Christofer Degrér – And it is precisely there, and precisely there again, in that believable, [...]

Name: Christofer Degrér – And it is precisely there, and precisely there again, in that believable, [...]
Start: 2026-05-22T14:00:00+02:00
End: 2026-05-29T14:00:00+02:00
Location: Galleri Rostrum

Schedule

Fri, 22 May, 2026 at 02:00 pm to Fri, 29 May, 2026 at 02:00 pm

UTC+02:00

Location

Galleri Rostrum | Malmö, SN

Christofer Degrér
"And it is precisely there, and precisely there again, in that believable, pressure-thick, mid-June light, 04:32 through 23:58, crimson-crushed light in which contour gives up its slow duties and becomes instead a flatter, denser, more pleading force against every exterior surface, that the first usable field begins, not as declaration, not as broad scene-setting, but as a low, adhesive, hyper-attentive arrangement of near-readiness in which a lavender-scented, recently washed, line-creased bed sheet can stand in for a face turned toward a lens, and a face turned toward a lens can stand in for a witness, and a witness can stand in for the almost-certainty that someone is there when someone else entirely is there instead, while fabric sticks to the chest in a salt-warm, late-day way that makes pulse and voice and hesitation and whatever passes for exactness enter the same small adhesive economy, and in that same pressure there is already a procedural confidence so intimate it might as well have been inherited, the confidence of writing one phrase elsewhere and never writing it again from scratch, copying it forward because the copied phrase has already learned how to survive, and meanwhile the field keeps twitching with tiny, snowy, almost-Morse, almost-zeppelin anticipations, not signals [...]"
8 – 31 maj 2026
Galleri Rostrum
Vernissage: Fredag 8 maj, kl. 17:00-20:00
Artist talk kl. 19:00
Utställningen hostar även verket "När spegeln slutade svara. Skiva 3 av 4" av kompositören Fredrik Degrér, fredag 29 maj kl. 20:00-00:00.
(for English, see below)

Titeln till den här utställningen framträder här endast i utdrag, av nödvändighet, i egenskap av tröskel, och genom åtskillnaden mellan verk och icke-verk. I sin fulla form sträcker den sig till en romans längd, sammanlagt 250 sidor som antar formen av en limiterad bokutgåva, vilket innebär att den, i cirkulation bortom själva boken, endast kan existera genom avkortningar, reduktioner och tillfälliga stand-ins, samtidigt som den i tal tenderar att falla tillbaka i kortform. Konsekvensen av den överdrivna titellängden etablerar här ett av utställningens grundvillkor: att det som är tänkt att beteckna, rama in och bära verken redan misslyckas med att förbli utanför det som det bär, och att varje fantasi om total omfattning endast anländer genom avkortning, vidareförmedling och substitution.
Genom en svit nya verk som rör sig mellan miniatyr, bildöverföring, skulptural installation och objekt i fluktuerande tillstånd mellan verk och icke-verk, fortsätter utställningen genom att omfördela helhet in i ett fält av fördröjda korrespondenser, falska uppfyllelser och konkurrerande lokala koherenser. Det som framstår som sekundärt, stödstruktur, extraherad bild, rest, sidovillkor och perifert objekt, förblir inte sekundärt särskilt länge. Det börjar förvärva sin egen tyngd, densitet och strukturella agens för att träda in i ett alltmer sammanvävt relationsfält.
Det som utställningen föreslår är varken en säker helhet eller en neutral distributiv ordning av separata element, utan något mer krävande: lokala totaliteter som gång på gång försöker konsolidera sig samtidigt som de läcker just de element genom vilka de försöker göra det, former av koherens som endast håller genom att infinna sig en aning på sned. Snarare än att avskaffa åtskillnaden mellan verk och verklighet utsätter utställningen den åtskillnaden för tillräckligt mycket tryck för att dess administrativa självförtroende ska börja ge vika, och ge upphov till ett sammanbrott där mening börjar röra sig mindre genom lösning än genom närhet, förskjutning och en sorts spekulativ vidskepelse.

Christofer Degrér (f. 1990) är en Malmöbaserad konstnär med en MFA från Kungl. Konsthögskolan i Stockholm (2018) vars praktik rör sig mellan text, skulptur och installation. Hans verk undersöker trösklar mellan tautologi, rekursiva strukturer, teknologi och gotik, ofta genom system där objekt, bilder och narrativ överlappar och viker tillbaka in i sina egna villkor. Degrérs verk har visats i separatutställningar och grupputställningar på gallerier och institutioner som bl.a. Index, Stockholm; Carroll / Fletcher, London; Billytown, Haag; SPOR Festival, Det Jyske Musikkonservatorium, Aarhus; Rodi Gallery, New York; och Coulisse Gallery, Stockholm.
christoferdegrer.net
instagram: @christoferdegrer
___________________

Christofer Degrér
"And it is precisely there, and precisely there again, in that believable, pressure-thick, mid-June light, 04:32 through 23:58, crimson-crushed light in which contour gives up its slow duties and becomes instead a flatter, denser, more pleading force against every exterior surface, that the first usable field begins, not as declaration, not as broad scene-setting, but as a low, adhesive, hyper-attentive arrangement of near-readiness in which a lavender-scented, recently washed, line-creased bed sheet can stand in for a face turned toward a lens, and a face turned toward a lens can stand in for a witness, and a witness can stand in for the almost-certainty that someone is there when someone else entirely is there instead, while fabric sticks to the chest in a salt-warm, late-day way that makes pulse and voice and hesitation and whatever passes for exactness enter the same small adhesive economy, and in that same pressure there is already a procedural confidence so intimate it might as well have been inherited, the confidence of writing one phrase elsewhere and never writing it again from scratch, copying it forward because the copied phrase has already learned how to survive, and meanwhile the field keeps twitching with tiny, snowy, almost-Morse, almost-zeppelin anticipations, not signals [...]"
May 8 – 31 2026
Galleri Rostrum
Opening reception: Friday May 8, 17:00-20:00
Artist talk: 19:00
The exhibition will also host the event "När spegeln slutade svara. Skiva 3 av 4" by the composer Fredrik Degrér, Friday May 29, 20:00-00:00

The title of this exhibition appears here only in excerpt, by necessity, by threshold, and by distinction between work and non-work. In its full form it extends to the length of a novel, a total of 250 pages taking the form of a limited-edition book, which means that in circulation beyond the book itself it can exist only through cuts, reductions, and temporary stand-ins, while in speech tending to collapse back into shorthand. The consequence of excess title length here establishes one of the exhibition’s core conditions: that what is supposed to designate, frame, and support the works already fails to remain outside what it supports, and that any fantasy of total extension arrives only through truncation, relay, and substitution.
Through a body of new pieces spanning miniature, image transfer, sculptural installation, and objects in fluctuating states between works and non-works, the exhibition continues by redistributing wholeness into a field of delayed correspondences, false fulfillments, and competing local coherences. What appears secondary, namely support structure, extracted image, residue, side-condition, and peripheral object, doesn’t stay secondary for long. It begins to acquire weight, density, and structural agency of its own, entering into an increasingly interwoven field of relations.
What the exhibition proposes is neither a secure whole nor a neutral distributive order of separate elements, but something more exacting: local totalities that keep trying to consolidate while leaking the very elements through which they do so, forms of coherence that hold only by arriving slightly askew. Rather than abolishing the distinction between work and world, the exhibition subjects that distinction to enough pressure that its administrative confidence begins to fail, and in that failure meaning starts to move less by resolution than by adjacency, displacement, and a kind of speculative superstition.

Christofer Degrér (b. 1990) is a Malmö-based artist whose practice encompasses entanglements of text, sculpture, and installation. His work examines thresholds between tautology, recursive structures, technology, and the gothic, often constructing systems in which objects, images, and narratives overlap and fold back onto their own conditions. Degrér holds an MFA from the Royal Institute of Art, Stockholm (2018), and a BFA from Ringling College of Art & Design, Sarasota, Florida (2012). His work has been presented in solo and group exhibitions at galleries and institutions including Index, Stockholm; Carroll / Fletcher, London; Billytown, The Hague; SPOR Festival, Royal Academy of Music, Aarhus; Rodi Gallery, New York City; and Coulisse Gallery, Stockholm.
christoferdegrer.net
instagram: @christoferdegrer