FREDRIK ZANICHELLI
GIDEON EILLERT
OLIVER BUGGE

 
Dwelling in Passing

March 29 –  April 26, 2025

Text by artists: The animation of objects and places persists despite the proclaimed disenchantment of our world.
The human experience is premised on inhabiting the spaces we find, and our bodies join in interdependence, but
without the contours of our mind, these spaces might be homeless. There might be a glimmer of hope for us in
recognizing the sanctitude of our worldly experience, enabling us to discover spirited, yet concrete places, where we
can be present and not dwell in abstraction. Abstraction is elsewhere – the “here” can, contrarily, be well-known and
loved.
There is a dire need of nearness, of presence, to foster an openness to the dim, the hidden, the shy, the silent, the
subtle, the withering, the old and the dead – along with the bright, the sprouting, the loud, the vibrant, the
saturated, the rising and the burstingly juicy. Young and old alike, may listen to the murmuring of the soil, the sand,
the bedrock or feel the sun on their naked skin. Perhaps, we might even rekindle spirits trapped in tantrums.

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Fredrik Zanichelli (b. 1995, Malmö SE) Zanichelli approaches the tension between architecture and nature, using
Almhöjden at Skogskyrkogården as his starting point. The site was created by Sigurd Lewerentz in 1935 based on the
Romantic painter Caspar David Friedrich’s Hill and Ploughed Field near Dresden from 1825. Today, the surface of the
painting is covered with cracks, and perhaps it has been for a long time. Perhaps Lewerentz saw how the painting,
already over a hundred years old at the time, had begun to crack and concluded that it was in immediate danger.
Perhaps it was the cracks that turned the motif into a physical landscape. When Zanichelli approaches our built
environment and its materialities, he does so with a poetic eye, where cracks are not only signs of decay but also of
beauty. Something that can expose the forgotten, something that can force us to deconstruct and renegotiate what
we take for granted. The difference between nature and culture is that culture inevitably cracks – and in these
ruptures new landscapes, new narratives are born. The rift becomes the place where that which lies beyond reality
grows.
Gideon Eillert (b.1993, Hengelo NL) Eillert’s approach to painting begins with depicting reality, but progresses
intuitively towards something that may appear almost completely abstract. The physical aspect of this process is
significant to him, both in how he uses his own body, as well as the body of the paint itself. In the interplay between
the two, his intuition guides him in shaping the familiar into something else, revealing an ambiguity underneath
everyday experiences. For the exhibition Dwelling in Passing, a confrontation is sought with memories and the way
they distort as they ferment inside the mind. The sense of fleetingness is addressed in the process of dissolving, a
moment of in-between-ness, on the precipice between being and non-being. Perhaps in dwelling on this precipice
we can gain a bird’s-eye-view on the motion of each moment into the next.
Oliver Bugge (b. 1990, Esbjerg DK) Bugge deals with the intersections of spirit and place in his contribution to the
exhibition Dwelling in Passing. The sculptures Altar and Urn represent efforts to understand the way religious
practice is tied to place, and the way our minds are bound to it. Things and places are carriers of memories, myths
and rites – even now, in a seemingly secularized time. The longing for the otherworldly goes far back as a thread in
human thought, but the same can be said about feeling deeply connected to a spirited place or object. In the
landscapes of the cemeteries and memorial sites, a paradox between the glorification of the afterlife and an
unwavering dedication to earthly existence is taking place. In his series of cyanotypes Bugge is dwelling on these
ambiguous, and often touching, gardens of memory.