Belenius

Ivana Franke

14.10—07.11.2010

Gallery Niklas Belenius is pleased to present the second solo exhibition at the gallery by Ivana Franke.

There is a story about a certain optical phenomena that happens while looking at someone, or yourself in the mirror long enough, at some point, this person´s image disappears, dissolves into a fog. Ephemerality of appearances and finitude of forms and the way they are experienced, understood and responded to or simply made in time are frequent topics in Ivana Franke´s work.

The series of drawings presented in this exhibition – Thinking dimensions (n-cube) – speak about the process of slowly getting lost in complex abstract counter-intuitive conceptions of space, represented through several projection graphs. These graphs are used in visualizing structures of the higher dimensional regular polytopes. In each drawing one dimension is added, the addition of lines unfold further spaces and the lines multiply until they finally become happily raveled or blur together.

Franke´s work investigates the concept of visibility and space. The sculptural piece Boxed-in infinite polyhedron is an object made of transparent acrylic glass and is a fragment of space filling polyhedra, which is in theory, by mathematical definition infinite. The rigid materiality and solidity of the object is partially canceled out by the transparency and reflectivity of the acrylic glass as they bring forth an encounter with many faces simultaneously. Reflections follow the viewers pace of movement and extend the gaze in time, while empty space and reified volume exchange in perception.

Tensegrity wall is a construction made of steel rods connected with thin wire that engraves the space. The large-scale installation physically divides the gallery, breaks the shortest path, and directs the visitors movement. At the same time it opens the space into itself, into multiply new spaces inside of it. The construction could be used for measuring through the space – the distance between you and me at the moment, as it renders spatial relations visible.

Her exhibitions include P.S.1 Center for Contemporary Art, New York; the Venice Architecture Biennale; Museum of Contemporary Art, Zagreb; the Venice Biennale; Reykjavik Experiment Marathon; Manifesta 7

Ivana Franke was born in 1973 in Zagreb and she currently lives and works in Berlin.

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Galleri Niklas Belenius is proud to present The truth about this work (2010), a site-specific video installation by Loulou Cherinet that has recently been shown at Manifesta 8.

During a car trip through Slovenia we stopped at country store for supplies. We bought two litres of 96,6% pure alcohol. On the flight home we spiked our drinks with considerable amounts from one of the bottles. The taxi journey from Arlanda is eternally etched in my memory, it was sleet outside, and I cooled one hand through the open window and placed the other on her forehead. The lights along the motorway, the smell of leather from the car coupé, the cold air from the outside and the heat from the alcohol that incinerated and radiated through the delicate skin in her forehead. Imagine how the palm of our hand register hallucinatory fragments, how it reads and renders a meaningful message there in the backseat. Essential basic naive mental layers interacting with more defined and developed structures. Conclusions based on experience are in compromise with standpoints of a fundamental cultural, and moralistic nature. It is a cognitive narrative in real-time. Not a passive contemplation but a doing, an active acting. A hierarchy composed by forces and counter-forces that are unified and concluded in a densified story, in an image of a human being. An image fulfilled, containing all the unconscious material that the conscious has displaced, everything that do not exist in the official repertoire. It has to be real. The time in Washington, the welding sparks and the cigarettes. The time in Indonesia, the great paintings, the water leak in the ceiling. The return journey, the knife incident, love, impotency and insanity. The bars in Gothenburg, Hayward Gallery, Moderna Museet, Centre Georges Pompidou and the Mori Art Museum. The miracle in Vienna, the implausible high odds winner at the race tracks who saved the economy. And here we are – right at the heart of the result and at the centre of a construction – with access to new works. A configured basic material in a materialised format, half encoded, half projected or projected because it is encoded. Just lift your hand to the forehead and make yourself aware.
Linus Elmes, Oslo, 2010

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A fountain and its natural form, the spring, are symbols of the miraculous life-begetting ‘élan vital’ that permeates the universe. In fact, life on earth is now thought to have begun in the nutrient-rich plumes of undersea hydrothermal vents, real-life fountains of life. But, when the image of the source is mimicked as Water Feature, a merely decorative, self-contained electric fountain, the maternalistic life-force is perverted into what amounts to abject MILF porn. The Water Feature is so wasteful and self-indulgent that it becomes the straw man in the argument against contemporary art as useless blubber for the tasteless elite. But— can’t home and garden decor give back a little bit? Can’t we efficiently retrofit some of our ‘criminal ornaments’ for a fairer future? If there is some leftover space inside their faux-marble fiberglass hollowness, we can definitely squeeze some useful nanotech in there— right? Let’s finally answer Joseph Bueys famous challenge, “Kann Plastik die Welt verandern?”—can sculpture change the world? with a resounding “YES!”…as long as that sculpture contains a state-of-the-art-kick-ass-energy-efficient-linux-micro-PC that is totally discovering a cure for cancer.

A group of spectacular cast-fiberglass fountains stand together on an elevated server-room floor. A Fit PC 2 (the smallest PC currently available, 96% more energy efficient than a standard desktop) is installed in each water feature. Whenever the fountains are plugged in, the Linux PC’s will automatically boot up and run World Community Grid software, a distributed computing project which uses a massive network of PC’s around the world to model solutions for various humanitarian problems, such as: “Clean Energy Project”, “Influenza Antiviral Drug Search”, “ Fight Aids@home” and “Nutritious Rice for the World”. The delightful splashing of the water and twinkle of the energy-efficient LED’s act as relaxing and meditative status-light for the computers, tirelessly laboring within. Although there is no screen visible in the installation, the computation progress can be remotely monitored through a dedicated website.
Throw in a coin, and make a wish….introducing, World Community Grid Water Features by AIDS-3D

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A short story by Swedish novelist Stig Dagerman inspired a series of painted stage directions, featuring an ambiguous drama of God and Newton. The paintings draw upon ideas in the text, merged with the artist’s interest in a shack-like condition best described as “a sustained moment in time where collapse is imminent.”

Newton is in his London study on the night of his death. The air is raw with fog, the candles lit. When God pays the scientist a visit, a battle of desire and vanity ensues where neither God nor mortal are entirely redeemed. The stage folds into itself, the characters merge into one another, and miracles are reversed when Newton gambles for the deity’s human shape. In a shack on the street outside the gallery the most precious of substances, silence, is collected in amber jars.

good,

thaw the I

sand us ray

You are all familiar with that first scene from the new country: A few shacks in a field, morning mist dissolving imperceptibly and rapidly at the same time. Any thought disrupting this hypnotic presence must be addressed to god, as an idea. What we see here is a workplace without mercy. The turpentine, the dust and the boards are all elements of an involuntary state of exile, brought about by internal forces, contaminating the body. Labor executed here is unimaginably heavy, with severe restrictions on both air and imagination. Pause is out of the question.

Each effort is painfully hard; feet slip in shoddy mud, sweat attracts insects and the blistery hands are full of splinters; sleep and nutrition sorely lacking. Spirits haunt within and without in this place that consumes its inhabitants.

The installation “Skjul för tystnads skull/” Shack for the purpose of silence” is part of the ongoing project “un

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