Exhibition > Intermediate Objects

Intermediate Objects

Artistic Research

Kristina Stallvik

diagram with circles, squares and different letters, alphabets and characters. text: Riso Test Chart no. 16

Test sheet from the risograph corporation, scan courtesy of Kristina Stallvik, 2024

Intermediate Objects represents the first culmination of artist Kristina Stallvik’s multidisciplinary, practice-based research on ecosystems of independent publishing. The works in the exhibition are both a documentation of Stallvik’s investigative dialogues and a mediation on the social and material histories of risograph printing. By displaying the physical stencil masters used to print an eponymous research publication, Intermediate Objects animates these traditionally discarded products of duplication. Drafted with tools developed by full auto foundry and ultrastudio, the typefaces utilized in the exhibition further explore the collaborative potential of the stencil itself as a creative methodology.

The term “stencil” originates from a string of etymological relatives: “stansel” (ornament), “estinceller” (glisten), “scintilla” (spark). These Old English, French, and Latin terms capture the careful dance between permeability and imperviousness required of the stencil. During the Paleolithic era, the body itself functioned as the first stencil tool. Cave paintings were created by spraying pigments over one’s hand, a technique later replaced by more intricate carving into leaves and plant matter. The risograph machine is heavily informed by this lineage, creating prints by pushing ink through a rice-based paper stencil, a method which was considered ‘inefficient’ and replaced with xerography in the early 2000s. The Riso corporation’s adherence to stencil based printmaking – an intermediary technology between screen printing and digital printing — ultimately created the conditions for its popularity amongst artists and self publishers. The publication, Intermediate Objects, calls on this history to traverse themes in contemporary publishing, from the evolving relationship between an exhibition and its catalog to the surprisingly slippery impermanence of a book object. A small library of previous works from Stallvik’s publishing project, cover crop, will also be available to read in the gallery.

‘Sore’ anthology printed by cover crop at San Serriffe bookshop, Amsterdam, NL, photo: Kristina Stallvik, 2023


Kristina Stallvik (b. 1999. NYC) is an artist, researcher, and founder of the publishing project, cover crop. Recent exhibitions and presentations include Non Productive Readers: a Performance, Between Bridges, Berlin (2023); Slow Leak, a.p., Berlin (2023); Bubble Bath, Magma Maria, Frankfurt (2023); Act 1, Nylistasafnid, Reykjavik (2023); Dyre Lekeplass, Kunsthall Trondheim, Trondheim (2022); and A Thing Shared, Automat, Philadelphia (2022). Recent publications include Landing (Lumbung Press, documenta 15, 2023). Stallvik lives and works in Berlin, Germany. Since spring 2023 Kristina has been a Chancellor Fellow of the Alexander von Humboldt Foundation with Art Laboratory Berlin as the host institution. They have researched the collective structures that comprise independent artist book and zine publishing in Berlin.

Venue

Art Laboratory Berlin
Prinzenallee 34, 13359 Berlin

Dates and opening hours

Opening: Fri, 23 February 2024, 8 pm
Running Time: 24 February – 24 March 2024
Thu – Sun, 2 – 6 pm

ARTIST TALK with KRISTINA STALLVIK

Sun, 3 March 2024, 4 pm
No registration needed

Curator

Kristina Stallvik

Media partner

art-in-berlin

Supported by

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