ELASTIC GALLERY

News

  • Sep 23, 2015

    Jacquelyn Davis in Artforum Critic´s Picks on Camilla Løw

    "The positioning of works in the space is as if the artist has prepared a stage for a performance—but for objects instead of humans. One can here depend upon the imagination to ignite intellect and emotion."
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  • Sep 15, 2015

    Anders Karnell i Nöjesguiden, September 2015

    "Det vore fel att säga att Camilla Løw är något annat än i tiden."
    READ MORE

  • Aug 27, 2015

    Håkan Nilsson i SvD om Camilla Løw

    "Det händer hela tiden något i ytan. Kanske ska man därför säga att Løws verk bygger mer på förskjutningar än på repetitioner."
    READ MORE

  • Jun 14, 2015

    Konsten.net om Catrin Andersson CREEP BEHAVIOUR

    "Hennes verk är som när naturvetenskap är som bäst: en slags stram poesi rotad i den fysiska världen."
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  • Jun 5, 2015

    Omkonst om Catrin Andersson CREEP BEHAVIOUR

    "Catrin Andersson rör sig konceptuellt i en forskningsliknande sfär, men utan att förlora den visuella suggestionen."
    READ MORE

Newsletter

Current exhibition

Charlotte Walentin "The Weight of Dust Exceeds the Weight of Settled Objects" 16/1 - 28/2

Elastic Gallery has the pleasure to present Charlotte Walentin’s first solo show at the gallery, The Weight of Dust Exceeds the Weight of Settled Objects, 16/1- 28/2 2016. Opening Saturday 16 January from 2- 6 pm.
Accompanying the exhibition is a text by artist, writer and critic Frida Sandström.

Welcome!

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Formal Fractions: The Weight of Dust Exceeds the Weight of Settled Objects / Charlotte Walentin

Experiencing boundaries rarely happens voluntarily, whilst we, as beings, are constituted of them. They are a consequence of our forthcoming, as well as we are of theirs. So, who are "we"?

As a reader, it is up to you to decide whether you identify with a pronoun as such, but most often there is one "we" to whom you feel a certain belonging, a connection or a link. This "we" is not only internally plural. Instead, there are several we:s, as there are millions of states of boundaries. In most of the cases, you don't know on which side you happen to be on and therefore, the thin lines are constantly and unconsciously trembling. Within that movement, new spaces can be found. Yes, the borderline is a space itself, but by reconfiguring its density, the circumstances that it creates might also be affected. Such a reconfiguration can’t happen without friction, and friction needs presence.

What is presence in an artistic action, and what does it matter? The question echoes over time and into the future, it has to. For Charlotte Walentin, activation is a central action, but that doesn't mean that she is the artist agent activating a mute material. Instead, the activation happens within proposals that are of course consequences of actions made by Walentin – and others who pass by. Although, it is within the resonance that the activation takes place, an activation that is not linearly passing from one agent to another, but an intra-action of several agents, affecting each other's contexts. In such movement, subjects and objects are in a constant flux of what could be called sobjects. The artistic problem might be how to make this this movement possible for a longer duration. For Walentin, the mining of borders –either social or physical ones – is crucial. Such mining could be a violation, but it could also be an intervention with care. It’s making matter matter, which sometimes results in the material disappearing, as well as being a returning point for an absent action. This is why Charlotte Walentin’s new-materialistic practice is also a social one. Her practice doesn't happen within the growing network between hand and material, but in the vibration coming out if this movement. As Jane Bennett would put it, it is a vibrant matter (1).

To keep this flux ongoing, Walentin also practices absence, that in it self is a very present action. She calls it a sort of formal element (2), upholding states of boundaries. I would say that this is the way in which Walentin actually intervenes with the social-material crossroads of her practice. She lets them be, that is: to tremble. Handing over of the presence to objects, Walentin facilities an activation of the whole space – be it a library or a gallery, a text or a mind. Whatever agent is passing by or even avoiding the circumstances is included. Even though, Walentin doesn't sculpture this social material, she spends time with it and she speaks to it, but she also includes me: writing a text, not about, but together with "it". I would say that through proposing compositions and animating different meeting points, Walentin has a conversation-based practice, sometimes even a linguistic one. As the exchange of people and places is central for the sociologue, the tangibility of void and density is what Walentin's practice consists of. Also, the social practice of the sociologue or the performance artist, Walentin's installations investigate the ongoing reconfiguration of states. These are states in connection to which no one is objective, and where the we:s are continuously multiplied – dispersed, being neither subjects, nor objects, but subjects to a slight surprise of action (1). Therefore, The Weight of Dust Exceeds the Weight of Settled Objects is not a show; it is not something to be presented in a gallery. It is an event that modifies in the making, wherever that is.

Frida Sandström

(1) 'Vibrant Matter' by Jane Bennett
(2) Charlotte Walentin, december 2015
(3) Bruno Latour, quoted in 'Vibrant Matter' by Jane Bennett

Charlotte Walentin received her MFA from Malmö Art Academy in 1999.

Previous solo shows include 2015 One Wish May Hide Another, Krognoshuset; Lund, Distant Fingers, Fainted Strings, Wadström Tönnheim Gallery, Falsterbo 2013 Objects Obscured by Other Objects, Galleri Ping-Pong, Malmö, Slow Motion, Galleri Thomas Wallner, Simris 2011 Galleri Lars Olsen, Köpenhamn, Vargåkra gård, konsthall, Hammenhög, 2010 As matters stands as matter, Crystal, Stockholm, Out of this world, Vita Kuben, Umeå, 2005 Galleri Mors Mössa, Göteborg, to name a few.

Groups exhibitions include 2016 (Upcoming) Translation Theme Park, Watarai Art Museum, Tokyo 2014 What we did on our holidays, Galleri Ping-Pong, Malmö, Crystal Grand Finale, Sthlm Art Week, Stockholm 2013 Former i tillblivelse, Lunds Konsthall, Lund, Polyfoni, Galleri Thomas Wallner, Simris 2012 Frosseri och förgänglighet, Galleri Arnstedt, Östra Karup, Worlds apart, Galleri Thomas Wallner, Simris 2011 Malmö – so there, Galleri Thomas Wallner, Simris 2010 Spår, Malmö Konstmuseum, 2010 Y – The Black Issue, Ystad konstmuseum.

Walentin is represented in public collections like Malmö Konstmuseum, Göteborgs Konstmuseum, Ystad Konstmuseum, Region Skåne, Statens Konstråd, The City of Lund Art Collection and the City of Gothenburgs Art Collection as well as private collections in Sweden, Denmark and Switzerland. Walentin has completed a number of  public commissions in Lund, Klippan, Huddinge as well as the City of Uppsala.

Full CV of artist can be found here

www.charlottewalentin.se

For more information on the artists and the exhibited work, please contact the gallery, info@elasticgallery.com or alida@elasticgallery.com

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