Algoritmo
2018.09.08 – 2018.10.10


Meriç Algün
Daniel Askeland
Mette Björnberg
Broderauttexten
Karolina Erlingsson
Richard Johansson
Runo Lagomarsino
Gala Porras-Kim
David Svensson

ALGORITMO first started as an enquiry into works of art that addressed questions of
language and forms of communication using text in a conceptually rooted approach. We
quickly understood that such an exploration in exhibition making was not something new,
but rather recurrently used as a way of gathering works in the vast landscape of today’s
museums and institutional art spaces.

As a post-alternative, interdisciplinary art gallery, the individual strength of those works
and the artists that created them, is what consolidated our current fascination for the
kind of art in which you can read or listen to words and sentences, generating a series of
responses that are simultaneously intellectual and sensorial.

Noticeable in the exhibition is what can be called a third generation of conceptual art.
While undeniably a heritage of landmark conceptual art of the last quarter of the twentieth
century, most of the works introduce more complex procedures and strategies and raise
newer questions that align them with today’s entropic state of things.

What we found out as we continued to gather the artworks and started to live with them,
first as images in our inboxes and then as physical objects in the gallery space, was that
some of these works inhabit the realms of geography, anthropology and history. Addressing
interrogations regarding systems of knowledge (Algün, Lagomarsino), rudimentary forms
and variations of language (Erlingsson, Porras-Kim, Broderauttexten) and memory recording
(Johansson, Svensson).

The inclusion of painting (Askeland) was deliberate as a way for us challenge our notion of
what contemporary art could be. Works included have different levels of subtlety and as if
volume was usable as a parameter to understand the way an artwork appears to the viewer
(or the listener) we could affirm the exhibition is a compendium of voices with different
strengths and tones, some low and delicate (Erlingsson) and some louder and more explicit
(Johansson).

When we get asked about the title we reflect upon the combination of every step required
to achieve each individual work. None of these set of self assigned instructions can be
found on another work nor they are repeatable or formulaic.
In a world in which the industries attempt to define individuals by gathering information
via a mathematical analysis of minimal gestures within the digital realm, the analog voice
and materials of the fine artist emerge once again as an option to re-imagine ourselves
and obtain a perspective of the world that is outside the current currency of information.


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