The first exhibition initiated and produced by Woodpecker Projects. Curated by Mikkel Carl. Melee means close combat, misogyny is just a fancy word for hating on women and rapid-fire is more or less randomly fired shots from a machine gun. Spam, in other words. Trolls are people who, for instance on Facebook or Youtube, argue something they don’t necessarily mean just in order to provoke fierce debate; a highly developed sense of humour. Some take the bait and “feed the troll”, others don’t.
Since Plato, dividing reality into presumable opposites has been the dominant logic: Male vs. female, culture vs. nature, mind vs. body etc. Information technology – itself based on the difference between the zeros and ones of binary computer programming – are now seriously starting to deconstruct those dichotomies. But new (social) media are not only part of the solution; they also cause further dissemination of the problem.
In a review in Frieze magazine someone recently asked: ”In what forums can discontinuity and discord with the accepted stream of influence manifest, distinguished from the melee of user comments and structurally misogynist chat rooms harbouring rapid-fire trolls?”
In an attempt to answer this delicate question the exhibition presents a number of female (as opposed to feminine or feminist) positions. The works can be seen to structurally reflect upon the fact that they are made by women – that is without aesthetically, morally or politically emphasizing this point. Furthermore, they more or less directly express a sensibility towards the revised terms of production, distribution and reception, being the reality of the post-Internet era – something, which even the most profoundly analogue art objects can actually do. And last but not least the works in several cases directly challenge the rather intimate spatial conditions of Gallery S:t Gertrud.
When a male curator organizes such an exhibition, he deliberately makes himself the butt of the criticism concerning the continued masculine control of the art institutional apparatus; this also highlighting regional discrepancy regarding the issue of equality between the sexes. Danes do tend to taunt the Swedes for their political correctness, while Denmark seen from a Swedish perspective may seem a little “old Norse” when it comes to actively engage with gender politics.
Distinguished from the melee of user comments and structurally misogynist chat rooms harbouring rapid-fire trolls is the first of two exhibitions curated by Mikkel Carl. Together, they mark the transition of the Swedish magazine Papi – in recent years Papi has published a number of hybrids between literature and visual art – now turning into more of an actual exhibition platform under the name Woodpecker Projects.
Dora Budor (HR)
Sidse Carstens (DK)
Maja Cule (HR)
Ditte Gantris (DK)
Mia Goyette (US)
Ann Lislegaard (NO/DK)
Kristina Matousch (SE)
Bodil Nielsen (DK)
Saskia Te Nicklin (DK)
Sandra Vaka Olsen (NO)
Mamiko Otsubo (JP)
Gisa Pantel (DE)
Anna Margrethe Pedersen (DK)
Lea Porsager (DK)
Rita Vitorelli (AT)
Location: St. Gertrud in Malmö, Sweden.
The exhibition is curated by Mikkel Carl (DK) / initiated and produced by Woodpecker Projects.
With support from
The Danish Embassy in Stockholm (SE)
The Danish Arts Council (DK)
Konstfrämjandet Skåne (SE)
The Swedish Arts Council (SE)
Region Skåne (SE).
Accompanying the exhibition Woodpecker Projects published Untitled (hot pink), 2013; a work by Saskia Te Nicklin (DK) in which she has isolated and reprinted, using the exact same layout, all the words for colours in David Batchelor’s book Cromophobia.