22nd Sep 2016
Maybe Noah was the first collector; he collected to rescue from extinction. There are, however, many themes of collecting. Belief in progress as well as nostalgia, saving as well as loss. These themes are intertwined.
To collect is to save, but it is inevitably also to transform the collected object, which looses its former function and meaning, as it becomes a part of the collection.
This exhibition explores the transformative aspect of collecting, and the ephemeral or transient facets of objects. In that sense, collecting is viewed as a kind of alchemy.
The aspects of loss and transmutation are essential in Henrik Strömberg’s practice, but nevertheless often hidden behind the works, behind the surfaces of the images, and behind the seeming material solidity.
In this exhibition, we bring forth this hidden process by not only exhibiting photographs, but also sculptures and objects that Henrik uses as material – and textiles from the Salonistes. Thus, the exhibition can be described as a collection of narratives in a broad sense. Interrupted narratives, contradictory narratives, and–lost narratives. The textiles play an important role, and are not just used as narrative tools, but also to define the exhibition space as something wholly different than a white cube. Our aim is to use them to indicate several rooms within the room, with the atmosphere of a chamber.
Every collection has a catalogue of some kind, which mirrors and orders the collection. The catalogue of the ephemeral collection is a reflection of the exhibition within the exhibition. It has the form of a fanzine–spontaneous, and chaotic–with narrative fragments reflecting the works, as well as the work process in Berlin and Venice. Thus, the publication also portrays these two cities, and creates a momentary bridge between them.