Entanglements make boundaries in the broadest sense hard to define. Animals are using mimicry that asks for recognition of another through imitation as protection while technology shapes us and not the other way around. Various forms of entanglements evolve through thought processes that are not distilled but ever-changing.

What are we becoming? And for whom do we transform?

Entanglements is a group exhibition that brings together local and international artists. Through a wide range of perspectives and entrance points, the group of artists was invited to meditate upon the topic of entanglement from each of their own positions.

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Nils Andreasen (1993, SE/NO)

The origin of language is experimented with in Andreasens work. He questions the relation between object and language through a non-arbitrary mapping of speech sounds and visual shapes of objects.

The experiment by Wolfgang Köhler shows us a connection between shape and name, a rounded shape has a round-sounding name, and a jagged shape has a more jagged name. Below are some examples in the English language:

Bowl and Box, a bowl sounds round and a box sounds squared.
Spoon and Fork.
Ball and Brick.

Nils Andreasen puts these questions to the test in his series of work, Axis-Mundi, where his art can be put in-between these notions.

The experiment has shown that certain elements or materials can be divided into their characteristics like wool, sounding fluffy and rounded, or zinc, sounding squared and rugged.

These opposites have a close relation to romanticism, facing off good vs. evil, beauty vs. ugliness, strength vs. weakness, etc.

The sculptures shown by Nils Andreasen show an oscillation between opposite poles.

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Oda Haugerud (1990, SE)

What is the taxonomy of a machine?

Oda Haugerud is an artist currently based in Gothenburg, Sweden. She mainly works with sculpture and installation investigating intimacy within the industrial. Her main interest is looking closer at how human, animal and mechanical structures collide in a suggested metabolic circulation of matter. Investigating how the discarded can be repurposed in resistance to ideas on value extraction, productivity, and longevity. She works sculpturally mainly with what could be considered waste and byproducts such as beeswax and used car parts to tackle this topic. Deconstructed and reassembled to dwell on the idea of entanglement and boundary crossing.

In 2018 Haugerud obtained a Bachelor degree of Fine Arts at the Gerrit Rietveld Academie, Amsterdam. She has exhibited at Nomad (SE), M4gastatelier and Stedelijk Museum (NL), etc. Her latest international solo exhibitions include site-specific; “freezefearflood” (2019) at Heerz Tooya (BG), and “Tongue Twisters” (2020) at Galleri Konstepidemin Pannrummet (SE). In 2019 she participated in two artist residencies ARV.I (BG) and Belgrade Art Studio (RS). In 2021 she was granted a one-year working grant from The Swedish Art Committee.

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Maitane Midby (1991, AT/ES/SE)

Recently finished her diploma work at the Akademie der bildenden Künste Wien. Her previous studies have been at the Fine Arts University in Bilbao, The Glasgow School of Art and the Valand Akademie (Gothenburg). Maitane has taken part in various group exhibitions for example at the Belvedere 21, Vienna. Her first solo exhibition “Silent Scream”(2016)took place at gallery Zentrale in Vienna, Austria.

Maia invites us to a world beyond ours, not much beyond, but a bit.
We get confronted with the absurdity of her everyday life in a covid-struck Vienna.
At the same time a simmering natural force is threatening to burst.

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Ljubomir Popović (1987, SE/RS)

Ljubomir Popović is an artist based in Stockholm, Sweden. Popović recently graduated with a BFA in Fine Arts from the Gerrit Rietveld Academie in Amsterdam and the University of Applied arts in Vienna, and has previously shown works at Stedelijk Museum, Amsterdam, Festung Hohensalzburg, Salzburg and Kulturhuset Stadsteatern, Stockholm.

By observing cities’ continuous and dynamic growth, Popović navigates through changing urban peripheries. Maintaining mobility as a performative process allows one to zoom in, witness and expose the later stages of gentrification and its power structures. It is a socially unfair process of pushing away local inhabitants in areas of segregation.

Popović addresses junctions and in-between spaces. He uses plastics and metals with vibrant colours that function as protective safety elements. Furthermore, he rips out ads and cuts in plastics to create stacks and collages which mimic and trace the forms of repetitive structures of consumerism towards their collapse.

By collecting materials as archaeological objects, Popović displaces them from their context as an act of civil disobedience against gentrification processes. Creative destruction and its value as a ruin, articulates a critical approach to the capitalist framework of gentrification.

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Marija Stanković (1993, RS)

Marija Stanković is a Belgrade-based visual artist. She earned her Bachelor’s and Master’s degrees in Painting from the Faculty of Fine Arts in Belgrade.She has been part of several international projects such as “Inbetween”, “Icebreakers” and “Summer School”. In her work, she constructs and explores the narrative of developing societies. The aesthetics of tactility and accuracy provide a subtle commentary on her social, political and cultural environments. The comic metaphor, with its banality, sharply points to the absurdity of events that equally affect all systems in transition.

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Kristina Tica (1995, RS)

Kristina Tica completed her Bachelor studies in Painting at the University of Fine Arts in Belgrade and her Master studies in Digital Arts at the Faculty of Media andCommunications, Belgrade and is currently studying at Kunstuniversität Linz, Master in Interface Cultures. She participated in several study programs within Central Saint Martins, UAL and Slade School of Fine Art, UCL. Her body of work is focused on the examination of forms and semiotic keys of visual languages in different media. She works across various media such as painting, video installation and generative new media art. Her works have been exhibited at festivals such as: “TheWrong”, “Ars Electronica Festival”, “Speculum Artium”. She is the recipient of the art+science AI Lab National Award (Serbia) 2020. Currently lives and works in Linz.

Mœræ is an interactive installation that explores the poetics of remote touch through sensors and smart materials in the form of a tangible and wearable object. Interdependency and causality of physical movement between two or more agencies has been enhanced through network communication within these materials, changing the structure of the thread not only in a visual but also in a molecular sense. Embodying the questions of fate and causality through a myth, this project materialises our intertwined presence where touch travels further than the limits of its skin.

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Timna Tomiša (1994, HR)

Timna Tomiša is a film-maker and a visual artist. She earned her BFA at the Gerrit Rietveld Academie in Amsterdam (NL) in 2017 and has been a practicing artist since, splitting her practice between Amsterdam and Zagreb. In 2021, Tomiša enrolled in an MFA degree program in Film at HDK-Valand, University of Gothenburg (SE).

The main focus of Tomiša’s practice are visual manifestations of abstract phenomena and the recalibration of known metaphors and symbols in contemporary culture. In her work, she employs film-making methods in order to depict surreal, synthetic and idiosyncratic worlds and narratives that run on their own inherent logic whilst almost secretively pointing towards phenomena that occur in the so-called ‘real world’.

Photos: Marijana Janković