Jacob Wren, Families Are Formed Through Copulation

Some books are meant to be taken seriously, some are meant to make you take yourself seriously, and some to make you question the validity of seriousness all together. Jacob Wren’s Families Are Formed Through Copulation is all of these things. Wren’s perspective shifts with the moodiness of someone terminally affected, wounded by the unreasonable demands that our world places on us: to be a functioning member of society who gives back what one has taken, to be responsible for one’s actions, to never become angry or lash out from the weight of life’s unfairness and lies, to have ”regular,” practical goals such as having a nice-sized home, a lush fenced-in backyard overgrown with organic fruits and vegetables, an upstanding occupation, and more importantly, to have children. Many strong and capable children, perhaps much like yourself, who will follow through with your personal intentions well after you are gone, who will see the world much like you see the world (if not exactly the same), who will do good things (even if you never managed to), who will follow through with your subliminal instructions to divide and conquer and succeed—or to, well, just ”be good” and not cause a lot of obnoxious trouble. Wren begins his work with a few powerful words that help you realize where this pensive book might lead you:

YES, OF COURSE IT’S TRUE WE BECOME
OUR PARENTS, BUT WITH DIFFERENCES.
WE CANNOT CHOOSE NOT TO BECOME OUR
PARENTS BUT PERHAPS WE CAN CHOOSE
WHAT DIFFERENCESTHOSE MIGHT BE.

On a shaky spectrum careening back and forth between cynical, heartbreaking negativity (”People, stop having children. You are not doing yourselves or the world any good. Take the energies you would have spent on childrearing and use them instead to fight American imperialism. The world is not as it used to be”) to somewhat disturbing, cheeky epiphanies (”And then I got older and I had children myself and I loved my children and my parents died and my children got older and they had children and I loved my grandchildren and then I died and on and on it went until the end of time, which was nice”), Jacob Wren doesn’t want you to necessarily see the world as he does, but he does mention the sheer importance of having to get these heavy feelings and observations off of his chest before he no longer can. He sees importance in his voice joining the others who have witnessed, who have seen, who are still witnessing and seeing injustice. There is a kind of urgency that comes forth over and over again in Wren’s Families are Formed Through Copulation. It is of dire importance that you at least hear what Wren says—even if most of us are not well-equipped to do much about it. For instance, Wren writes:

I hope, when they write the history of our time, they will not simply assume that no one noticed, that there were no witnesses, that we were all too stupid or complacent or comfortable. People did notice. Perhaps, like me, they only felt helpless and depressed. Perhaps they tried to fight and were killed for their efforts. Perhaps they fought and won. That part is still in the future. But people did notice.

Yes, people did notice. And maybe some of us will throw away our Depakote, Xanax, Prozac, Valium, Ritalin, Adderall—or maybe, like Wren, decide to write a book or organize our thoughts instead into a cohesive structure so that our children (God forbid we have any!) don’t do and think and make the world as utterly sad and inexplicable as we have universally managed to do. Despite some or our middle-class higher-than-thou attempts to send a check in the mail to some charitable donation X or some good cause Y, it’s still not enough for our children to not think twice about thinking the worst of us, or even yet: think nothing at all. As Wren writes, ”We all must stop and think. What are we actually doing?” Is some thinking better than none? Is negative thinking better than nothing? It’s a little tricky—this far-removed concept of progressive change, isn’t it?To see the review in context, click here.

Edgar Cleijne & Ellen Gallagher, “Better Dimension”

Edgar Cleijne & Ellen Gallagher
Installation view. Image: Jacquelyn Davis.

Presenting collaborations between Dutch artist Edgar Cleijne and US artist and filmmaker Ellen Gallagher, ‘Better Dimension’ at Stockholm’s Bonniers Konsthall includes experimental works that provide socio-political commentary on US history and race relations from a cosmic, obscure distance. More »

Riga International Biennial of Contemporary Art (RIBOCA1)

Aslan Gaisumov
Aslan Gaisumov, People of No Consequence, 2016.

For the first Riga International Biennial of Contemporary Art, curator Katarina Gregos has chosen to view Latvia as ‘the center of the world,’ where other regions and nationalities become satellites. This is refreshing, for the Baltics have previously been considered to have a peripheral status. More »

Johannes Heldén, “The Exploding Book”

Johannes Heldén
Johannes Heldén, Clouds, 2017.

As one enters the space temporarily designated for Swedish artist and poet Johannes Heldén’s The Exploding Book at Konstakademin’s in Stockholm, one detects that Heldén is receptive to nuance; each creative gesture confirms his dedication to both text and image, expressed with equitable consideration. More »

Malin Gabriella Nordin, “Floating from Within”

Malin Gabriella Nordin, Veil of Dreams, 2017. Image: Gallery Steinsland Berliner.

Stockholm-based artist Malin Gabriella Nordin is one of many Swedish women artists who resort to the basics – or perhaps the old ways, meaning they’re not particularly interested in the digital. More »

“Survival Kit 9”

Andris Eglītis, Laboratory of Poetic Research, 2017. Image: Jacquelyn Davis.

The 9th edition of Survival Kit is orchestrated by a small team of Baltic and Scandinavian curators: Jonatan Habib Engqvist, Solvita Krese and Inga Lāce. All possess a background in organizing independently and within the confines of institutions, which may be their strong point—their fluidity. More »

The 9th Momentum Biennial

Jenna Sutela, Sporulating Paragraph, 2017. Image: Momentum 9.

Momentum 9, taking place in the industrial town of Moss, Norway, is being curated by Ulrika Flink, Ilari Laamanen, Jacob Lillemose, Gunhild Moe, and Jón B.K. Ransu, who together represent the Scandinavian region. With this biennial’s focus on ‘alienation’, the curators joined forces to determine how alien processes and entities are infused in our lives through technological, ecological and social transformations. More »

Klas Eriksson, “Vet din mamma var du e?”

Klas Eriksson
Klas Eriksson, Evidence of Patchwork, 2017. Image: Göteborgs Konsthall.

Swedish artist Klas Eriksson has developed a practice rooted in examining subcultures via works in public spaces and spontaneous performances. With an interest in how power flows and how crowds function, the artist attempts to unpack sociopolitical dynamics using playful tactics. More »

Lovisa Ringborg, “Night Remains”

Lovisa Ringborg
Lovisa Ringborg, Fountain, 2017. Image: Cecilia Hillström Gallery.

In Lovisa Ringborg’s second exhibition at this gallery, the artist upholds the argument that displaying a set of harmonious works can be more potent than a plethora of free-floating entities. More »

Przemek Pyszczek, “1989”

Przemek Pyszczek
Przemek Pyszczek, Public Relief No 6, 2016. Image: Gallery Belenius.

Polish-born, Canadian-raised, Berlin-based artist Przemek Pyszczek displays new works which are primarily sculptural and mixed media, with stints into collage. More »