• Galleri 54, Artists Run Artists

Benedikte Esperi, Denis Romanovski, Emma Ströde, Fröydi Laszlo, Ilona Huss Walin, Karl Bergström

Artists Run Artists

Huuto II 6.3.-29.3.2020

Karl Bergström, Benedikte Esperi, Emma Ströde, Fröydi Laszlo, Denis Romanovski, Ilona Huss Walin
Artists Run Artists

Artist-run space entanglement is a label for the observed cultural phenomenon that occurs when a pair or group of artists are invited, to interact, or share spatial proximity in a way such that the artist-run show of each artist of the pair or group cannot be described independently of the show of the others, even when the artists are separated by a large distance. (From a Wikipedia article about quantum entanglement, but the words physical, particle and quantum are replaced with cultural, artist and artist-run space show).

In the show Artist Run Artists; Benedikte Esperi, Denis Romanovski, Emma Ströde, Fröydi Laszlo, Ilona Huss Walin and Karl Bergström all members of the board of Gallery 54 an artist run gallery in Gothenburg Sweden, shows work at the artist run gallery Galleria Huuto in Helsinki. The board of Galleria Huuto is in turn invited to Gothenburg and Gallery 54 to make a show in may and april 2020. Two artist run spaces in different cities and countries entangled, connected and subjected to the famous “spooky movement at a distance” proposed to not exist according to Albert Einstein.

Benedikte Esperi, choreographer, performance and video artist based in Gothenburg, initially trained for the ‘black box format’ but is published in a variety of sites, such as public realm, contemporary art venues, dance- / theater stages and elsewhere. The encounter with sites, intentions and people nurture her choices and actions where the body is mediating current topics. Her works range from solo, co-productions and community art within the genre of performance/live art, installations, dance for screen and choreography.
Statement ‘In my practice it’s about being present and curious, playing with risk and trust at the same time, mirroring not only the society but also the representation of a political body. I use my body as a tool to let the spectator interpret the world and our role within it through performative actions’. Esperi is part of the artist-run platforms Gallery 54 and The Tiny Festival Producers

Esperis contribution at Galleria Huuto is a performance during the vernissage and a site-specific produced video installation titled, both titled : “inverted lies – the true story”.

Denis Romanovski, artist and organiser based in Göteborg. As an organiser, he has been running and producing numerous international and local art events, festivals and exchange projects, among others Net Art Meetings (Minsk, 2001), RAM7 (2005), international performance festival Navinki, (Minsk, 1999-2008), PALS – Performance Art Links festival in Stockholm, STATUS: The Role of the Artists in changing Society and other. His art practice broadens from performance art to interactive and technology based art. His performances often focus on dynamic relations between the members of the audience, creating situations for individual expressions and experience of collective awareness. Denis Romanovski is actively involved in several artist-run organisations: Gallery54, Konstepidemin, Fylkingen. www.romanovski.se

Denis Romanovski contribution is a performance “The Good News, The Bad News And The Ugly News” during the opening of the exhibition.

Emma Ströde is a visual artist working in Gothenburg. She mainly explores the inner world and strives to materialize emotions and moods. Often it is about tenderness and care between figures that take shape in wax. She works both traditionally sculpturally and with an aesthetic approach to animation. She uses trees, branches and bark to create rooms and surroundings, small installations where different figures meet. The public space is something that interested her early and she has made a number of public commissions over the years. She is most associated with the small rider statue Nikes Gothenburg, which is a commentary on Karl the IX’s rider statue better known as “Kopparmärra” in central Gothenburg.

In Galleria Huuto she will show a clutter of branches found in different places around Gothenburg. The branches have been burnt but left a void, a negative form filled with bronze. The branches have been resurrected, they have been given a new life where they relate to each other and form new forms that at the same time bear traces of their past life.

Fröydi Laszlo is a visual artist, born 1968 in Oslo. In her art she works with themes like exploring the world from the perspectives of animals and plants, and question human concepts like “nature” “human” and “non-human”. Both human, animal and plant-worlds are only totally translatable to each being through its senses and its intra-action (term invented by philosopher Karen Barad). Intra-action is the somewhat shared web of intention and change, as every being and the effects of its life is entangled in a shared materiality. To explore the world as shared, not fully comprehensible and brimming with signs and meaning (that is not necessarily directed towards humans), inspires an artistic practice that moves from painting to installation, from photography to performance.

A part of her practice is rooted in practical encounters with and caring for plants and animals, like the Chlorociboria aeruginascens, the green stain fungus that will be shown at Galleria Huuto. Here, she has been collecting blue coloured wood in the forest, and with great patience cared for the fungus in her home, so that it could develop its beautiful fruiting bodies in an indoors climate.

Ilona Huss Walin is a visual artist based in Gothenburg. She has worked with video, installation and performance for more than 20 years, and she has had a number of exhibitions in the Nordic region in particular. She has the last five years entered the track forest and language and where the boundary can be crossed between “nature” and “culture” if there is any such.

At Galleria Huuto she presents the photographs Loose compositions with fallen branches from the forest. The branches that Huss Walin has removed from the ground in the forest are allowed to live their own lives, she does not change or correct them. But she puts them next to each other in loose compositions to mimic man-made phenomena such as a written text or weapons. Huss Walin also shows the film “The most effective is to not do so much and let the forest develop itself” which is a 16 min long film about close to nature forestry where man is a part of nature instead of an overarching subject. The film is made in cooperation with the musician and filmmaker Ambjörn Göransson and forestry engineer Martin Jentzen. www.ilonahusswalin.com

Karl Bergström is a visual artist born in 1985, lives and works in Gothenburg, works in oil painting and installation. In his art Bergström works with notions of perception and cognition. In ‘Boo!’ his masters exam work from Valand Academy he worked with sound persevered as color through infarasound-wave in the context of the phenomena of unexplained phenomena as in haunted houses. Bergströms art observes the borders between silence, art and philosophy nudging and breaking them in intentionally absurd ways. In his painting practice Bergström makes visual abstractions of both philosophical terms dealing with perception and every day phenomena such as spam mail, who news about won what award as well as themes from literature and film. By actively painting visual abstractions of visual phenomena and theoretical phenomena Bergström seeks to level the field and authority of everything in the world to abstract phenomena through painting. reminding us that with out category and words to describe the world it falls back to its arbitrary and abstract state. This ongoing interrogating of the position of every perceiver as sole interpreter of the world with limited, either chosen or factual, connection to other people is what drives Bergströms visual imaginary.

In his work at Galleria Huuto Bergström is showing paintings in installation. Paintings installed in the room lit by a spot light directly in front of the image grants the audience a third position to view the light as a perceiver the painting as the perceived and the audience something else, the third dislodged state of viewing. The staging of the painting and the tripod of the spotlight works as an analogy to what makes real points of view possible.