Moxy Khora – at SFI Västerort and Jobbtorg Stockholm in Rinkeby, Stockholm konst. Installed Sep 16, 2016. Inauguration Nov 14, 2016. Commissioned by Stockholm konst.
More information: Sculpture PROJECTS UKW PRODUCTION/Public Commissions
Art residence Rome, Circolo Scandinavo March 2017
Book as contemporary art form in Nordic contries, October 1-2 2016 Grafikverkstan Godsmagasinet & Galleri Astley in Uttersberg
THREE ROOMS (AND A CORRIDOR)
Three exhibitions curated by CAC Bukovje/Landskrona. The exhibition opens on the 21st of October.
Working Drawings and Other Visible Things on Paper Not Necessarily Meant To Be Viewed as Art (After Bochner)
CAC Bukovje/Landskrona is proud to present again an exhibition inspired by Mel Bochner’s project ”Working Drawings and Other Visible Things on Paper Not Necessarily Meant To Be Viewed as Art” originally executed in New York in 1966.
Bengt Adlers (1950, Sweden), Conny Blom (1974, Sweden), Mel Bochner (1940, US), Kalle Brolin (1968, Sweden), Vasja Cenčič (1973, Slovenia), Martin Creed (1968, UK), Kajsa Dahlberg (1973, Sweden), Jeremy Deller (1966, UK), Ditte Ejlerskov (1982, Denmark), Milanka Fabjančič (1982, Slovenia), Vadim Fishkin (1965, USSR), Johan Furåker (1978, Sweden), Alexander Gutke (1971, Sweden), Felix Gmelin (1962, Germany), Carl Michael von Hausswolff (1956, Sweden), Ištvan Išt Huzjan (1981 in Slovenia), IRWIN (1983, Slovenia), Janez Janša (1973, Slovenia), Janez Janša (1964, Croatia) and Janez Janša (1970, Italy), Stine Marie Jacobsen (1977, Denmark), Lisa Jeannin (1972, Sweden), Žiga Kariž (1973, Slovenia), Clay Ketter (1961, US), Jukka Korkeila (1968, Finland), Anna Ling (1971, Sweden), Anna Lundh (1979, Sweden), Miltos Manetas (1964, Greece), Jonathan Meese (1970, Japan), Kristina Müntzing (1973, Sweden), Jesper Norda (1972, Sweden), Björn Perborg (1974, Sweden), Magnus Petersson (1971, Sweden), Adrian Piper (1948, US), Klara Sax (1997, US), Lina Selander (1973, Sweden), Nataša Skušek (1967, Slovenia), Nina Slejko Blom (1982, Slovenia), Nedko Solakov (1957, Bulgaria), Mladen Stropnik (1977, Slovenia), Annika Ström (1964, Sweden), Stefanos Tsivopoulos (1973, Greece), Ulla West (1954, Sweden), Leon Zuodar (1977, Slovenia) and Serkan Özkaya (1973, Turkey).
In 1966 Mel Bochner collected drawings, sketches and similar material from friends and colleagues for an exhibition he intended to make at the Visual Arts Gallery at the School of Visual Arts in New York. He had first intended to frame the material but when informed that the exhibition budget did not allow for such extravagances, he resorted to photo copying all the material in four editions and mounting it in four identical binders that he placed on four podiums in the gallery. Mel Bochner used a xerox machine because it was the most available tool for quick and affordable reproduction. The equivalent today would be a colour digital printer. Using it we lost that ”Xerox sameness filtering” of the material, but we were not trying to technically reproduce the 1966 show, we just took a smart idea that deserves attention and tailored it for our purposes. In their essence the ideas for our shows are very similar, if in a way also diametric – Bochner used Xerox and folders when faced with lack of money for presenting the works he wanted to show and we used printer and folders when wanting to curate a show without a budget. The main differences are in that the artists we had invited to participate knew beforehand that they would be creating for the folder, and that the material submitted would not get much altered in the reproduction process. Content-wise, our goal with this exhibition when it was first created was to bring as much good art as possible to a small, culturally undernourished city in southeast Estonia. So perhaps we were not doing this seminal curatorial piece justice, as we were not exactly ground breaking – showing art reproduced in folders on plinths has been done before, and our group of artists was not particularly revolutionary. Also, as curatorial endeavors go, constructing solemnly on basis of love for art, for enjoying it and showing it, seems like a rather naive and ”mundane” concept. However, it does feel at times that loudly proclaimed passion for art is most radical and rare in curating today, so maybe we are not so far off anyway.
(The exhibition was made possible with the support from Kulturkontakt Nord, the Swedish Embassy in Tallinn, Landskrona Stad, Agrippa Manufacturing AB and Esselte Sverige AB.)
Moxy Khora – tests and experiments
MABL – Mobile Artist’s Books Library (& Archive)
Preference of Interpretation – Book
INDIGO RUG – Correction as method
Art residence Rome, Circolo Scandinavo 2016
MABL and Library of the Evil Spirit at Husby Konsthall, Artist’s books salong Nov 21 – Dec 6 2015
HALLEN – Preference of Interpretation Jan – Sep 2015 Public commission in Hallen-Åre municipality, Jämtland, presentation at Storsjöteatern Östersund Sept 11-12
MABL in Istanbul Sept 4 – 6 2015 Aciliyet mektebi SALT in conjunction with the opening of 14tn Istanbul Biennale
CORRECTION 3 and 4 at Aciliyet Mektebi SALT Istanbul Sept 4 and 5
CAC – CONCEPTUAL ART CENTER, BUKOVJE, ESTONIA
CAC Bukovje Landskrona present: Two exhibitions for the Kilometre of Sculpture, Võru, Estonia: ”Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art (After Bochner)” and ”Small Good Things (Artworks We Like That Fitted In Our Suitcases)” 4 – 26 July 2015. http://www.cac-bukovje.com/index.html
CORRECTION 2 DKTUS Stockholm June 2015
40th ANNIVERSARY BENEFIT AUCTION FOR INDEX FOUNDATION PREVIEW BELENIUS/NORDENHAKE
Index 40th Anniversary Benefit Auction, Preview at Belenius Nordenhake, 18 – 20 May, 2015.
MABL WELD/ CORRECTION 1 Stockholm April 2015
TANKEGÅNGAR soloexhibition at Konsthallen Trollhättan Nov 8 2014 – Jan 4 2015