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Past events


Tu çavê min î

February 24—27/2022

Tu çavê min î (you are my eyes) takes its title from a Kurdish saying used to express empathy, and commonly employed at funerals to show sympathy to the grieving family. Diving into domestic and cultural symbols and rituals, the exhibition examines Pelerin Brodrej and Nikki Fager Myrholm’s respective quest for alternative ways to communicate and to bring about healing.

In this exhibition, language is gentle as a bird but witty as a snake. Language is a pair of eyes offered on a golden plate to sooth a sad friend. It is staring out someone’s eyepits and seeing nothing but mist. Language is a flame: if on a parent’s birthday you light a candle, when remembering them you might want to burn a few more. It is also a language that isn’t seen or heard anymore. A language so quiet, that it folds and fades into the dinner table.

Pelerin Brodrej and Nikki Fager Myrholm create candidly. They copy fading memories from photo albums or words from children's alphabet books, and let them shape and tell new stories. Attentive to their yearnings, they both seek for a language carrying shared memories, a language that is more alchemical: if there is a spirit to all things, it shall fall down into new alphabets and new words that can be read and used to conjure friendly ghosts, and create fertile land on the earth ground - among ruins.

Curated by Lucie Gottlieb









Supermarket Art Fair 2021: Shapeshifters

October 14—17/2021

At Supermarket 2021 Nef presents three new artworks by Tomas Sjögren: An interactive wood, video and sound installation titled The Oracle (2021), together with two weaves titled Carnivorous Kurbits (2021) and Hellburner (2021). Bear in mind though, that the borders between the works are not that thick, and if observed closely enough the viewer may find links that glues all of the pieces together into a whole.

By the means of a multidisciplinary, mostly digital, practice ranging over 3D-renderings, VR, video, gaming and programming Tomas Sjögren’s work invites the viewer to contemplate the enigma of humankind’s relationship to technology. By accentuating the spiritual and material properties of virtual existence, Sjögren’s work plays with the idea that virtual worlds may not just be an extension of the natural world: they may possess a nature, materiality and mythology of their own, yet to be unveiled.

In The Oracle the old meets the new in a reconstructed hay fence filled with technological equipment. The installation works almost like a virtual mirror, where the avatars on the middle screen follow the movements of the viewers. But these mirror avatars also have their own agenda, and the viewer is invited to have a narrated conversation with them about nature, technology, magic, love, God, digitalism and AI, to name a few. The conversations are built on actual conversations that Sjögren undertook with an AI chatbot.








Morte liiiiiiiiifffeeee, still naaaattuuuree

August 19—29/2021

ꕤ ꕤ ꕤ


it was the beginning, it was the end, it was the continuity
trash turned to tea bags, dyeing the world a new shade of green
a lot of sex going on, the distinction gone between you and me
everyone was everything and needed only each other and coffee

from the fortress and sulphuric muck
tiny fish knives too cute to cut
morte life is not dead life
but still life is tough

smash a lot, smash a lot, but keep the pieces close
pancakes turned to scramble but maybe they’re still edible
weave this shit together, yea, that’s all that we know
let the flies and mold and rust and roots and stains show


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Mourning School warmly invites you to Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree an exhibition by Anna Reutinger and Garance Wullschleger presented at Galleri Nef.

Morte Liiiiiiiffeeeeeee, still naaaaaattuuuuree pulls us in a myriad of directions as we wade through the messiness of accepting extinction—and all that might come after. Both alarming and hopeful, it reminds us that once life is dead it is still nature; in the same way that a tree that falls becomes a life-giving feast for many others.

For this immersive installation Reutinger and Wullschleger invited friends and loved ones to reflect on the question of the end of our world as a beginning of new worlds. A question that asks us to stretch our imagination beyond the vocabularies and structures we know so well, and towards affective and abstract ways of knowing.

The outcomes are stitched into a cocoon of second hand textiles dyed with food scraps, the air filled with whispers, unfamiliar languages, and guttural tones. This space is not a shelter as the sky falls upon us, but a carrier for stories of possible futures; from the belly of the universe bird flowers, plant minerals, nocturnal bone-slugs, world-fish and vulva trees take root.

We invite you to enter and explore it for yourself.

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Anna Reutinger, b. 1991 in Oakland, California lives and works in Berlin. Her practice combines sculpture, installation and performance to propose a return to craft in defiance of capitalist production cycles and as seed for social, material and environmental empathy. Oscillating between incidental and intentional gestures, she uses found material and social input to expose the transitory nature of things and beings, and their interconnection.

Garance Wullschleger, b. 1993 is a French-Swiss artist who lives and works in Lyon. Through performance and installation, photography and text, Wullschleger concocts peripheral narratives of today. Working from lived and collected experience, she samples worlds around her, from the scale of her body to the globe. Through manipulations, camouflages, and montages, she redirects the gaze to immerse the visitor into a universe offset from reality.

Mourning School is an artistic study program on the notion of being in grief as the stuff of our everyday, initiated by Lucie Gottlieb and Rosa Paardenkooper.

Morte liiiiiiiiifffeeee, still naaaattuuuree was first produced during a residency at Petrohradská Kolektiv. The work was made possible with contributions by Isabelle Albuquerque, Fina Anjou & Niklas Büe, Ingrid Blix, Francesca Brusa, Antoine Dochniak, Lena Heinz, Valentýna Janů, Annika Kappner, Štěpán Krahulec, Theis Madsen & David Haack Monberg, Monica Mays, Kaspar Molzberger, Roxie Perkins, Eva Reutinger, Nolwenn Salaün, Tomasz Skibicki, Géraldine Soares.

The exhibition is made possible with support from The Swedish Art Council, Stockholm Stad, and The Nordic Cultural Foundation through the Globus Opstart Grant, and generously hosted by Galleri Nef.

ꕤ ꕤ ꕤ






Re: Re: Re: Re:

June 18—23/2021

Re: Re: Re: Re:
An exhibition of new work by Clementine Edwards and Ada M. Patterson commissioned and curated by Mourning School.

Re: Re: Re: Re:
From: Clementine Edwards
To: Ada M. Patterson

The path you tread between the grey gums and the platanus is sometimes dry and sometimes soggy, always jumbled. Of course you’re in this universe, but you must stay awake to how it rocks you backwards and forwards, backwards and forwards. You must tip-toe along its gravel and gumnut path, being careful to go slower with it than your grabbing instinct demands.

--

Re: Re: Re: Re: is a series of gentle missives, videos as call and response, between Ada M. Patterson from Barbados and Clementine Edwards from Naarm and then Rotterdam. In the correspondence, they speak to their shared experiences of life back home as potentially untenable, and the ways it provokes a complicated grief rooted in trans-ness, administration, climate, and the (dis)possession of land and body.

Re: Re: Re: Re: makes space for a textured and emotional confrontation between their bodies and the world, riddled with desire for, and attempts at anchoring themselves in their surroundings, histories and land, yet failing to, or resisting these impulses at the same time.

With Re: Re: Re: Re: Patterson and Edwards attempt to make visible, legible and palpable the lived effects of grief. They ask, How might we trace the passage of grief from something that takes up space within our bodies towards something that makes space for our bodies and other bodies to inhabit?

Re: Re: Re: Re:
From: Ada M. Patterson
To: Clementine Edwards

Sargassum: a brown that collects or traps. I’m afraid of how slow it moves or how much it could slow me. Trying to salvage brown sargassum from a trap, to a complicated accumulating of life and death; a grief that gathers, a body that gathers, a brownness that gathers.

Re: Re: Re: Re: is a work in a constant state of unfolding. New thoughts and images are making their way into the artists’ correspondence that respond to events and feelings happening in real time. This generates a conversational rhythm as a methodology and a continuation of a friendship. Creating synergy between their respective practices, Edwards and Patterson step into each other’s pace and working process on a material level; borrowing editing techniques, frames and phrases. To a visitor, it feels as if you have entered into the middle of an ongoing conversation, the details of which may not be clear. This indeterminacy opens up a space of profound, queered possibility that disrupts existing dynamics between public and private, universal and personal, familiar and unknown. It is a space where we can recognise and honour, remember and grieve the lives, deaths and suffering of those otherwise deemed ungrievable within the context of the worlds we live in.

Clementine Edwards (Naarm, Rotterdam) & Ada M. Patterson (Bridgetown, Rotterdam) have been sharing conversations and collaborations on subjects such as climate crisis, plastic-as-toxic-muse, queer grief, and Blackness and whiteness since they met in 2019.

Mourning School is an artistic study program on the notion of being in grief as the stuff of our everyday, initiated by Lucie Gottlieb and Rosa Paardenkooper.

Re: Re: Re: Re: is made possible with support from The Swedish Art Council, and The Nordic Cultural Foundation through the Globus Opstart Grant, and generously hosted by Galleri Nef. This work is a starting point for an ongoing project to be developed by the artists at Live Works Vol. 9 in 2022.

Visual identity and templates: Agga Stage








Threshold

September 03—13/2020

Threshold is a group exhibition introducing the work of the studio residents: Siri Elfhag, Nadja Ericsson, Viktor Landström Fröjd, Eva Reichmann and Tomas Sjögren.

For months the now has been paused, but a threshold appears. A reorganization of time and space. An open door with our name on it, leading into a room. And we would like you to be in it.

Agitated, curious, the human mind is constantly standing ajar. It senses a beyond and wonders about it: oh, there is a world out there other than I, its nature and my nature seem at once different and yet intimately entangled with each other. Forever reaching up to something to grasp while one foot is sliding into a hole, we are never done going through the threshold. We exist simultaneously in what we are emerging out of and in what we are moving into. The goal is always infinitely ahead from where we stand. And the arch remains constantly open.

Threshold presents as a group exhibition unveiling the strange in the normal, the eerie of the everyday. A patchwork of artistic thoughts lying on the verge of something more.

Curated by Lucie Gottlieb.