Departure Resistance

Departure Resistance at Konstfack Spring Show, Stockholm, 15/5 – 25/5 2014
DepRes-folder-A42
Departure resistance is a quality of an aircraft which enables it to remain in controlled flight and resist entering potentially dangerous less-controlled maneuvers such as spin. Depending on its design, an aircraft may be more or less likely to leave (depart from) controlled flight when the pilot applies extreme control inputs. Good departure resistance characteristics allow the pilot to remain in control of the aircraft in such situations.

The text above is from Wikipedia, explaining the term Departure resistance. A term that, at first, might sound like someone fighting against a separation. Perhaps from an institution, such as Konstfack. When applied to a show, or an artistic process, one might wonder what control means versus entering a spin. What could a spin lead to? What is the point of departure? How does one relate to the spins in ones private life, when in an artistic process? Is the artist a pilot, trying to maneuver the process? Is there a crew, able to help out? How far away is a potential crash?

For this Gallery 1:10 show, the master students of the Fine Art department have submitted something that complements the work in the spring show and their individual practice. It might also make visible a point of departure, research, reason, or process – personal and/or artistic. Departure Resistance aims to get closer, finding the artists mark on the work, the artists process showing through. In control, flying off or spinning towards other possibilities.

Anna Lidberg

konstfack gallery1:10 departure resistance annalidberg
Gallery1:10 Departure Resistance

Departure Resistance is a collaboration with graduating students at the Fine Art master program:

Anna Ihle
Caroline Näslund
Emil M Borhammar
Idun Baltzersen
Maria Stiernborg
Vilda Kvist
Kolbrún Ýr Einarsdottir
Agnes Mohlin
Johan Stenström
Joel Hurlburt
Gustaf Nygren
Cecilia Hultman

 

 

 

 

 

 

 

 

 

Anna Ihle
Baptismal Font
Anna Ihle focuses on work. Work and submission, work and constraint, work and the motivation to work. She mixes her protestant background with the art of wood carving in her spring show work. In Departure Resistance a photo of the original angel, the inspiration for her wood carving, is revealed. It is taken on its original location, in front of the altar in a church located in Voss, Norway. The church where her grandfather once was the minister.

Caroline Näslund
Fan, 15/5 2003
Caroline’s space in Gallery 1:10 is transformed into the room of a teenage girl in the early 2000’s. The walls covered in Robbie Williams posters, the room of a fan girl. No one occupies it at the moment, but it has been used and the fan girl is active. Very active, as Caroline’s investigative work shows, and celebrates.

Emil M Borhammar
An art film
Emil points to the absurdity of the art world, the sometimes meaningless feeling in the art making and the importance of staying true to ones work, aims and goals. In An art film a dialog with his mum makes a humorous entrance in to his thoughts.

Idun Baltzersen
Idols, 65,5×18 cm
Idun’s work takes up the entire wall of the floor she’s in. It also continues outside of it, showing just a part of a print made from her large scale wood cuts, with images of a teenage girl. This segment makes an abstract pattern of black paint on white textile. But, when one takes a closer look, the number 40 appears here and there on the surface. A hint of the actual scale, Iduns shoe prints, left there from her brutal method of printing on the floor, using her body weight as pressure.

Maria Stiernborg
Expanded Disengagement
Lying on the floor, in front of Idun Baltzersens massive print, is an expanded version of Maria’s performance character. As in her performance, she is withdrawing, detaching, resisting. Resisting the pressure of work, societies codes and the expectations of the art world.

Vilda Kvist
We need better endings – The departure
Vilda’s video shows a version of a performance that she made just before she took off for her journey to Utah, Arizona and California. She speaks of the movie Thelma & Louise, the point of departure for her investigation. And also about what it tells us; of unjust structures in our society and the Hollywood reproduction of the Grand Narratives. The song that re-occurs throughout the video is heard in her spring show work in Vita Havet, sung by Choir for the Passionate. In this version, it is Vilda on her own, pointing out the direction.

Kolbrún Ýr Einarsdottir
And the river was free
The three images in Kolbrun’s submission for Gallery 1:10 shows three different spots, where the videos in her spring show work once where recorded. Through them all you see the river that is central in the work – Laxà, in Adaldal, in the northern part of Iceland.

Agnes Mohlin
Om att gråta på toaletten
Agnes’ work deals with the body in relation to the rules of society, architecture and patriarchal structures. The bathroom can serve as a refuge from these rules – a place to hide, to scream, to cry – to exist in as more than a civilized identity, to be body. Her life sized, leaking fountains at the center of Telefonplan takes control of the public space. The installation in Gallery 1:10 points towards the starting point, the body, the lived emotions within that body, the anger, the tears, and the possibility of hiding aggressively.

Johan Stenström
Beaufort scale 1:10
With the flag that is used to warn for hurricanes, Johan draws attention to the core of his spring show work in Vita Havet – the wind shelter and what it may stand for. Literally and metaphorically. It also shows an inspiration that was present in his early process.The text on the floor in Gallery 1:10 is the description, taken from the Beaufort scale, of what the hurricane will do as it makes it’s way through areas, regions and across borders.

Anna Lidberg
The planes
The theme of repetition in the video installation The Copier is seen again in the work for Gallery 1:10. The same character appears, in a space mimicking the inside of a machine. Time is frozen, in the moment after what could have been a spin. The number of planes in the adjacent room grows with every plane that is thrown out of the photo copier in the video installation.

Joel Hurlburt
The gesture-space created while having a conversation on a country path
What form does a gesture make? Joel’s work tries to, through different methods, visualize the space between the hands movement. In this version, we may follow movements horizontally from wall to wall. Like a trace in the air, or a con trail left by a plane.

Gustaf Nygren
Civil Oljudnad
Gustaf merges the role of the artist with the political activism that is his reason, inspiration and struggle. His spring show work is an ever changing base for happenings that sheds light on the important question of Sweden’s export of weapons, among with other issues of unjust structures. This is repeated in Gallery 1:10, where a video and sound piece is on display. All in the package of Gustaf’s recognizable aesthetics.

Cecilia Hultman
Certain entities
With her pen and through her investigations of details, Cecilia’s drawings and found objects take form. In Gallery 1:10 it stretches out from one room into another. Pointing to the act of watching, following and drawing conclusion, consciously or unconsciously. A drawing of air traffic controllers, watching a line, makes a starting point for the spectators gaze, and leads it onward into a room that might hold the investigators findings, results or point of departure.

DepRes-folder-A4-9 Download folder for Departure Resistance by clicking the image. Facebook event here