amber subfinity, 2021

solo exhibition, Celsius Projects, Malmö

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Christofer Degrér. amber subfinity, 2021

Installation view (left to right): ✨*(*) (I) /Hold me until I die in place of everything else at the very least having another nothing left to look forward to in hindsight right again, 2020, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 67 x 42 x 42 cm; ✨* (*) (XXVIII), 2021, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 72 x 54 x 54 cm; (theme), 2021, Flat sparkling tap water and rolled-up Ramlösa (Ramlösa Original) label within Ramlösa (Ramlösa Original) bottle (50 cl, expiration date: 09.08.2021) (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 22 x 7 x 7 cm; No indecision left undecided so as to remedially assassinate associations inhabiting concave corners. Acknowledging just how completely embarrassing what’s being acknowledged really is doesn’t make it any less embarrassing. All the while, all the less than more, resembling ever-refining self-consuming indirect cycles of insincere speculation. Lost fantasies of subjective contractility. Abetting oppression reveling in denouement, left uncharged and unable to drain its fulfilment, once, twice, thrice and for all and for no one else and so on., 2021, Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 4 x 4 x 1,5 cm; “ (...) Almost as if it shouldn’t. Telling yourself everything is going to be ok against the backdrop of the truth that nothing is, will never, could never, should never. A passing moment of refusal to see the end to the end. The refusal of what’s being negated while telling yourself over and over again that if something can’t be, then nothing isn’t going to follow in order and set up an exception just in time. Attempting to interlock at that exact point when nothing opens anew, arriving at a conclusion that can’t be shared, nor accessed in full, nor half., 2021, Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 7,5 x 7,5 x 3 cm; ✨*(*) (XIII), 2021, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 180 x 52 x 52 cm; “Telling yourself everything is going to be ok. Telling yourself everything is going to be ok as if it’s something worth telling yourself. (...)” , 2021, Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nail (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 4 x 0,5 x 2,5 cm; Untitled, 2021, Graphite and ashes from a finely minced European hornet (Vespa crabro) (that just moments before it was placed in a used zip-lock bag aligned perfectly well enough with some fleeting idea of Satan in relation to Jesus Christ manifested in a crashed VOI scooter) smoked through a shotgun kiss on an evergreen meadow that smelled of iodized salt, powder from sleeping common clothes moth (Tineola bisselliella) wings found inside an unreturned black suit jacket rented for a funeral along with pocket lint from inside a pocket of a pair of unreturned black suit slacks rented for another funeral containing a pink rose-scented soap replica of a water lily (Odorata sulphurea grandiflora) with each letter of your name written on each unpicked petal, and select pieces of smaller grains of sand from the spaces between larger grains of sand in a broken hourglass (all adhered using a reduction of tears [produced using hopelessly romantic love songs from the late ‘90s] and rehydrated freeze-dried saliva [from a dead Stabji]) on paper (Canson “The Wall,” 220 g/m2) (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), Paper: 70 x 154 cm, acrylic frame: 90 x 174 x 0,6 cm; and ✨*(*) (II), 2021, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 62 x 49 x 49; Feeble remains of all those times someone never told someone they love someone enough times. Goes without saying, not even once. Recreational fantasy toward a state of final ambivalence or wilted chives sprinkled on top of cold mashed potatoes. Not even death dies eventually. The fear of the known trumps the fear of the unknown each and every time, everybody knows everybody, there’s no escaping what’s ever so completely open, ever so relentlessly accessible. The reoccurrence of complicit fill-in-the-blank forms, perpetual miseries turned code, turned pure unsolicited abstraction, subsiding, falling, collapsing escalators toward high-security nature reserves of free-roaming regrets and missed potential, disintegration into machinic discombobulation, alien indecision, exponentially unfamiliar pain, reducible mystery and chimeric somebodiness., 2021, Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 10 x 10 x 5,5 cm; ✨* (*) (VIII), 2021, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 66 x 30 x 30 cm; and No one exists on purpose all the way up until everyone ends. Disowned wreckage model in controlled freeplay momentarily exempt from asymmetrical asphyxiation as per an ambivalence of some sense of self within a real and symbolic pro-reactive psychosomatic butchering-open toward an enthusiasm-deletion-apparition belonging to lost losslessness interlaced with fading blips in a razor blade stew of cosmic oblivion. The incoherence of exo-regulatory indirect infinitely finite strains of breathless indecision. Recreation with and without decrypted out-of-placeness. Holding hands while thumbnails regenerate inaccessible unattainability., 2021, Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 5 x 5 x 3 cm

Photo: Lena Bergendahl

Christofer Degrér. amber subfinity, 2021

 

Untitled, 2021

Graphite and ashes from a finely minced European hornet (Vespa crabro) (that just moments before it was placed in a used zip-lock bag aligned perfectly well enough with some fleeting idea of Satan in relation to Jesus Christ manifested in a crashed VOI scooter) smoked through a shotgun kiss on an evergreen meadow that smelled of iodized salt, powder from sleeping common clothes moth (Tineola bisselliella) wings found inside an unreturned black suit jacket rented for a funeral along with pocket lint from inside a pocket of a pair of unreturned black suit slacks rented for another funeral containing a pink rose-scented soap replica of a water lily (Odorata sulphurea grandiflora) with each letter of your name written on each unpicked petal, and select pieces of smaller grains of sand from the spaces between larger grains of sand in a broken hourglass (all adhered using a reduction of tears [produced using hopelessly romantic love songs from the late ‘90s] and rehydrated freeze-dried saliva [from a dead Stabji]) on paper (Canson “The Wall,” 220 g/m2) (incompletely complete with redundant disenchantments, unmended affinities, and lost connections)

Paper: 70 x 154 cm, acrylic frame: 90 x 174 x 0,6 cm

Photo: Lena Bergendahl

Christofer Degrér. amber subfinity, 2021

 

Detail: Untitled, 2021

Photo: Lena Bergendahl

CROP MASTER 2.tif

 

Detail (crop): Untitled, 2021

Photo: Lena Bergendahl

Christofer Degrér. amber subfinity, 2021

 

Installation view (left to right): ✨* (*) (VIII), 2021, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 66 x 30 x 30 cm; ✨*(*) (I) /Hold me until I die in place of everything else at the very least having another nothing left to look forward to in hindsight right again, 2020, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 67 x 42 x 42 cm; ✨*(*) (II), 2021, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 62 x 49 x 49; and ✨* (*) (XXVIII), 2021, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 72 x 54 x 54 cm

Christofer Degrér. amber subfinity, 2021

 

Detail (crop): Untitled, 2021

Photo: Lena Bergendahl

_MG_0095.jpg

✨*(*) (II), 2021

Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections)

62 x 49 x 49 cm

Christofer Degrér. amber subfinity, 2021

 

✨* (*) (XXVIII), 2021

Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections)

72 x 54 x 54 cm

Photo: Lena Bergendahl

Christofer Degrér. amber subfinity, 2021

Feeble remains of all those times someone never told someone they love someone enough times. Goes without saying, not even once. Recreational fantasy toward a state of final ambivalence or wilted chives sprinkled on top of cold mashed potatoes. Not even death dies eventually. The fear of the known trumps the fear of the unknown each and every time, everybody knows everybody, there’s no escaping what’s ever so completely open, ever so relentlessly accessible. The reoccurrence of complicit fill-in-the-blank forms, perpetual miseries turned code, turned pure unsolicited abstraction, subsiding, falling, collapsing escalators toward high-security nature reserves of free-roaming regrets and missed potential, disintegration into machinic discombobulation, alien indecision, exponentially unfamiliar pain, reducible mystery and chimeric somebodiness., 2021 

Oxidized (using a mix of halite, ammonia, spirit vinegar, liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails, and artwork caption (incompletely complete with redundant disenchantments, unmended affinities, and lost connections)

10 x 10 x 5,5 cm

Photo: Lena Bergendahl

Christofer Degrér. amber subfinity, 2021

Endless syncopation of parallatic self-abasement with possibly protruding positions before yet another loveless and lackluster dreamscape as plot hole. Watching eyes under eyelids under re-patched double eye-patches melt alongside tarragon-flavored vegan gelato during a strict ordinance of an all-too-soon-forever-ago eclipsed by a considerably mewtwoesque extrapolation by proxy. The sneaking suspicion that life will one day be better, for someone else., 2021

Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections)

6,5 x 6,5 x 3 cm

Photo: Lena Bergendahl

Christofer Degrér. amber subfinity, 2021

Hope as the deformed attic-bound offspring of entitlement and fear. The more congruent this moment, the more absent, all the more monstrous and adrift and detached and aloof and excessively empty. The gushing valley between what’s really right there right at that very point right there just now and whatever’s less suboptimal at the expense of being reminded that it’s only a matter of time until something and everything or absolutely anything else goes horribly wrong again and again and again. Not enough and too much. Doomed for dismissal, destitution, abasement. A preemptive measure before all possibilities of recovery are emptied once more and once and for all. Nothing to be kept, not even without purpose, no sum of any parts. As for potential disentanglement from ruin and degradation, this too is too whole, all of it, all of it inclusive of what’s cruelly unrequited. Hope as such, such as it always must’ve been this whole time, melts with and within broken dreams of regaining reliance on a self-evident flow of life to charge matters which reflect their own stakes. The implicit ground of this richness of plausible reality isn’t there as a background condition anymore. Never lost because it never existed., 2021

Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections)

7 x 7 x 4 cm

Photo: Lena Bergendahl

Christofer Degrér. amber subfinity, 2021

(theme), 2021

Flat sparkling tap water and rolled-up Ramlösa (Ramlösa Original) label within Ramlösa (Ramlösa Original) bottle (50 cl, expiration date: 09.08.2021) (incompletely complete with redundant disenchantments, unmended affinities, and lost connections)

22 x 7 x 7 cm

Photo: Lena Bergendahl

Christofer Degrér. amber subfinity, 2021

No one exists on purpose all the way up until everyone ends. Disowned wreckage model in controlled freeplay momentarily exempt from asymmetrical asphyxiation as per an ambivalence of some sense of self within a real and symbolic pro-reactive psychosomatic butchering-open toward an enthusiasm-deletion-apparition belonging to lost losslessness interlaced with fading blips in a razor blade stew of cosmic oblivion. The incoherence of exo-regulatory indirect infinitely finite strains of breathless indecision. Recreation with and without decrypted out-of-placeness. Holding hands while thumbnails regenerate inaccessible unattainability., 2021

Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections)

5 x 5 x 3 cm

Photo: Lena Bergendahl

Christofer Degrér. amber subfinity, 2021

No indecision left undecided so as to remedially assassinate associations inhabiting concave corners. Acknowledging just how completely embarrassing what’s being acknowledged really is doesn’t make it any less embarrassing. All the while, all the less than more, resembling ever-refining self-consuming indirect cycles of insincere speculation. Lost fantasies of subjective contractility. Abetting oppression reveling in denouement, left uncharged and unable to drain its fulfilment, once, twice, thrice and for all and for no one else and so on., 2021

Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections)

4 x 4 x 1,5 cm

Photo: Lena Bergendahl

Christofer Degrér. amber subfinity, 2021

 

Installation view: ✨*(*) (XIII), 2021, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 180 x 52 x 52 cm, and Endless syncopation of parallatic self-abasement with possibly protruding positions before yet another loveless and lackluster dreamscape as plot hole. Watching eyes under eyelids under re-patched double eye-patches melt alongside tarragon-flavored vegan gelato during a strict ordinance of an all-too-soon-forever-ago eclipsed by a considerably mewtwoesque extrapolation by proxy. The sneaking suspicion that life will one day be better, for someone else., 2021, Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 6,5 x 6,5 x 3 cm

Photo: Lena Bergendahl

Christofer Degrér. amber subfinity, 2021

Installation view (left to right): ✨* (*) (VIII), 2021, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 66 x 30 x 30 cm; ✨*(*) (II), 2021, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 62 x 49 x 49; ✨*(*) (I) /Hold me until I die in place of everything else at the very least having another nothing left to look forward to in hindsight right again, 2020, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 67 x 42 x 42 cm; Hope as the deformed attic-bound offspring of entitlement and fear. The more congruent this moment, the more absent, all the more monstrous and adrift and detached and aloof and excessively empty. The gushing valley between what’s really right there right at that very point right there just now and whatever’s less suboptimal at the expense of being reminded that it’s only a matter of time until something and everything or absolutely anything else goes horribly wrong again and again and again. Not enough and too much. Doomed for dismissal, destitution, abasement. A preemptive measure before all possibilities of recovery are emptied once more and once and for all. Nothing to be kept, not even without purpose, no sum of any parts. As for potential disentanglement from ruin and degradation, this too is too whole, all of it, all of it inclusive of what’s cruelly unrequited. Hope as such, such as it always must’ve been this whole time, melts with and within broken dreams of regaining reliance on a self-evident flow of life to charge matters which reflect their own stakes. The implicit ground of this richness of plausible reality isn’t there as a background condition anymore. Never lost because it never existed., 2021, Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 7 x 7 x 4 cm; Fleeting and drowning and eclipse-bathing existence sustained by nothing more than politeness, something less than a projection of a blind spot, and at the very least another missed opportunity. Collusion with unattended vacancies, now and later falling out of place. Closing time. In through a (w)hole loop, (w)hole, mismatched, no longer needed, but detained nonetheless. The superstitions surrounding guilt-tripping et ceteras, etc. So, so, so, so, so, so so-so lonely. Gaussian-clearly not even in company with solitude itself., 2021, Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 3,5 x 3,5 x 1,5 cm; ✨* (*) (XXVIII), 2021, Day-Glo-painted ceiling light from a closed antique store, galvanized steel chain, and galvanized carabiners; as well as anonymous vitalities, fading memories, and faint recollections (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 72 x 54 x 54 cm; “(...) As if it’s something worth telling anyone. As if telling anyone that everything’s going to be ok is something worth telling yourself. Something worth saying. Something worth feeling. Something worth remembering. Telling yourself everything is going to be ok although you know it’s not, although you know it can’t, it won’t.(...)” †, 2021, Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 6 x 6 x 4 cm; (theme), 2021, Flat sparkling tap water and rolled-up Ramlösa (Ramlösa Original) label within Ramlösa (Ramlösa Original) bottle (50 cl, expiration date: 09.08.2021) (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 22 x 7 x 7 cm; No indecision left undecided so as to remedially assassinate associations inhabiting concave corners. Acknowledging just how completely embarrassing what’s being acknowledged really is doesn’t make it any less embarrassing. All the while, all the less than more, resembling ever-refining self-consuming indirect cycles of insincere speculation. Lost fantasies of subjective contractility. Abetting oppression reveling in denouement, left uncharged and unable to drain its fulfilment, once, twice, thrice and for all and for no one else and so on., 2021, Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 4 x 4 x 1,5 cm; and “ (...) Almost as if it shouldn’t. Telling yourself everything is going to be ok against the backdrop of the truth that nothing is, will never, could never, should never. A passing moment of refusal to see the end to the end. The refusal of what’s being negated while telling yourself over and over again that if something can’t be, then nothing isn’t going to follow in order and set up an exception just in time. Attempting to interlock at that exact point when nothing opens anew, arriving at a conclusion that can’t be shared, nor accessed in full, nor half.” †, 2021, Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 7,5 x 7,5 x 3 cm

Photo: Lena Bergendahl

___________________________________________________________________________________________________________________________________________________________________ Telling yourself everything is going to be ok. Telling yourself everything is going to be ok as if it’s something worth telling yourself. As if it’s something worth telling anyone. As if telling anyone that everything’s going to be ok is something worth telling yourself. Something worth saying. Something worth feeling. Something worth remembering. Telling yourself everything is going to be ok although you know it’s not, although you know it can’t, it won’t. Almost as if it shouldn’t. Telling yourself everything is going to be ok against the backdrop of the truth that nothing is, will never, could never, should never. A passing moment of refusal to see the end to the end. The refusal of what’s being negated while telling yourself over and over again that if something can’t be, then nothing isn’t going to follow in order and set up an exception just in time. Attempting to interlock at that exact point when nothing opens anew, arriving at a conclusion that can’t be shared, nor accessed in full, nor half., 2021, Oxidized (using a mix of halite, ammonia, spirit vinegar, and liquidized bluebottle fly [Calliphoridae lucilia] antennae) copper nails (incompletely complete with redundant disenchantments, unmended affinities, and lost connections), 6 x 6 x 4,5 cm