The last in a series of four one-week solo exhibitions called Svensk konst, Call of Heart is the second part of the Stockholm-based artist’s project divided in two chapters. The characters in the work are ‘on a journey’ between a safe, calm and quiet landscape depicted in the first, and a more hostile environment in the second, with the middle part remaining unknown and unseen.
An accompanying text by the artist narrates the character Eir’s thoughts: “hand upon the creature’s chest and whispers a meaning similar to our everything is going to be alright.” Pedersen’s practice is mainly sculptural, using various materials like plaster, silicone, ceramic and styrofoam to create narratives that are “often an allegory for more personal and common feelings in life.”**
The WINTER SESSIONS: A Season of Events at American Medium begins December 14 and is running to February 3.
New York’s American Medium gallery will host a number of events at their space over the winter season, with three sections: Alignment presents readings, Folds of Existence presents a series of film screenings and a set of experimental performances in Nocturnal Sub.missions.
– Folds of Existence is programmed by Lorenzo Gaorna and Mary Ancel, and brings together moving image works that mediate “the precarious boundaries between public space and personal psyche,” featuring over 2o artists including Benji Blessing, Rouzbeh Rashidi, Basim Magdy, Jodie Mack and more.
Lea Collet + Marios Stamatispresented aquatic live performance Scenarios of the Pool: After Blue Interval at London’s Pioneer Health Centre on October 1.
The project was developed in collaboration with curator Natalija Paunić, and uses the material of water and the pool “as a support for dreams and new social experience.” Drawing from their research in the Peckham Experiment, and using reference, characters and stories to play with fact/fiction, bodies come together through choreography and communal humming of the song ‘Pull Marine.’
Creating a conversation through open script, collaboration and archival stories from the health centre, as well as floating sculptures and handmade costumes worn by the performers, the work taps into the way “our emotions are carried in the water of our bodies — our tears, sweat, blood, and moist breath.”
Drawing on the London-based artist’s work responding to the social and historical context of public and private space, the multi-faceted work explores “the history of the Pioneer Health Centre in Peckham and its subsequent conversion into a gated community.”
The moving image installation is informed by extensive research, along with Sagar’s practice around dance, architecture and neurology to express the “complex, changing landscape of public health and the social shift towards a more egocentric, user-focused and technology-infused understanding of wellness.”
The evening asks questions like ‘does their success and exposure empower participation in political discourse?’ and ‘does the artistic community wield its power to the best of its ability?’ It will look at how we engage with our current sociopolitical climate and will explore/debate the tools and strategies needed to “radically challenge and provoke change.”**
Zoe Barcza‘s Mother’s Milk solo exhibition is on at Clermont-Ferrand’s In extenso, which opened October 12 and is running to December 16.
The installation includes a series of paintings and a sculptural box housing a mechanical puppet dressed as a chef, moving back and forth and locked in a perpetual state of inertia. The exhibition title alludes to a food source that provides the basis of life; a self-generating form of support vital for growth.
The press release is a text by Erik Lavesson that narrates a story between two characters called Theo and Vincent, as well as a dog named Elle. The plot moves in a frustrated, circular motion, finding no resolution as it meanders through climate change, dark individualism and the increase feels of “impotent insomniacs.”**
Curated by Andreas Nilsson, the opening weekend will host performances by Gideonsson/Londré together with Mio Lindman’s ‘Activity,’ a “never-ending performance” by Kaspars Groševs and Beier’s ‘The Complete Works’ performed by Leena Gustavson.
“Memes are visually dominant, increasingly, for someone like me who’s online a lot. I think they can be categorised as some kind of weird post-modern folklore,” writes Bora Akinciturk over email, whose Keep Smiling is the Art of Living solo exhibition is on at New York’s Alyssa Davis Gallery, opening December 14. The line between truth and reality is a recurrent question in the London-based artist’s work, which is why he’s put together a list of memes that demonstrate this grey zone of cultural transmission.
Memes can be defined as new or appropriated images, often with a text that is shared or worked-into iteratively by multiple authors. There’s no fixed point of origin to them, more so they exist in circulation, often transplanted from forum boards into the faster currents of social media. They are “interesting in the point that they show a direction in the future of human communication (or discommunication),” says Akinciturk, where meme culture goes beyond the horror that is 4chan’s ‘/pol/’ (i.e. ‘politically incorrect’) board or LADbible. But where does it start?
Working between painting, sculpture, video and installation, Akinciturk was early on the Turkish internet art scene, taking the stance that somewhere in the dark recesses of online communities, these anarchic and ever-evolving worlds throw a mirror up to the grim and unsettling nature of the contemporary human condition.In a darkening climate of post-truth politics, one that looks to sway the voting population on the level of ‘feels,’ memes are an endless stream of assertions expressing simplistic or reductive emotional ranges — good, bad, happy… Sad! As affective tools, they present and strengthen a group morality.
The layers upon layers of codified languages and succinct humour of memes are like a classic in-joke. One that, when shared, performs the dual action of both expressing individually-held beliefs and the display of belonging to a larger group. In the everyday politics of social media and public forums that are built upon individual testimony and trust, rather than journalism, memes have come to play an important role as decentralised neo-propaganda in the construction of societal truths. Note to self: read more Hannah Arendt.
For worse — depending on the motivation of those engaging with it — the cycle of cause-and-effect in a memetic spread can reinforce pretty shitty attitudes and beliefs, like extreme racism, prejudice and hatred. However, for better, memes can be used in protest, consciousness-raising and resistance against dominant voices. Shout out to AQNBs favourite Humans of Late Capitalism, while here are some of Bora’s:
“I saw this on instagram at @wolf_eyes_psychojazz for the first time a few weeks ago. It turns out it’s been around since 2014-15. I think it’s one of those images that spawn that scary and fascinating feeling you get when you’re having high fever nightmares.”
“I first saw this one on Reddit about a year ago. It’s basically making fun of anarcho-capitalism and there’s a whole collection of this same 3D smiley with different anarcho-capitalist-themed dystopian scenarios. Reddit is one of the main places for offensive filthy and aggressive memes, maybe not as bad as 4chan. This is one of the neutral ones in my opinion 😊”
“I remember running into this around Brexit and then couldn’t find it again, so I checked knowyourmeme.com and here it is. knowyourmeme is perfect for understanding the history and origin of a certain meme and also a good place to track one down if you have a keyword to search but don’t know about the meme or something.”
“This is from a meme page on Facebook called aborted dreams. There’s quite a lot of weird, nihilistic, dark Facebook meme pages like Crippling Meme Fueled Depression but they generally close down and pop up again under different names or change identity frequently. So you have to be on search mode to keep up.
“This last one is from one of my favorite instagram meme curators @jizz_factory_art_advisory. The image is from the 1997/98 ceramics of the artist Ingrid Luche. This absurd abstract arts touch on a meme page is rare and something I really really enjoy. I also love @son_of_schlongee.”**