Christofer Degrér
amber subfinity
April 2021
Photo credit: Lena Bergendahl
Celsius Projects is pleased to present Christofer Degrér's first solo exhibition in Malmö: "amber subfinity". In this exhibition Degrér displays a complex web of meaning through drawing, sculpture, installation and wall-based spiders. Through the captions and exhibition text we find ourselves at the threshold of an intricately crafted world where related meanings and connections combine into an interwoven whole. Degrér draws these parallel strands for us to follow.
Francis Patrick Brady and Max Ockborn
Francis Patrick Brady and Max Ockborn
"and/or and &
as much as a wobbly doorway
never made, never and nevermore premised,
as much as someone once or twice and all the while heard a buzzing
which was just the sound of a maybug tangled up in their uncut haircut. dying droplets,
dying and dying droplets collected by cork oak crowns mixed in with medium-heavy rain, unsolicited,
trifling,
adorable abstractions.
as much as some low-hanging starfruit on a soft-hearted branch,
as much as some not illuminated by some yellow stop light,
but by you/(…), almost only,
as much as
your/(…) (primarily vision-oriented ) moonless eyes glistening
all by themselves
in complicity"
Departing from projects which superstitiously access the relationship between coherence and entropy, "amber subfinity" is construed as a paused approximation of total connection. Conditional degrees of exceptions from the whole, opened up toward sorrow and decay.
Gothic qualities casted as states of untied paranoia—the coming-apart of the presumption that everything is connected. An exhibition of works concerning what’s spectral revolving plot holes left open en route to close-knit completeness.
Parts of the whole reference their own representation and material reality, interwoven within feedback systems and conspirational inquiry. Akin to abductive reasoning—the inference to the most likely; best available, account—what’s on display is composed by primary association and seamless skips. Operations which will have occurred across flat trajectories, caught up in machines, and interwoven through planned spontaneity. (Artistic) agency posed as a readymade object. Intention as something (re-)enacted.
This takes place in regards to the fear of the known coming to replace the fear of the unknown. The terror of the ostensibly quantifiable, the ubiquity of answers, the dispersion of the subject by the formulaic and procedural, along with the “existential-crisis-ridden-sense-and-presence-type feeling of algorithms and/or the existential-crisis-ridden-sense-and-presence-type feeling of some ‘whatever that was just now (what was that?), and my god, who am I? me?’, whereby everything exists to already be happening all the time to everybody who knows everybody”-place of nowhere.
An autosave file from a reality-based game about the autoimmunity of context and finite infinity.
Magic is more of a question than an answer really?
Christofer Degrér (b. 1990, Malmö) received a MFA from the Royal Institute of Art, Stockholm in 2018; and a BFA from Ringling College of Art & Design, Sarasota, Florida in 2012. His work has been featured in exhibitions at Index- The Swedish Contemporary Art Foundation, Stockholm; Carroll / Fletcher, London; Rodi Gallery, New York City, and Merc. Silver Gallery, Brooklyn.www.christoferdegrer.net
The artist wishes to thank Elizabeth Url, Rasmus R. Streith, Francis Patrick Brady, Lena Bergendahl, and Max Ockborn.
https://www.christoferdegrer.net/
as much as a wobbly doorway
never made, never and nevermore premised,
as much as someone once or twice and all the while heard a buzzing
which was just the sound of a maybug tangled up in their uncut haircut. dying droplets,
dying and dying droplets collected by cork oak crowns mixed in with medium-heavy rain, unsolicited,
trifling,
adorable abstractions.
as much as some low-hanging starfruit on a soft-hearted branch,
as much as some not illuminated by some yellow stop light,
but by you/(…), almost only,
as much as
your/(…) (primarily vision-oriented ) moonless eyes glistening
all by themselves
in complicity"
Departing from projects which superstitiously access the relationship between coherence and entropy, "amber subfinity" is construed as a paused approximation of total connection. Conditional degrees of exceptions from the whole, opened up toward sorrow and decay.
Gothic qualities casted as states of untied paranoia—the coming-apart of the presumption that everything is connected. An exhibition of works concerning what’s spectral revolving plot holes left open en route to close-knit completeness.
Parts of the whole reference their own representation and material reality, interwoven within feedback systems and conspirational inquiry. Akin to abductive reasoning—the inference to the most likely; best available, account—what’s on display is composed by primary association and seamless skips. Operations which will have occurred across flat trajectories, caught up in machines, and interwoven through planned spontaneity. (Artistic) agency posed as a readymade object. Intention as something (re-)enacted.
This takes place in regards to the fear of the known coming to replace the fear of the unknown. The terror of the ostensibly quantifiable, the ubiquity of answers, the dispersion of the subject by the formulaic and procedural, along with the “existential-crisis-ridden-sense-and-presence-type feeling of algorithms and/or the existential-crisis-ridden-sense-and-presence-type feeling of some ‘whatever that was just now (what was that?), and my god, who am I? me?’, whereby everything exists to already be happening all the time to everybody who knows everybody”-place of nowhere.
An autosave file from a reality-based game about the autoimmunity of context and finite infinity.
Magic is more of a question than an answer really?
Christofer Degrér (b. 1990, Malmö) received a MFA from the Royal Institute of Art, Stockholm in 2018; and a BFA from Ringling College of Art & Design, Sarasota, Florida in 2012. His work has been featured in exhibitions at Index- The Swedish Contemporary Art Foundation, Stockholm; Carroll / Fletcher, London; Rodi Gallery, New York City, and Merc. Silver Gallery, Brooklyn.www.christoferdegrer.net
The artist wishes to thank Elizabeth Url, Rasmus R. Streith, Francis Patrick Brady, Lena Bergendahl, and Max Ockborn.
https://www.christoferdegrer.net/
With support from:
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Celsius Projects, Celsiusgatan 45, 212 14 Malmö