Without regarding themselves as a group, the three artists have chosen to start a joint artistic process, based on their curiosity about each other’s way of thinking and relating to a series of questions. Their conversations, wanderings and joint activities have resulted in the exhibition Implicit Hits. As the title suggests, they are united in the interest for the intention of art, or possibly its unintentionalness—what kind of effort is art-making? They also impose questions directly to objects and pictures—do we need to know what “kind of thing” we have to relate to, in order to understand them? Is the linguistic labelling necessary, or does it constitute a “foreign layer” on the art object? These questions may seem to be a purely internal concern within the art field, but are in fact valid questions for a broad discussion on the individual’s relationship to freedom and existence. In this case, the starting-point is three oeuvres, each very significant, in which the relationship to materials and time are evident. Therefore, you should expect an object without function that has come into being and has a certain look for several reasons. Thus, not for a specific purpose, but for a variety of reasons that may be personal, material, art historical, social or political. The object or the image looks exactly like this. That is why we as viewers, for a moment or a long period of time, shall look at it, give it the meaning we can find, but without expecting that the meaning will be there without us.
The questions of the exhibition are charged by the fact that the artists, in different ways, have lived and dealt with the postmodern situation, surrounded by their respective personal zeitgeists. The last thirty years, society has lived through a historically significant change on all levels. The conservative nationalism that is gaining ground in Europe can possibly be seen as a reaction to the speed of the change and the relativization of the major religious and political stories that has become a result. In Implicit Hits an opportunity is offered, to return to some basic questions without the naivety and fear that often pursues societal discussion in general. The art of Hans Andersson, Arijana Kajfes and Eva Löfdahl is crass and challenging; can we allow ourselves hysteria, totems and realism, in a single, interested eye movement?