VICTORIA GÜNZLER AND GALLERI FORMAT
HAiK w/ Victoria Günzler and Galleri Format
January 22 - March 1 2015
AT FIRST GLANCE THIS DIVISION WOULD APPEAR TO BE MORE RATIONAL
If we want to unite something that appears to be broken into parts, all we need to do is to place the parts into a uniting set. Such is the mechanism of an opera - a work. The work can be a text, a song, a space; any designated format really; how about an exhibition?
The curator of this exhibition, Victoria Günzler, unites what appears to be divided; practitioners belonging to design, arts and craft and visual arts are presented back to back, shoulder to shoulder, all mixed up and giddy. The gap between them, in name, is easily bridged by the act of inscribing them under one parole; “At first glance this division would appear to be more rational”.
The bringing together of these artists show Günzler’s interest in exploring the borders between artistic fields that from one perspective seems divided by an abyss and from another seem so similar it’s difficult to make out the differences between them (the overlaps!). The exhibition as a whole brings to the fore strategies of negotiation (or even negation) of the traditions associated with a specific field, object category or material; Pernille Pontoppidan Pedersen, Victoria Günzler and Nathalie Fuica Sanchez all break down objects traditionally associated with the ceramic material - the pot – in playful and mischievous ways. Hilda Hellström’s otherworldly urns evoke questions of what they are made of and why. Such works, raising questions of an ontological character (What is it?), are presented together with works that alternates between showing and hiding its nature. Both Vera & Kyte and Hunting & Narud engage the narrative potential of everyday objects. Their objects are more than their innocuous appearance – they seem to want something besides just performing their apparent function. The artists in this exhibition also have in common a willingness to interact with others, either as collaborations with other fields/practitioners or with spaces; both Aurora Passero’s and Mari Østby Kjøll’s works may be fleeting and elusive in terms of category (is it sculpture, painting or architecture?) but are concrete in their engagement with spaces and architecture. HAIKw/ are in many ways the epitome of what Günzler seems to advocate; they mix fashion and art, craft and industry, collaborating with other artists and designers, staging their work as events, exhibitions in galleries or performances. While maintaining the body and clothes as a focal point (to wear, to use, to move with) they blur boundaries and establish a new way of working.