ElectroPutere AIR 2018
Kim Ekberg & Hannah Wiker Wikström, Krzysztof Gutfrański, Nicoleta Moise, Daniel Toca arrow-yellow arrow-white



Kim Ekberg & Hannah Wiker Wikström “A perverted belief in rationality”, variable dimension, metal, silk, video; 2018
Kim Ekberg & Hannah Wiker Wikström “A perverted belief in rationality”, variable dimension, metal, silk, video; 2018
Kim Ekberg & Hannah Wiker Wikström “A perverted belief in rationality”, variable dimension, metal, silk, video; 2018
Kim Ekberg & Hannah Wiker Wikström “A perverted belief in rationality”, variable dimension, metal, silk, video; 2018
Krzysztof Gutfrański “The speed of Guccifer”, 2018
Krzysztof Gutfrański “The speed of Guccifer”, 2018
Exhibition view
Daniel Toca “Zamolxis”, Zamolxis butterfly dry, stone; 2018


The selection sums up and documents the artistic practice of the following participants:

Krzysztof Gutfrański (PL)

„My research focuses on impact of hacking/cybersecurity on popular culture in post-transition in Romania. I conducted a series of interviews with hackers, cybersecurity experts and cultural researchers with departure point on history of computing during Ceaușescu era, but focusing on recent transformation highlights like Râmnicu Vâlcea (a.k.a. Hackerville), story of Guccifer and unpacking the notion of accelerationism for Central East Europe. The presentation at ElectroPutere Gallery outlines its humoristic and playful aspects while being just a part of the bigger whole I collected in Oltenia, Bucharest and beyond.”

Krzysztof Gutfrański (b. 1982) Polish curator, artist and researcher living in Toruń/Warsaw (PL).His contextual research practice incorporates and mixes together issues of social engagement, decolonisation, urban studies and ecocriticism in the era of systemic transformations. He has worked in the curatorial departments of various institutions as CoCA in Toruń, National Gallery of Art “Zacheta” and “Zamek Ujazdowski” CCA in Warsaw. Between 2010 2015 he was chief editor of Alternativa Editions for Wyspa Art Institute in Gdańsk and currently he holds the same role for OBIEG quarterly in Ujazdowski Castle CCA Warsaw.

Kim Ekberg & Hannah Wiker Wikström (SE)

„Using abstraction as a strategy is a way of performing parallel stories and situations. The term abstraction might transform from one meaning to another by time and perspective. From an abstracted image to an abstracted thought. Like a human figure that looks like a black line when we look at it from a distance, or like a yellow surface because we look at it too closely.”

Kim Ekberg (Sweden 1989) Graduated at Valand Academy of Fine Arts, Göteborg, currently based in Stockholm. Is a Film Maker, conceptual artist and mucisian. Discoveing the unknown fields between Video Art and traditional Cinema, Ekberg is often collaborating with artists from other fields, to reach unexpected results. One of these forums is the Göteborg situated interdisciplinary art collective Kollektiv Gladboll. Recent Filmography: Together in the world (2017 w/Kollektiv Gladboll), Arc Libra (2018 w/Johannes Hagman), (Edoc Equador), The Wind Bloweth Where it Listeth (2017), When Horse Flies Strike (2016 w/ Kollektiv Gladboll), (Winterthur IFF), Kvarsebo (2016) (Novemberfestivalen Trollhättan), The Bloody Night of the Raccoon Dogs (2016), (Lijnbanstrat Gallery Amsterdam), Den Dansande Kroppen.

Hannah Wiker Wikström (Sweden 1990). Graduated at Oslo National Academy of Fine Arts, currently based in Stockholm. Her working method is based in an interdisciplinary research connected to performative situations in video, film and live performative installations. With a past in gender studies and performing arts, a somatic consciousness is always present. This has created a point of departure for a feminist practice, both solo and collaborative, aiming for holistic thinking and understanding. “The subversive potential of depression”, as well as therapy and philosophical ideas on the human condition in relation to power are often reoccuring themes. Recently presented at CHART Emerging 2018 (Chart art fair Copenhagen, DK), SALTS Basel (SW) , Galleri Podium (NO), Malmö Konsthall (SE), Mustarinda Art Society (FI) Laboratoires des Printemps (FR), Mount Florida Glasgow (UK).

Nicoleta Moise (RO)

„The monumental artwork Calea Eroilor, by Constantin Brâncuși, was ordered and donated to Târgu Jiu by the National League of Gorj Women, led by Aretia Tătărescu. In 1992, an apolitical and non-profit organisation formed of 21 women decides to reactivate the league established by Aretia in 1921, under the name The League of Gorj Women „Aretia Tătărescu”. This organisation coordinated the activity of women in Gorj, taking into account the equal opportunity in work, family, society, subject to no discrimination on ethnic, race or religion bases. I’ve been at Târgu Jiu and talked about all these with the current president of the league, Gabriela Popescu.”

Nicoleta Moise (n.1989 in Bucharest) is a visual artist. She is interested and uses primarily archive images to redefine and reflect on historical or personal events, but not exclusively. In 2013, she began working with Olalla Castro, on superstitions that usually refer to irrational fears. Her projects were exhibited and presented at Zone C, Santiago de Compostela, tranzit.ro/ Bucharest, Fundación La Posta, Valencia, Contemporary Art Gallery BW Sokol Nowy Sacz, Poland, Donau – Universität Krems, National Dance Center Bucharest and Galeria Posibilă.

Daniel Toca (MX)

Beneath my artwork underlays a research about temporality, it is based on the dialectic between pause and contingency, that is to say, between suspendedkairological-time, typical of the Abrahamic religions, which dialogues with an impermanent-fractured-time, proposed by the oriental mysticisms. I am interested in time as metaphysics because it is a substance that allows to think the unthinkable, and at the same time, this apparently depoliticized substance influences, constructs and determines every aspect of life.

Daniel Toca (México, 1979). MA in Sound Art at the University of Barcelona and BA at “La Esmeralda” in Mexico City. Resident artist at Blue Project Foundation, Casa Wabi, Ile de La Réunion, Nida Art Colony, and the Akademie der Bildenden Künste Karlsruhe. Between his solo shows are: Daniel Toca: Transitivity of Implication, Museum of Portable Sound (London, 2016); Gjentagelsen, Blue Project Foundation (Barcelona, 2015); A invenção da realidade, International Photography Festival, (Maputo, 2014). In 2017 he published the book Standing Inwards, an essay about contingency, and in 2014 Frygt og Bæven, a commentary about Kierkegaard. He has given conferences, seminars and workshops in different art centers; currently he works as a professor at the Interdisciplinary Studies Department of the National Center for the Arts in Mexico City