- Group Exhibition »After Finitude, A selection by Elena Damiani« Nhmx, 2018
- »Finding the Edge« Stockholm, 2017
- »A Work of Fiction (Revisited)« Berlin, 2014
- »A Work of Fiction« Stockholm, 2013
Göran Dahlberg: Questions and Passwords, ARos Aarhus Kunstmuseum, 2016
Mark Prince, Meriç Algün Rinborg, Art in America, Feb 2015
Nora Razian, Writing by Example, Meriç Algün Ringborg in Conversation with Nora Razian, IBRAAZ, Nov 6, 2014
Jacquelyn Davis, Meriç Algün Ringborg: A Work of Fiction, Art Review, Dec 2013
Meriç Algün »Finding the Edge«
Stockholm, November 16, 2017 - December 21, 2017
According to plate tectonics, the earth’s outer shell is divided into a number of large, rigid, moving plates that interact at their boundaries, where they converge, diverge, or slide past one another. Such interactions are believed to be responsible for most of the seismic and volcanic activity of the earth. Plates cause mountains to rise where they push together, and continents to fracture and oceans to form where they rift apart. The continents, sitting passively on the backs of the plates, drift with them, at the rate of a few centimeters a year. At the end of the Permian, some 300 million years ago, all the present continents are said to have been gathered together in a single supercontinent, Pangaea.
In her second solo exhibition titled Finding the Edge at Galerie Nordenhake Stockholm, Meriç Algün has made a series of new works that draws parallels between the separation of the continents and the origins of human desire. Algün’s investigation stems from the Canadian poet Anne Carson’s insightful book Eros: The Bittersweet (1983) where she speaks of love and desire as an issue of boundaries and separation. The first room of the exhibition space is occupied by a freestanding shelving structure that is cut into seven units on site. The measurements of each unit correspond proportionally to the surface area of each continent, whilst the gaps between the rows of shelves correlate to the surface area of the oceans. In their self-contained logic, the shelves hold a variety of objects ranging from plants and animal fossils, to globes, hand made books, videos and sculptures that intertwine notions of geological and human boundaries and connections.
In the second room stands a conversation chair made in cherry wood and rattan. Whilst the chair is essentially designed to allow two people to face each other, it also separates them with the woven material through which they can only partially see each other. The work not only hints at the relationship between two people but also at the relationship between fragmented parts of a whole. Algün juxtaposes the chair with a wall text that is a short passage from a novel she is currently working on. The overall exhibition brings together her interest in understanding what drives people apart and what happens in the space that lies in between.
The artist would like to thank Moa Brännström Ott, Jonas Dahlberg, Simon Goldin, David Larsson and Leonard Gustavsson Bokbinderi.
Meriç Algün was born in 1983 in Istanbul and currently lives and works in Stockholm. Algün has had significant solo exhibitions at institutions including ARoS Aarhus Art Museum, Aarhus (2016), Kunstverein Freiburg; Moderna Museet, Stockholm (both 2015), MOSTYN, Llandudno (2014); Contemporary Art Gallery, Vancouver; Art in General, New York (both 2013) and Witte de With, Rotterdam (2012). She participated in the 56th Venice Biennial and in the 14th Istanbul Biennial; 5th Thessaloniki Biennial, (all 2015), the 19th Sydney Biennale and the 12th Bienal de Cuenca (both 2014) and the 12th Istanbul Biennial (2011). Algün has participated in group shows at venues including Fondazione Prada, Athens; Istanbul Modern Museum, Istanbul (both 2017), Kunsthal Aarhus, Aarhus; Serpentine Sackler Gallery (both 2016) Fundação Iberê Camargo, Porto Alegre (2014); Kunstverein Hannover; Marabouparken, Stockholm; MoCA, Detroit and MAK, Vienna (all 2013), as well as at CCA Wattis, San Francisco and Malmö Konsthall, Malmö (both 2012). Algün’s artwork, A Work of Fiction (Manuscript), was published Art Review (Vol 66, No 6).
North America, 2017, handbound books, honeycomb, fossil, apple, globe, fern, collectible card (from Brooke Bond tea), sound of cicadas, oak, 209 x 180 x 114.5 cm
North America, 2017, detail
Europe, 2017, handbound books, iPad (tectonic shift animation), postcard, fern frond, book (Eros: The Bittersweet by Anne Carson), sound of cicadas, oak, 209 x 120.5 x 30 cm
Asia, 2017, hive frame, fossils, wasp's nest, bee in honey jar, handbound books, globe, collectible card (from W.H. & J. Woods Ltd cigarettes), framed taste bud diagrams (sweet and bitter) printed on OH film, iPad (melting ice), fern frond, apple, fern, sound of cicadas, oak, 209 x 364 x 178.5 cm
Antarctica, 2017, globe, handbound books, stamp (continents), sound of cicadas, oak, 209 x 120.5 x 40 cm
Australia, 2017, wax mould of a tongue, fossil, iPad (melting ice), handbound books, sound of cicadas, oak, 209 x 95 x 30 cm
Africa, 2017, shungite, fern, handbound books, postcard, knucklebone, fossils, globe, fern frond, sound of cicadas, oak, 209 x 366.5 x 30 cm
Africa, 2017, detail
South America, 2017, globe, handbound books, fern, shungite, postcard, sound of cicadas, oak, 209 x 97.5 x 119.5 cm
Edges, 2017, wall text, Dimensions variable, Edition of 3 + 1 AP