This is the last and concluding part of a three-part exhibition series that began with André Tehrani's first two solo exhibitions at NoPlace (Oslo) and Entrée (Bergen) in autumn 2013. The exhibition series as a whole has a thematic turning point in how revolutionary thrusts become the object of cultural romanticisation, and has more specifically discussed the legacy of utopian avant-garde movements such as the International Movement for an Imaginist Bauhaus and the Lettristic and Situationist International. In contrast to the previous two 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 relates more suggestively to its source material. Furthermore, the exhibition has Tegnerforbundet less to do with the pop-cultural recuperation of Situationism and the 1968 movement that the inaugural exhibitions tackled, but instead looks more closely at the visionary ideas about architecture and urban planning that were shaped 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.
