Two prints on A4 paper.
Liquids in themselves.
Packed in the rucksack between two sheets of corrugated plastic held with brown packing tape.
Baggage limits taken into account.
Wise finance and smooth transition.
Turns out they don’t sell peace onboard.
Incessant rain since the landing.
The drops down bus windows that people find emotional (in the right song).
A joke about taking the weather with you (the British ice breaker).
What they’re famous for with a knife and fork.
Midnight walking the Vatican, no photographs for Mums.
Drowning rats under the big wet and classical.
Believing the term to ‘arch hop’ appropriate to hug the pillars cold.
Three door hotel, questions of lions or beds – probably what dreams could be made of.
Dreams made of mini kettles and plastic bars of soap (surprisingly no UHT).
Black tea and toothpaste.
Only to remember they were in the rucksack…
And the ink’s bled through.
Should have used more tape.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

For her first solo-exhibition at Frutta, Algün Ringborg explores the manners one can move across borders. One way

is the manner in which Algün Ringborg herself moved from Istanbul to Stockholm, entailing bureaucratic stamps,

application forms and interviews, which ultimately might result in a lawful and legal residence within the EU.

The other manner, of course, is to move illegally. On this occasion the border is more specifically the river Meriç, or

Evros or Maritsa, originating from Bulgaria, it acts as the border between Turkey and Greece and is given different

names respectively. The river, partly being the namesake of the artist, is today one of the most frequently used

locations for illegally entering the European Union. And that the artist shares her name with this river is coincidental,

but nevertheless intriguing, and the river being the river Meriç is central to this exhibition.

 

Algün Ringborg presents on this occasion previous work that deals with the notion of migrating legally. The work

Becoming European, 2012 for instance, shows by way of repetitious stamping the days and ways the Swedish Migration

office tracked her becoming a European citizen all whilst The Concise Book of Visa Application Forms, 2009 a book

containing all the visa application forms to all the countries in the world, lays available for whomever to flip through,

essentially granting whoever is in possession of it access to every nation anywhere.

 

For this exhibition, Algün Ringborg, and particularly in response to the river, has created new pieces that concern the

mark known as cedilla, as in the c of Meriç. In the artist’s new context of Sweden, the ç is frequently confused or altered

in letters from authoritative agencies such as banks, Universities and even the Migration office. Rang- ing from simply

omitting the letter and making the name Meri to more advanced Meri% to replacing the ç with the html code as in Meriç

the loss of the cedilla serves as a continuous reminder of ‘originally’ coming from somewhere else and of not fitting within

the system. Moreover, a new sound piece plays numerous individuals saying Meriç with varied pronunciation, which

simultaneously and confusingly is either the artists’ name or the name of the river, or both – blurring the boundaries of the

two and making central the name no matter what or whom it is attached to. The ç comes to act as the symbol, both literally

and metaphorically, of being transboundary.

 

Algün Ringborg also looks at the river itself, and by its simple image or topographical outline suggests the no- tions of crossing

it in either direction. Taking its reference from Felix Gonzalez-Torres’“Untitled” which is an end- less reproduction of an image

of water, Algün Ringborg shows an image of the Meriç river in a similar manner. In Untitled (Evros, Maritsa, Meriç), 2013 she

hints at the different localities that surround this water and therefore the different political systems they exist within. Furthering

this idea, in the work Blue River Red Border, 2013 two lines mark the bird’s eye view of the river and the border. It was decided

at the treaty of Lausanne how the border and river would coalesce, but as it meanders, the piece shows where the river flows

naturally and where the treaty of Lausanne once decided that the border would run. Simultaneously presenting their similarities

and differences shows places where they act as a unity and places where they diverge, and the fiction of the border, it’s made

upness from a political treaty, and the consequential inside and outside that the river marks is made apparent.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

For Nicholas Matranga’s first solo exhibition at Frutta he would like to ask you to “Mind the gap(s).”

Frutta will present a sequential exhibition, involving four curators: Adam Carr, Ilaria Gianni, Frances Loeffler

and Valentinas Klimasauskas.

 

Starting from a fixed point, a domino effect will be created. Each subsequent show, the different curators,

will progress from the end point of the previous exhibition. Each will pursue their own agendas, deliver to the

viewer a new perspective and idea through the exhibition, but will continually leave traces of the previous exhibitions.

 

Part 1

curated by Adam Carr

11 – 22 September 2012

 

Featuring works by Nina Beier, Gabriele De Santis, Jeppe Hein, Timmy Foxon, Jacopo Miliani, Jonathan Monk and Jesse Wine.

 

For as long as the history of art has demonstrated, works of art have commonly been conceived and produced as a fixed form,

as a stationary object, or at least something which is to remain in the condition in which it is exhibited.

We Will Disappear You questions the condition and exhibition of artworks through exhibiting works, by a number of artists,

which put to test the art object and its time during its presentation. All of the artworks brought together for the exhibition will

transform and eventually disappear or expire before the closing date. While some will alter at a relatively stately pace throughout

the duration of the exhibition, others will transfigure quickly before the audience. Here, the focus remains resolutely on works

of art that take the form of objects, rather than contributing to numerous existing investigations on the changing nature of art,

which have mainly exhibited or discussed performance arts.

While We Will Disappear You responds to the history of art and the co-ordinates and rules that exhibitions of artworks follow,

it largely addresses the circumscribed framework in which it is taking place.

to overlap and correspond to one another.

The artworks in this exhibition however will be removing themselves, from both the exhibition and the sequence itself.

Adam Carr

 

Part 2

An Incomplete Museum of the Future that is still tbc

curated by Ilaria Gianni

25 September – 6 October 2012

 

 

 

 

 

Part 3

Neurath’s Boat

curated by Frances Loeffler

17 – 31 October 2012

 

Featuring works by Amit Charan, Jasper Coppes, Gabriele De Santis, Frank Heath and Francesco Pedraglio.

curated by Valentinas Klimasauskas

5 – 17 November 2012

 

Featuring works, texts and interventions by David Bernstein, Amit Charan, Alex Cecchetti, Frank Heath, Tim Kliukoit,

Laura Kaminskaitė, Mikko Kuorinki, Karl Larsson, Nicholas Matranga, Darius Mikšys, Jurgis Paškevičius and Triin Tamm.

You came to me and said let’s make a chair. Then you realized the chair could be cheers. And with cheers we have a glass,

and we need a place to put the glass so we need a table. But it’s perfect too, because chairs are often with tables.

So here we are, Cheers and Tables. What a great misunderstanding! Cheers to Miss Understanding! Ah, but the miss is standing

under too. She’s standing under the table. Cheers to the miss standing under the table! But how can a miss stand under a table,

the table is too low for a miss, unless the miss is very tiny or it’s a very big table, but this is just a normal table, it has legs, legs

Like the miss. But what if this is not a real miss but a representation of the miss? She could be made of stone, like a caryatid.

A what? A caryatid; a column in the shape of a woman. Karate? Yes she’s doing karate! Cheers to the miss standing under the

table doing karate! But what now? What could it become? Is it an illustrative conversation? It is more than just an illustration.

What is it for you, this cheers? It is at once a potential object and at the same time a story. And for you?

endurance being mirrored and enter a parallel meaning of Frutta.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

France Fiction is made up of Stéphane Argillet, Marie Bonnet, Eric Camus, Lorenzo Cirrincione and

Nicolas Nakamoto. Founded in 2004 France Fiction is a collective that sees itself as one synthetic

person, inventing collective event horizons. This synthetic person is highly adaptable. You might

describe it, for want of a better term, as plastic. The concept of open-endedness should be employed

here. It is completed, and yet, in a sense, essentially incomplete. The mentality, memory, and identity

of each of its member is still there, although deeply sublimated. It exists as a subconscious that could

be triggered to the surface. Its electro-encephalogram shows up as a strange pattern.

The main brain pattern is there and recognizable. But there is something else as well. Almost as if

another, or other brain patterns, were transposed on its own. Rather feeble brain patterns, subsidiary

patterns probably would be the way to say it, showing up, but not too strongly. “Clasped hands and

brotherhood. Sharp, cold stars above a desert of stone. The reaching out and snaring of the data from

the stars. The long weighing of the data inside a biological computer. The swift, mutual pooling of five

separate pools of thought.”

 

For their exhibition at Frutta they present Nous n’avons pas de prénom (2004-2012) which could be

described as a metaphorical, alchemical, and poetical approach by the group towards the production

and circulation of collective ideas. The exhibition transcribes the process of collective writing central

to France Fiction’s inner ways through an “allegorical vertigo” that links what is above and below,

where symbols work as a representation of higher meaning.

 

On both floors of the gallery space two identical marble plates are displayed. The first, encrypted and

collectively engraved, details the writing process as a shared history – it gathers each of France Fiction’s

collaborative titles to date as a corpse. The plate’s broken shape resembles classical Greek symbolons

that are taken, in order to be later reunited and sealed in alliance. On the lower level of the gallery,

another plate refers to the “Chiffre de Quatre”, an alchemical monogram used by early modern bookmakers.

These two plates communicate via a marble urn filled with ink fabricated by each member of France Fiction,

all combined into one vessel. During the course of the exhibition, the vessel releases ink, that in turn,

slowly drips and seeps through the floor onto the second stone below, like a blank page filled with new

significance.

 

For France Fiction, ink is a substance that symbolically embodies the entirety of knowledge produced

through scripture. And in this case, engraved text refers to epigraphs, which are other non-putrescible

ways of perpetuating the memory of human achievement. Considering that ink works as a medium for

the transmission and circulation of ideas, the broken engraved inscription is a promise of a future

reconstruction of fractured memory.

 

 

Vinitsky’s rich practice is tricky to get to grips with, as so many divergent things happen simultaneously within his works and exhibitions. Attempting to designate different strands* gives us a list of tools with which to begin looking:

Starting with his #use of source imagery: every single work begins with a real, existing element from the world, art or otherwise. It is then #translated or reproduced into Vinitsky’s own works. This, almost incidentally, leads to the#creation of narratives through orchestrating information and releasing it afresh, but more importantly the ‘translation’ is effected through his #decision-making processes and #specificity of materials. Vinitsky corresponds his imagery and concept to the materials in each work; an example being his limited seven-colour palette (derived from matching colours to those sampled in road markings in London, or a train station in Warsaw, for example) used in his monochrome paintings. This specificity is played out in his media captions, sometimes pages long, detailing every component part of a work.

#Development of techniques is paramount and is another form of Vinitsky’s palette: with his monochromes he developed back-painting on acetate and has now moved to painting on glass. Other examples include his etching with plasticine, or ‘drawing’ using rubber bands or lengths of elastic stretched round nails to delineate shapes. These techniques and materials are inextricable from how he finds #display solutions for each work, which often points to the institution, irrespective of the actual context, from the humblest project space to the museum itself.

More than multi-disciplinary, Vinitsky has #mercurial aesthetics, jumping wildly to the extent that the works seem to be made by a number of artists, evoking a group show within his solo shows. Aided by his #collaborations, often sought through the people featured in his sources, rather than orthodox artistic collaboration, he approaches his collaborators as materials. Vinitsky’s entire enterprise is only fully realized in his #exhibition-making, either beginning with a story to form works within an exhibition or more often, selecting works that will sit together to create a dense web of connections between them.

*This small list merely details a number of strands; to give body and elucidation requires a longer list of sub-strands… another time.

This exhibition marks the first presentation of Vinitsky’s work in Italy; which will be followed by his forthcoming solo booth at Liste18, Basel; and the start of his 8-month residency at Palais de Tokyo, Paris, in November. He also has a book ‘VINITSKY YONATAN KISKÖNYVE’ launching during a group show at Czarna Galeria, Warsaw, this month. Born 1980 in Jerusalem, Vinitsky currently lives between London and Haifa, Israel. He studied in London at Goldsmiths (2006) and Royal College of Art, Sculpture (2009).

 

 

 

 

Exhibition view

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Part 2

Stereo presents Gizela Mickiewicz.

 

 

opening March 15 – 16 – 17 from 1 to 9 pm

until April 21

 

 

I am very proud to present my solo show at Frutta.

I hope you will enjoy it.