Viktor Kopp’s work is both dry and whimsical, playing on notions of illusion in painting with a deep focus on the formal logic of perspective and geometric abstraction. His work begs the question of what lies behind the illusionistic space of the painting, pointing to the inherent flatness of the work and the contrivance of depicting space within. In these paintings, Kopp breaks with both flatness and representation in a space of three-dimensional illusion, one without gravity, shadow or dimension. A flat tablet of grey abstraction turns and floats within a dense white blankness of a monochromatic yet intricately painted void. His work shows abstraction as his motif and subject, peeling away to reveal only more abstraction.
Viktor Kopp (b. 1971, Stockholm) completed studies in fine art in Malmö, Gothenberg and Helsinki. His selected solo exhibitions include Bureau New York, Ribordy Contemporary, Geneva; Galleri Magnus Åklundh, Malmö and Konsthallen Passagen, Linköping. His group exhibitions include: Moderna Exhibition, Moderna Museet, Stockholm; Edstranska, Malmö Art Academy, Malmö; The Art of Cooking, Royal/T, Culver City; Underemployed, Salon Zurcher, New York; Abstract and Traces, Ribordy Contemporary, Geneva and Solid-State, Bureau, New York. Kopp teaches painting at the Malmö Art Academy and lives and works in Stockholm.
Residents from Sweden
Akansha Rastogi develops and mediates relationships between the exhibit, curator, artist and the exhibition space. She engages with the exhibition as a medium and as a form through her curatorial and research projects. Her interest is in different kinds of knowledge production within exhibition spaces and a study of vocabularies formulated during the process of exhibition-making. In her curatorial practice, Rastogi manufactures methods and cycles of reiteration and retrieval, mnemonic conditions, access and mesh-making, in relation to the performativity of exhibitions and exhibition spaces. Her ongoing project Grazing sidelines the narrative and produces a post-embedding, self-alluding structural field that further addresses this interiority and performative duration.
Akansha Rastogi (born 1985) is Curator, Programming and Exhibitions, at the Kiran Nadar Museum of Art (KNMA), New Delhi. She completed her degree in English literature from Delhi University and Master’s Degree in the History of Art. Her recent exhibitions include Zones of Contact: Propositions on the Museum, 2013 and the Inhabiting the Museum performance series, 2011-14, KNMA. Rastogi is part of the artist collective WALA and received a FICA Public Art Grant for performance projects. She is the recipient of the 2014-15 IFA Research Grant for studying Exhibition Histories and Practices of Indian Modern and Contemporary Art.
Events & Exhibitions
Residents from India
Chun-Chi Wang’s work develops ideas that lead into a collaborative process-based working relationship with artists to examine issues she considers crucial, such as: critically assessing contemporary culture, investigating the way meaning is constructed and endowing the world with complexity at a time when the surface is rarely scratched and time is short. Her curatorial voice endeavors to make people re-think, slow down, delve beneath the surface and to excavate rather than simply consume. It does not summarize or offer answers, rather it asks questions that lead to contemplation, discussion, and new thoughts about the world around us.
Chun-Chi Wang is a Taiwanese artist and curator based in Berlin. Recently, she was the Assistant Curator, Taipei Biennial, 2012 and the Organizer, WEEKEND Project, Berlin, 2010-2011. Other recent exhibitions curated include No One River Flows, Kuandu Museum of Fine Arts, Taipei, 2014; Urban Synesthesia, Taipei, 2013; Immaterial Project, Paris, 2012; Liquidshell, Berlin,2011; Edition N.1-Wonderland, Berlin,2011; Tangible Intangible, Berlin, 2010 and Future Guide to the Web, New York, 2001. She is the Founder and Director of IDOLONSTUDIO, Berlin.