The exhibition Parataxis chooses to regard history as an ocean of text. To divide history into histories, fragments and narratives, disavowing hierarchy. To place parts in sequence, as fiction in its own right. It refers to the demarcation between the fictional and documentary, between the personal and universal, the local and global. Parataxis is a group exhibition at KRETS that presents video, performance, installation and textile work.
Josefin Askfelt examines performativity in the contemporary form of self-portraits; the selfie and what kind of manipulation that facilitates the sharing and liking of images on Instagram. In the textile work Docile Bodies we see bathroom selfies with fractured and edited limbs that hover and float around, forms systematically accentuated with attributing hashtags such as #troutpout, #belfie and #thighgap.
Ask Me Where I’m From – a lecture performance is a work by Sara Collier. She explores the role of the poet as storyteller, amateur historian and entertainer based on testimonies by her father William Henry Collier and his two friends George Nathanael Clemmons and Timothy Lee Greenlee.
Jenny Grönvall’s performance Inredning och affekt (Interior Design and Affect) takes place in a domestic environment where the audience is invited to a viewing of the artist’s interior design objects, uncovered in relation to emotion and politics. The performance includes Grönvall revealing how specific parts of various objects has compelled her to want to own them, what potential they have in her life, and how they will impact future relationships to other objects.
Hic Sunt Dracones and Draconis Mortem by Signe Johannessen mixes personal, scientific and literary references connected to whales and whaling. The human relationship to nature and family is examined in regards to power, the body and ethics. The works are part of her project Besten och cyklonens öga (The Beast and the eye of the Cyclone).
In Mi Tjio’s video installation Grey Square the viewers, through seemingly simple methods, are confronted by their own participation in creating perceptions about identity. Step by step, in what resembles the instructional films usually shown on airplanes, objects are converted into symbols that carry common prejudices and other habitual associations.
Curator: Julia Björnberg