at Woodmill’s Bermondsey location until February 2014.

Axel Petersén – The Night of Counting the Years / The Last Wonder of the Ancient World – Tisd 4e december Biografen Zita, kl. 18.00

December 4th, 2013 § 1

Film i samtidskonsten visar filmen The Night of Counting the Years och talk showen The Last Wonder of the Ancient World – ett orientaliskt intermezzo av och med Axel Petersén och Nabil Abdelkhader.

Bigert & Bergström / The Drought / 9.11-8.12

November 2nd, 2013 § 0

In the new exhibition The Drought at Gallery Niklas Belenius, Bigert & Bergström continue investigating the escalating climatic threat using salt as a symbol of thirst.

Bigert & Bergström’s exhibition The Drought continues the duo’s investigation into various climatic threats and how man and earth respond to them.

The works originate from two research trips in the Mediterranean region; one to the ancient salt pans of Margherita di Savoia on the Adriatic coast of Italy and the other to the newly built desalination plant at the Llobregat River outside Barcelona in Spain.

The crystal photo sculptures, inverted space molecule and glass montages document the sites of these opposites where fresh water scarcity is the premise for production.

One facility subtracts the salt and the other extracts it from the enormous basin of the sea.

A central piece of the exhibition is the Hourglass. The looped sculpture, blown out of proportion and filled with 100 kg of salt, conjures a deus ex machina suggesting that we have infinite time on our hands to grapple with the crisis of an atmosphere in flux.

During the summer of 2013 the exhibition was shown at the Castle of Barletta, as part of the larger project Watershed, organized by the Italian art organization Eclettica International.

In September-October 2013 parts of the project are being exhibited at Contexts in Paris. In January of 2014 the exhibition will be presented at Varberg Kunsthall in south of Sweden.

In connection with the exhibition, the artists have published The Drought, a 72-page field guide on the project. The book was designed by Björn Kusoffsky and the opening essay Sea Thirst and Fear was written by D.Graham Burnett.

The Drought is the continuation of a series of exhibitions initiated by the The Storm (2012), in which Bigert & Bergström explored twisters in the American mid-west. The remaining exhibitions in the series are The Freeze, The Flood and The Light.

Karl Norin – Think for me, please – Opening 5.10 at 3-7pm

September 26th, 2013 § 2

Gallery Niklas Belenius is pleased to announce the opening of Stockholm based artist Karl Norin’s first solo exhibition.

The show consist of a number of everyday objects such as worn down sheets, cheap rugs and colourful fake furs compressed and polished into a sleek surface and mounted onto wooden frames.

Unlike many contemporary painters Norin is unbothered with tradition. He is occupied with how the objects fade in and out of abstraction and how his low-tech process of casting paintings enables random compositions in eternity.

In contrast to the historical legacy of abstract painting Norin uses abstraction as a tool to evoke associations and to disclose new meanings and hidden patterns.

Norin is showing us that just like pictures can be used to represent objects, objects can be used to represent pictures of objects that resembles an image of worn-down sheets, cheap rugs and colorful fake furs.

Karl Norin was born 1982 in Fjällbacka. He received his Master from the Royal Institute of Art in Stockholm this spring.

Exhibition period 5.10-3.11