artists & participants
Galerie Nordenhake Stockholm, proudly presents "Alice Doesn't Live Here Anymore," a group show curated by the gallery's new Stockholm Director, Ben Loveless.
The seven participating artists are all dealing with issues such as displacement, transience and instability. Many of their works address the traces of identity within the space, as well as the ephemeral nature of physical presence and the tangibility of absence. All artists have also taken the specific qualities of the locality into consideration - in this case a once luxurious flat in central Stockholm, recently transformed into an anonymous office space. We also hope that this exhibition may confer a sense of melancholy and absence, that are implicit in the title of Martin Scorsese's film from 1974: Alice Doesn't Live here Anymore.
The Swedish artist Christian Andersson's untitled piece plays with issues of accessibility and perception in this closed office scenario and challenges our understanding of an object as a physical entity. Empirical preconceptions of volume and mass become undermined when Andersson's office chair appears to lose its physical presence.
In his video Untitled (Horizontal Sliding) from 2000 the Swedish artist Jonas Dahlberg focuses on literal, architectural interiors. The film, which depicts a horizontal sliding through a series of empty rooms, lacks both beginning and end and allows the viewer to move through an empty space indefinitely.
One of the central concerns of the Ameican artist Spencer Finch's work is the relationship between color, light, memory, and history. In this new diptych, The Light Through My Window (Dusk, January 9, 2006), he "imports" the light and colour of the sky at dusk from a window in his Brooklyn flat and captures aspects of melancholy in the vacated space.
Swedish artist Gunilla Klingberg's ceiling-mounted sculpture Transtube System is composed of ordinary rice-paper lampshades. The shades are connected end to end till they become a Moebius strip. The mundane materials transform into a giant amorphous form, into mere ectoplasm.
The Swedish artist Sirous Namazi's untitled piece is the second in his series of paintings where he depicts sofas from a found furniture catalogue. As with rooms, furniture is loaded with the traces of personal histories. The sofas are depicted in indefinable spaces with atmospheric lighting that arouse the sense of the anonymous passing of time and emptiness.
German artist Markus Sixay's works often address themes of ephemerality. Lamp to Be Smashed By the Show's 100th Visitor is a standard glass globe-shape ceiling lamp. On its destruction one is forced to question its status as a lamp. The object's change in form and meaning reflects that of the room it hangs in. In addition Sixay presents Can't Beat The Feeling - a wall painting using Coke Light. The faint color of the splash made by the Coke Light appears like a stain left by previous occupiers - a trace of older activities.
Florian Slotawa, also from Germany, transforms furniture into sculpture. As a logistical solution for three upcoming he constructs the same sculpture three times using materials ordered from the furnishing giant IKEA - each from the local distributor. The first sculpture was made in Germany, while the second and third are exhibited at Galerie Nordenhake and in New York nearly simultaneously. The global availability of the objects renders them anonymous and without personal history.
Alice Doesn't Live Here Anymore
Kurator: Ben Loveless
At temporary locations: Birger Jarlsgatan 18
mit Christian Andersson, Jonas Dahlberg, Spencer Finch, Gunilla Klingberg, Sirous Namazi, Markus Sixay, Florian Slotawa