The cracked exteriors’ dance by the metro construction site
The sun-bleached paraphernalia in the storefront
The awning-hydraulic’s song
The non-rhythmic whipping of flag lines
The train departure announcements echoing between the façades
The meandering of ventilation pipes over the backyard sheds
The oozing sludge from the flooded sewage system
Environments often play a larger part than space; not only extending limits but also intensifying what we otherwise do not see – and consequently manage to paint what is furthest away in greater detail.
Krust Gorilla is an exhibition initiated by Karl Georg Staffan Björk, Monica Tormell and Felicia von Zweigbergk, in collaboration with K–G–B and Butcher’s Tears. The exhibition sets out to examine how artistic expressions are manifested in the fluctuating topography of public space; how visual art, sound and poetry exist, are stimulated and mutated in the noise of the establishment. By doing so, the aim is to illustrate how “hidden structures” like compositions of daily recurring patterns and rituals are decoded, analyzed and evaluated by the strollers of the city. Can a paving site by the orange-clad workers of the city be read as an installation, and a continuous flow of advertisements as a poem? A honking and slow-moving traffic jam as a performance?
Through shifted perception, Krust Gorilla focus on otherwise obscured or overlooked structures, camouflaged in the commercial roar of the city: expressions that infiltrate the trivial and subconsciously influence new artistic manifestations or sociological changes. The exhibition is realized in Butcher’s Tears’ garage, which serves as a cross section of the city’s public spaces – a hodgepodge of objects, smells and sounds within a limited area, categorized by various monetary, philosophical and emotional values.
Krust Gorilla is a staging in an environment where the experience of the artworks is contaminated by objects without an art-related intellectual value. Here, contemporary art blends with film and theater props, brewery equipment, deposited objects with currently undetermined fates or diffuse areas of use, items without utility value – as well as garbage and lost belongings. The installation forms a parallel reality in symbiosis with society’s conventional flow. Between these constructions and states, the artist functions as a virus whose task is to manipulate the mind-set of the beholder; creating new and unique artworks within and before each individual visitor.