Agassi Bangura (b. 1982 in Bo, Sierra Leone; lives and works in Frankfurt am Main) is an artist and filmmaker known for his notorious travel schedule. As a performer in front of, and behind the camera, he orchestrates situations dealing with physical presence, globalism, and family narratives. For ‘Frusen Glädjé’, Bangura shows “DökHoki (Life)”; a video work from 2007 shot while visiting Guinea-Conakry, following a young man and his way to get a new car. The soundtrack displays an early use of the “crying baby vocoder” sound effect, mixed with Senegalese music, paving the way for performers such as Dean Blunt, who also made frequent use of this very eery sound. Recent exhibitions and projects include “Westafrican Roadmovie”, Erik Nordenhake and Kulturhuset, Stockholm, 2018; ”Is the peacock merely beautiful or also honest?”, fffriedrich, Frankfurt, 2017; and “Fitness Gym”, Leonhardi Kulturprojekte, Frankfurt, 2012.
Oscar Carlson is a Stockholm based producer and art dealer, educated at Frankfurts Städelschule and Central Saint Martins in London. Since 2014, he has been running the vehicle “ISSUES”, specialising in contemporary art and focusing on specific sites for presentations of international and local art. Making possible for the audience to discover new spaces, Oscar Carlson have been influential in bringing over and hosting a series of well known artists at different venues and cities in Sweden. Always on the go, Oscar is a valuable character and enabler, perhaps in a similar vain to Michael Callies at Brussels Dépendance, or the Reena / Gaga / Trampss New York artist-gallerist tradition. For Frusen Glädjé, Tre Kronor managed to secure a piece shown in Frankfurt early 2010: a group of colored and heat-embossed foiled panels, which Oscar had made for the Rundgang; a sort of concept of the ideal artwork, or template for playful colourism.
Tora Schultz Larsen (b. 1991 in Aarhus; lives and works in Stockholm). Toras sculptural practice and artistic research delves into the grey zones of invisibility and silent structures. Her sculptural processes examine material from the well-known, or rather, the invisible within the well-known. Visualization of the otherwise invisible arises in the deconstruction and the movement of physics and objects, into new compositions. Working with materials such as rubber, glass, and steel, Schultz Larsen uncannily echoes classical tragicomic stereotypes in sagas, institutional design, and symbolics, creating a dense bizarre otherworld. Tora is also part of the “Coyote” collective; constantly pushing boundaries within the exhibition and performance format, at different venues and off-sites around Scandinavia. Previous exhibitions include: “Stranger inside”, Galleri Mejan, Skeppsholmen (2021); “MMXX”, Konstakademien, Stockholm (2020), (SE); “A Play A Tale”, Rundetårn, Danmark; “Uttran ll”, Rönninge; “Feed them with the pages”, W:I:P Konsthall, Stockholm; and “World Bone”, Arcway Nightlands, Denmark, (2019).
Ilja Karilampi (b. 1983 in Gothenburg; lives and works in Stockholm). For the exhibition “Non-space”, curated by Silvana Lagos at Revolver Galería in Lima, Karilampi created a series of rephlex-vinyl covered glass works, which reflected his time on Avenida Mexico; a street with only foil and sign shops. Essentially a storyteller, his output over the years has been like an odyssey; reflecting his aestethical interests in glamourous social realism and exploring the role of the producer. Karilampi also uses inspiration and collaboration from contexts that circle around the music industry, youth centers, sports clubs, and rapid digital image production. Recent shows include: “The Opioid Crisis Lookbook”, Montreuil; “Narcotics”, Temnikova & Kasela, Talinn; “Non-Space”, Revolver Galería, Lima (2020); “Malmö Sessions”, Carl Kostyal, Malmö (2019); “ARS 17”, Kiasma, Helsinki (2017); and “The Chief Architect of Gangsta Rap”, MoMA PS1, New York (2011).
Lotte Andersen (b.1989) is a British artist working with constructed social interactions, scanned ephemera, sound, video, and sculpture, to produce installations. Her work forms an investigation into group dynamics, movement within varied contexts, the manipulation of nostalgia, trauma, euphoria and release. Oscillating between investigative, documentary, participatory, and autobiographical, the viewer is often placed within the work, activating it whilst dealing with the implications of their presence. Lotte Andersen considers sound and video physical objects in space, working with the idea that echoic (sound) memory is stored for longer periods of time than iconic (visual) memory. Presented individually the works function like relics, revealing a residue or core in the process of deconstruction, creating a window toward the wider narrative of her practice. Joy is an act of resistance. Recent shows and presentations include: “It's not you, it's me. It's complicated”, Nada Miami 2020, presented by Ginsberg Gallery Lima, Peru; “Propositions for Alternative Narratives”, 2020, public works in Brighton, digital commission and festival in a box, Photoworks, UK; "The Economics of Movement" 2019, with Alonso Leon-Velarde at The Whitechapel Gallery London, UK; and “Dance Therapy" 2019, Good Night; Energy Flash at Hyundai Card Storage foundation, Seoul.
Susann Brännström (b. 1956 in Stockholm) explores the materiality and mechanics in between painting, digital print, and drawing. Focusing on experimental abstraction such as patterns, erased ink markers, and mutations of urban shapes, Brännström is looking for the vaguely iconic to materialize onto the physically mundane: wood; plastic; or a wall. Part of her practice has an effect of the collaborative; generating countless public works, scenarios and exhibitions, often inviting younger artists such as Tore Wallert or Ben Schumacher to work with the spatial resources she sets up. In that sense, Susann Brännström has become an important local fixture; one who however finds peace in the quite simple equation of what goes on in the studio and what comes out of it. Previous exhibitions and missions at: “No Day but Today”, Bjurholmsgatan 3C, Stockholm; Pelikan, Stockholm; Autocenter, Berlin; Tobey Fine Arts, New York; and Röda Sten Konsthall, Göteborg.
Patrick McGraw (b. 1992 in Laguna Niguel, California; lives and works in New York City) is a writer, editor, and researcher, often bordering fiction and theory. After sojourns in Berlin and at Londons Architectural Association, McGraw founded Heavy Traffic back in the US; a magazine focused on publishing fiction, and he continues to write on topics ranging from Dentyne gum to environmental anarchist architecture. Currently covering downtown New York and beyond, Patrick has written for Interview, o32c, and Rolling Stone, conducting interviews and pieces in his intelligent and idiosyncratic manner as the “editors editor”, often leading to long discussions in the DM about European street humour, contemporary art, music, judaism, and existentalism. Several of his writings will be published printed on the wall for Frusen Glädjé, as well as a folder, know as the “McGraw files”.
Mathis Altmann (b. 1987 in München; lives and works in Los Angeles and Berlin) creates detailed and explicit urban worlds through architectural models, figurines, LED signs, detritus, dust and graphic design. Rooted in the Swiss nightclub and off-space milieu, he honed his craft and ingenious form of assemblage through an intelligent and humouristic, often dark, series of works, where his practice just seemed to expand and get more real; also physically, with each new piece growing scale-wise. A contemporary tale of decay; the wall sculpture “Pierced Booger” from 2017 comes fully equipped with a “haschish-troll” and maggots, cocooning inside a diorama built with parts from the popular oldschool tool the “overhead projector” (as it was known in Sweden). Upcoming and recent exhibitions include: Efrimidis, Berlin; Kunstmuseum Winterthur, 2021; Swiss Art Awards, Basel, 2020; “SI ONSITE”, Swiss Institute, New York; “It‘s Urgent (curated by Hans Ulrich Obrist), Luma Westbau, Zurich, 2019; “The Delve of Spade”, Istituto Svizzero, Milano; and “The Shovel of the Garbage Collector”, Freedman Fitzpatrick, Paris, 2018.
Stefan Tcherepnin (b. 1977 in Boston; lives and works in Stockholm and New York) is an artist and musician from a classical background who has turned to experimental shoegaze; creating colorful installations with his own conceptual version of americana. Striving to dissolve the conventional borders between these genres, his strong expression and countless collective projects around the world indirectly creates a liberating surface to rest ones thoughts and eyes on. Tcherepnin has previously exhibited at: Kunsthalle Zürich; Stedelijk Museum; Real Fine Arts; Galeria Fransisca Pia; Kanal Centre Pompidou; and Greene Naftali.
Max Glader (b. 1996; lives in Stockholm) explores various ways of deliberately sensitizing the edges of established shapes and formats, whether it be paper cut-outs, broadcasting, or independent literature publishing. The combined use of technology, and hands-on approach, sets him onto a string of consistent experimentation. Max’s frenetic output and experimentation finds him successfully linking up to our current times and aestethics, occasionally by something so simple as a white laser-cut silhouette mask-taped to a white paper. Recent exhibitions include: "All Inn", Het Hem, Zandaam, 2021; "Admit This Is Beautiful" M4 Gastatelier, Amsterdam, 2019; and "Touch and Feel In an Unreal World" Stedelijk Museum, Amsterdam, 2018.