With their first website registered in 1995, JODI.org were amongst the first artists with a presence on the internet. Fittingly then that their artistic practice were to be synonymous with investigations into the world wide web, programming and computers. Their websites-as-artworks, modified computer games and apparent coding errors have inspired generations of artists, both conceptually and aesthetically, since their original mistake of omitting a bracket while writing code as artists in residence at the San Jose State University in 1994. The result was an indecipherable mess of letters, symbols and numbers and led to the now instantly recognizable seemingly random visuals with a syntax-error feeling that has marked much of their work.
Belenius/Nordenhake will present some of the original modified software as well as projections of websites, along with a series of new work, where the artists have registered a series of websites with domain names consisting of only one-letter, chosen out of different world alphabets. The websites reflect the working of network protocols and the dynamic syntax of the World Wide Web.
JODI has exhibited around the world, with notable exhibitions and performances including the Centre Pompidou, Paris (2015), the Whitney Museum, NY (2013), the New Museum, NY (2012), Eyebeam NY (2009), Documenta X Kassel (1997).
17.04.2015 – 30.05.2015
An Exhibition by Ilja Karilampi
Curated by Bonaventure Soh Bejeng Ndikung und Solvej Helweg Ovesen
Karilampi looks at these city visuals as if they were »crime scenes«, graphic codes to break or cases to solve in the city, styles to be observed, tags that literally tag in your memory, graffiti statements to be translated, institutional signage to be remembered, street signage as well as the myriads of brands everywhere to be carefully studied. Looking for patterns and unusual constellations, Karilampi injects these signifiers implementing a pop-aesthetic in his visual artworks. Socialised with pop-music and crimes series, and drawn just as much to the outskirts and ‘heinseit’ of Berlin as to the centre and its upfront facades, the artist titled the exhibition after the popular Berlin shot crime TV series »Heiter bis Tödlich – Hauptstadtrevier«.
»The detective thing is maybe a romantic lifestyle, but also a break with the expected – I like my friends who push and reject the cliché roles. I’m just obsessed with NYC undercover cop movies and also what roles the detectives have in society – heard about this retired police officer in Sweden who collects art – but he also has a glass window from a bank which some robbers sprayed a machine gun smiley sign into, in his collection.« (Ilja Karilampi, 2014)
Utställningsperiod: 14-31 maj
Vernissage torsdag 14 maj 2015 kl 17-21: Invigning av galleriet och vernissage med gravöl från Bordellens Bryggeri i samarbete med Jan Håfström
Zimm Hall, Dalagatan 20, Vasastan/Norrmalm
Öppettider: torsdag – söndag kl 12-16
Torsdag 14 maj 2015 öppnar konstgalleriet Zimm Hall på Dalagatan 20 i Stockholm. Först ut är utställningen Gravöppning med Leif Elggren, Joakim Forsgren och Jan Håfström. Zimm Hall är ett forum för forskningsrelaterad samtidskonst och drivs av Mattias Bäcklin, konstnär, Mikael Goralski, konstnär och Malin Zimm, arkitekt.
Malin Zimm 08-4022552, Mattias Bäcklin 0708308140
To celebrate 40 succesful years as one of the most forward-looking and progressive arts organisations in Sweden, Index organises an art auction with works by artists who have exhibited here in the past and friends of the organisation. Index invites you to bid on works of art by outstanding Swedish and international artists working in a wide range of media, both from established and up and coming generations. Spanning more than 30 years, the list includes among others Lina Selander, Runo Lagomarsino and Meric Algun Ringborg who represent Sweden at this year’s Venice Biennial.The auction is an important signal for the future of Index at a crucial step of the development of the organisation. In changing conditions for the arts, this event aims to highlight the importance of institutions such as Index within the wider cultural ecology. Located in the city centre, Index is a space for contemporary art, open and free for everyone, inviting to experience and discuss creative thinking. With an expansive programme of pedagogical events, such as a new programme with “Schools in Residence”, Index offers engaging experiences with art.
All sales during the auction will support Index future programme and development.
Mamma Andersson, Lotta Antonsson, Fia Backström, Zoe Barcza, Duda Bebek, Bigert och Bergström, Johanna Billing, Meric Algun Ringborg, Lara Almarcegui, Nina Beier, Nadine Byrne, Magnus Bärtås, Ann Böttcher, Elin Elfström, Leif Elggren, Olafur Eliasson, Elmgreen/Dragset, Jana Euler, Öyvind Fahlström, Claire Fontaine, Olivier Foulon, Goldin/Senneby, Susan Hiller, Karl Holmqvist, Judith Hopf, Sture Johannesson, Anders Johansson, Ilja Karilampi, Gunilla Klingberg, Oskar Korsar, Jiri Kovanda, Runo Lagomarsino, Karl Larsson, Goshka Macuga, Tobias Madison, JO Mallander, Jonathan Monk, Deimantas Narkevicius, Kate Newby, Jesper Nordahl, Karl Norin, Anders Petersen, Jack Pierson, Elizabeth Price, Roger von Reybekiel, Lili Reynaud-Dewar, Emanuel Rohss, Max Ronnersjö, Yorgos Sapountzis, Katerina Seda, Lina Selander, Sean Snyder, Mårten Spångberg, Lisa Torell, Jim Thorell, Anna Uddenberg, Uglycute, UNITED BROTHERS (Ei Arakawa and Tomoo Arakawa), Annika von Hausswolff, Emily Wardill, Peter Wächtler, Klaus Weber, Ulla West, Anna Ådahl u.a.
The auction will be held online in collaboration with the auction site Paddle8.
The online auction will be launched on Wed 6 May at http://paddle8.com/auction/index
Auction: Wed 20 May 2015, 17:30–22:00
Café Opera, Karl XII:s Torg, Stockholm
Auctioneers: Ei Arakawa and Karl Holmqvist
Preview: 18-20 May, 12:00–18:00
Belenius/Nordenhake, Jakobs torg 3, Stockholm
Reception: Mon 18 May, 17:30–19:30
On Friday 8 May, come join us as we take over the derelict hospital on Venice Lido for a special event, produced by Gaia Bartolini.
“Artecitya. Envisioning the City of Tomorrow” in Venice
Last January, the Europe-wide program Artecitya (2015-2018), a collaboration between 8 partners from around Europe (Greece, Germany, France, Czech Republic, Cyprus, Slovenia, and Poland) was successfully launched in Thessaloniki.
The program aims at bringing together artists, architects, town planners and citizens to re-create the cities we want to live in. The priority is to stimulate a vigorously innovative approach to the concept of urban life taking into account the sociological evolution and people’s needs.
This May, Artecitya Thessaloniki travels to Venice to present the project itself, as well as the performance and film “Explosion of Speech” by Swedish artists duo Mats Bigert & Lars Bergström, at two amazing spaces, Palazzo Mora and Palazzo Bembo.
“Explosion of Speech” is a fiery paean to the importance of free speech and the power of poetry. Itfollows a common thread – a burning fuse – that winds through Europe leaving a burnt-out trail of text in its wake.Words become sentences, evolving into a collective poem created by a group of poets from the cities through which the burning fuse passes. There is no written script. The fuse interventions are developed on location, while the poem’s verses are distant from each other temporally and spatially.
This is the second iteration of Bigert & Bergström’s “Explosion of Speech”, that was launched in Thessaloniki last January with the support of Artecitya and Goethe-Institut Thessaloniki.
For Artecitya, “Explosion of Speech” is a call to arms. As a performative and cinematic endeavour, the work cuts through time, space, individualities and realities. Its improvised urban scenography signals the city as the space par excellence where democracy is made possible, animated through polyphony, debate and conflict. The burning poetic word dethrones the slogans of politics as expression of the people’s voice, articulating dreams, aspirations, needs, prophecies, admonitions… In that sense, the work becomes an agency, even more so a peaceful call to arms or a vehicle of transformation, as it positions multiple individualities at a vantage point, that of an emancipated protagonist of a delightfully utopian film, projected into what could very well be the near future.
The first verse of the poem was contributed by Greek author Alexandros Aimoniotis, while the second verse is owed to Italian poet and artist Alessandro de Francesco.
The exhibition “Personal Structures. Crossing Borders” is organised by the European Cultural Centre and GAA – Global Art Affairs Foundation in the context of the Venice Biennale 2015. It features works by internationally established artists, such as Carl Andre, Joseph Kosuth, Yoko Ono and Lawrence Weiner, to name but a few.
Artecitya and Explosion of Speech are presented in Venice in the context of the exhibition “Personal Structures. Crossing Borders”, organised by European Cultural Centre and Global Art Affairs Foundation.
8 May 2015, 21.00
Palazzo Mora Strada Nuova #3659, Venice Admission free
9 May – 22 November 2015
Palazzo Bembo Riva del Carbon #4793, Venice Opening hours: 10.00-18.00 (Tuesdays closed) Preview 7 and 8 May, 18.00-22.00
Stainless steel. Streamlined shapes. Subtle patterns in discreet dark blue. Soft head cushions. Calm voices. Barf bags neatly folded into the seat-back pockets.
The World Is Our Home, You Are Our Guest
Globalisation makes the world smaller. It facilitates international trading, stimulates intercultural exchange and inspires cultural homogenisation. Globalisation brings people together by making them more alike, by making them wear the same swooshes on their sneakers, keeping their books in same awkwardly named bookshelves, drinking the same Double Chocolaty Chip Crème Frappuccino® while listening to the same jazzy soundtrack, fiddling with the same smartphones. Driven by a longing for security, confidence and homeliness, we bundle up in a snug blanket of well-known trademarks and let the generic aesthetics of globalisation lull us into safety. Brands and logos are the closest we can get to an international language and the mall is the new public space. The political power is slipping over from nation-states to multinational enterprises that dominate the global market as well as the minds of the customers. There is no centre or periphery, only inside or outside of the mall, up or down on the international stock market.
Search data is the new collective consciousness and Qatar Airways fires employees over Facebook statuses. The football team Atlético Madrid’s main sponsor is the state of Azerbaijan and King, the company behind Candy Crush Saga, has access to over two million gigabytes of user information. Kids are still killing each other over Nike sneakers and Apple’s Chinese supplier Foxconn has put up safety nets outside their factory windows to prevent employees from committing suicide. Behind the homely, homogenous surface of global gentrification lies a darker truth, shrouded in stock-exchange quotations and jazzy soundtracks.
In Love at First Flight, Viktor Fordell presents collages of air sickness bags mounted on photographs showing close-ups of airplane details. Some of the world’s best and most successful airline companies are represented: Qatar Airways, Emirates, Gulf Air and Etihad Airways, enterprises known for their excellent services and highly questionable working conditions. By appropriating the repetitive, generic language of globalisation, Fordell’s work scratches the surface covering the new empire of enterprise, carefully painted in discreet dark blue.
Sit back, relax and enjoy the flight.