Image: Film still, The Model Archive, Malin Pettersson Öberg, 2017.
28 JUN - 18 JUL 2017
Malin Pettersson Öberg’s art practice is concerned with the exploration, displacement and revaluation of various orders and points of view. It might imply taste- and value hierarchies that manifest themselves in our daily environments or phenomena that seem forgotten and overlooked. For example, Pettersson Öberg collects and examines outdated text material, such as science books and manuals, historical texts, letters, lists and travelogues, to help catch sight of our present situation. It is an attempt to investigate memory and history writing, to challenge the angles and formats through which our lives and environments are being described. Equally, to focus on what is ambiguous, open, evasive or contradictory in order to show its potential for transformation and transcendence. By theme and expression Pettersson Öberg moves between opposites and undefined categories, such as text and image, narrativity and abstraction, documentary and fiction.Currently, Pettersson Öberg explores an essayist film format in order to examine how we perceive time and describe places and cultural or national identity. In a world of constant translations – between languages, cultures, places, formats and currencies – she approaches questions of destabilisation and estrangement, and assembles fragments from various sources into meditative flows of words and images.
Image: Oil on canvas,Tomorrow's Forecast: Strikingly Clear, Marc Handelman, 2008.
28 JUN - 18 JUL 2017
Marc Handelman is a visual artist and teacher. Through paintings, installations, artists’ books and other media his work explores the exchanges between painting, art history and image culture within the visual rhetoric and politics of landscape. Engaging themes such as the re-emergence of nineteenth-century landscape aesthetics in corporate advertising, political branding, and colonial mythology, and the gendering and essentialization of Nature, Handelman’s work questions the ways in which the omnipresence of these and other naturalisms aestheticize and legitimize forms of violence and oppression. Handelman has exhibited extensively throughout the United States as well as internationally in such venues as PS1 MoMA; The Studio Museum in Harlem; The Nerman Museum of Contemporary Art, The Orlando Museum of Art; The Rubin Museum: The Royal Academy of Art (London), and the Konsthögskolan Royal Academy of Fine Arts, (Stockholm) among others. He recently collaborated with Prem Krishnamurthy and Aaron Gemmill for the project Works in Progress at the Storefront for Art and Architecture in New York. Handelman has taught in the graduate programs at Yale University, Bard, and Columbia University and is currently an assistant professor at Mason Gross School of Arts, Rutgers University.
Image: Watercolor on paper, Cobalt; ferromagnetic, hexagonal close-packed installation, Kristina Bength, 2016.
28 JUN – 18 JUL 2017
Kristina Bength´s practice is dealing with how photographic representation can be used in new forms of figuration. By reusing photographic material depicting past times and events, Bength is trying to remember what she can´t remember. Events of the past cannot return as such, but they can recur in new forms if the storytelling potential of the archive is brought into use. With photographic archive material as departure point and model, Bength paints watercolor paintings and install them in a certain form, for example as ‘diapositives’ in a slide carousel, or as ‘patients’ in a hospital ward. Bength affirms the dissonance occurring between the analogue photograph and the painting: that tactile border zone which testifies for bodily experience, both of the artist´s own and the image´s. When Bength paints archive photos there is a hope of developing unexperienced memories, such as environments or places where certain people have existed. It can also be physiognomic portraits of the photographed people's gazes which she encounter in the archives. They becomes Bength´s extended eye, connecting her to a time she haven´t lived but whose notions of healthy and sick, female and male, normal and abnormal, produced images that still influence our identities today.
Image: Radio Voice of Divnogorie, Divnogorie, Sergey Sobolev. Tatiana Danilevskaya, 2015.
28 JUN - 18 JUL 2017
Tatiana Danilevskaya is an artist and philologist who lives and works in Voronezh. She is an Associate Professor in the Russian language at the Department of Russian as a foreign language. Her sphere of interest covers topics of intellectual labour, occupation (considered as work/hobby, labour/leisure) and spoken word. Danilevskaya is keen on the workflow as well as on persons engaged in the activity. She works in such media as installation, performance and radio art. In her recent projects she focuses on subjectivity of scientists and educators ("i'll succeed", "Intimnoe Mesto" gallery, St. Petersburg, 2016), on exploring interrelation of people within a restricted area (performance “In the Space of Unfreedom”, 2015). In her ongoing project “The Voice of Divnogorie” (2015, 2017) she is trying to create an alternative to mass medium and global communications using such a non-abusing the environment medium as micro radio. The concept of micro transmitting gives an opportunity to rethink the local area, to recombine the established relations in this territory, to focus on communication, rather than on reporting. Currently, Danilevskaya is a co-organizer of educational program "School for Artists", based in Voronezh Center for Contemporary Art.
Image: Diary notes - sound piece for the water, Nuno Vicente, 2014.
28 JUN - 18 JUL 2017
Nuno Vicente is a Portuguese artist born in Chartres, France (1981). Vicente studied Painting and Plastic Arts at the school of fine Arts of Caldas da Rainha, Portugal. Nuno´s art practice is characterized by the integration of natural elements infusing both the symbolism and the concept of his creations. His artworks vary between installation, sculpture, action and documentation (mainly through the use of text and photography). As an artist, Nuno Vicente´s strategy passes to develop projects site-specific, finding in History and Prehistory tools that enable him to better understand the origins of culture and to use antique symbolic into his contemporary art practice. Nuno Vicente has presented solo exhibitions at: Museu António Duarte, 2008; Galeria Paulo Amaro, Lisboa, 2008 and 2009; Rosalux Gallery, Berlin, 2010; Sculptures made of earth, water, fire, air (part I,II,III,V and VI) to name a few. His work has also been presented in group shows at: Museu da Eletricidade; Centre d´Art La Maison Laurentine, Haute-Marne; SAVVY Contemporary amongst others. He was nominated for the 2007 edition of the prize millennium Anteciparte, and was selected for the 11th edition of the prizes Novos Artistas Fundação EDP in 2015. He participated in the 2014 Varna Visual Arts Biennial, in Bulgaria. Nuno Vicente currently lives and works in Berlin.
Image: Installation view, Beaver dam and hut for a parallel universe, Anders Bergman, 2014.
28 JUN – 18 JUL 2017
Anders Bergman is a Swedish artist who has lived and worked primarily in Helsinki since 2000. Bergman's art practice is a journey through diverse fields of installation, painting, music, sounds and social environments – in which he investigates energy across a vast array of forms. He conceives of music and other forms of sound as a sort of "floating architecture", and in turn he often thinks of paintings and installations as "frozen music". Bergman's art can also be understood as an exploration of various processes of organic transformation. Through his diverse observations and discoveries he asserts connections – "universal laws" – between environments as seemingly disparate as (for example) everyday building renovation sites and the vast lava covered landscapes of the Icelandic wilderness. By placing his focus on these organic, ever-evolving processes (both large and small), Anders Bergman encourages his audience to join him on a subtle yet potentially profound journey of deep linking and fresh thinking.
780 41 Gagnef
© GAIR, 2017
GAIR (Gagnef Artist-in-Residence Programme) is registred as a non-profit cultural association.
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