This is the last and final part of a three-part exhibition series that began with André Tehrani's first two solo exhibitions at NoPlace (Oslo) and Entrée (Bergen) in the autumn of 2013. The exhibition series as a whole has a thematic turning point in how revolutionary advances become the subject of cultural romanticization. and has more specifically discussed the legacy of utopian avant-garde movements such as the International Movement for an Imaginist Bauhaus and the Literary and Situationalist International. Unlike the two previous exhibitions in the series - which outlined a motley, cultural-historical course by making use of intricate networks of specific pop-cultural references and art-historical footnotes - the concluding exhibition is more suggestive of its source material. Furthermore, the exhibition has on Tegnerforbundet less to do with the pop-cultural recuperation of situationalism and the sixty-eight movement that the introductory exhibitions addressed, but instead takes a closer look at the visionary ideas of architecture and urban planning that were formed in the fringes of the 20th century avant-garde.
André Tehrani (b. 1980) is a graduate of the Statens Kunstakademi in Oslo and the Royal Academy of Fine Arts in Stockholm. Recent exhibitions include Game of Life, Kristiansand Kunsthall (2012), The Limits of Language Means the Limits of My World, Platform Stockholm (2013,) This House, Palais de Tokyo, Paris (2013), MONIKA STRICKER, CAB Art Center , Brussels (2013), Sound Versus System, Kunsthall Oslo (2013), and Soft Measures, WIELS Contemporary Art Center, Brussels (2014). Tehrani lives and works in Stockholm.
