Jordana Loeb                                                                                                                            







Installation views from the MFA Konstfack spring exhibition, 2024, Färgfabriken, Stockholm. 




1.  ...please plant a tree for when I'm born
Apple wood, steel
2,5 x 2,5 x 0,60 m


2. Petrified
Apple wood, wax
60 x 30 x 20 cm


3. Yield is infintesemal (continuation of the work: Loewe, Leib, Löwe, Lowe, Levin)
Apple wood steam distillation, solvent extraction, steel, glass
25 x 9,5 x 18 cm


4. Apple Pillars: echo
Apple wood, rebar
3 x 2,5 x 0,35 m







Exhibition Text/

Apple Pillars: echo
Roots churning,
twisting upwards through its core.
Wind brushes decay
hollow  armor  form.
Holding, grappling
a December weight.
Ground unsettled and disheveled,
glimpses of pointed yellow remain.


My wood dealer revealed a secret, a process that I would have overlooked. The act of peeling and releasing, unmasking a serpentine of muddled and burnt. The diagonal cuts are intentional. Time continues to carve, exposing waxed cores and wrinkles. The artist transitions from preserver, mortician to creator. Head stretches against, a vacuumed hum resonates. A wooden memory stick.




* Thank you to chemists Mikael Pelcman and Jonas Hellberg, Chemtronica








Installation views of MFA solo exhibition, Carbon-14 Dating, 2024, duo with Josefina Anjou, Konstfack, Stockholm 





1. Force Field - Chatter
Carved popel wood, steel, transducers, amplifiers 
4-channel sonic installation resonating from sine notes at different frequencies. Co-composed with Anders af Klintberg.
5 x 1,5 x 0,15 m 




2. ...please plant a tree for when I'm born
Apple wood, steel
2,5 x 2,5 x 0,60 m


3. Petrified
Apple wood, wax
60 x 30 x 20 cm


4. Apple Pillars: echo
To fall, lean or be upright.
To support or be ornate.
To sound or remember. 
Apple wood, steel
Variable Dimensions







Exhibition Text/

Apple Pillars: echo
Roots churning,
twisting upwards through its core.
Wind brushes decay
hollow  armor  form.
Holding, grappling
a December weight.
Ground unsettled and disheveled,
glimpses of pointed yellow remain.


My wood dealer revealed a secret, a process that I would have overlooked. The act of peeling and releasing, unmasking a serpentine of muddled and burnt. The diagonal cuts are intentional. Time continues to carve, exposing waxed cores and wrinkles. The artist transitions from preserver, mortician to creator. Head stretches against, a vacuumed hum resonates. A wooden memory stick.









Installation views in group exhibtion, Intuition at Hand, 2023, Silvermuseet, Arjeplog, Sweden. Curated by Ester d'Avossa, Jeanetter Gunnarsson and Nathalie Viruly.




Chatter

2023

Alder wood, chain, transducer, amplifier
Sonic 2-channel installation
135 x 50 x 2 cm






Exhibition Text/ 

Intuition at Hand introduces artistic works into the collection of the Silvermuseet Arjeplog through a collaboration with Stockholm University's curatorial fellows and Konstfrämjandet Norrbotten. Artists Jordana Loeb, Hedvig Bergman and Tomas Sjögren temporarily exhibit a variety of mediums or technologies within this historical context, and in doing so, complicate our understanding of time and tools.

The works, selected by Ester d'Avossa, Jeanette Gunnarsson and Nathalie Viruly from Stockholm University’s curatorial programme, interact with the anthropological collection and historic display through a similarity of material and storytelling. Bergman exhibits taxidermy and ceramic, Loeb, carved sonic woodworks, and Sjögren, a virtual reality that is both folklore and sci-fi. Seemingly familiar yet contemporary, this dialogue between objects offers a new perspective on the collection that is both celebratory and challenging.

Intuition at Hand focuses on the act of making. It asks what a tool is, who makes it and whether it can be inherently beautiful. Technology is in part an answer to these questions given the centrality of innovation in its definition. And while some would argue that a computer is exemplary, we suggest that the very fibre of the objects housed here and their function to meditate in a harsh world render them equal. Thus, these objects in relation, celebrate a variety of knowledge systems and practices; the feminine, natural and supernatural hand. And in doing so, partially dismember hierarchies of science and culture or art and craft, beauty and function, for their linear histories in this context and beyond.

Thus the axe and the artwork are perhaps the same. What matters is the intuition of the hand and a sense of perspective.

“Silvermuseet Arjeplog is a museum of collective memory. Its artefacts have been “lived in”. They are objects of the home and habit – reckoning with nomadic traditions and home-making in the region. This gritty sensibility, technological by foresight and intent, also carries an inherent artistic quality or softness. Adaptability is transcendent of time and exists as a characteristic of creativity. Ursula Le Guin’s (2004) perhaps says it best in her essay “a rant about technology” when stating:

“We have been so desensitised by a hundred and fifty years of ceaselessly expanding technical prowess that we think nothing less complex and showy than a computer or a jet bomber deserves to be called "technology" at all. As if linen were the same thing as flax — as if paper, ink, wheels, knives, clocks, chairs, aspirin pills, were natural objects, born with us like our teeth and fingers – as if steel saucepans with copper bottoms and fleece vests spun from recycled glass grew on trees, and we just picked them when they were ripe…”

This sentiment is reflected by these three artists who conceptually question the binary of man, nature and technology, inspired both by the collective history of the museum, and its collection, as well as the anthropological aspects of the territory”, writes Ester d'Avossa, Jeanette Gunnarsson and Nathalie Viruly, curators “Intuition at Hand”.







Installation views from 1st year MFA group exhibition, SEE SAW, 2023, Konstfack, Stockholm.  


apple, car, gun
2023
Apple wood, 19kg iron weight, steel and silicon
1.5 m x 8 m


https://seesaw.se/








Installation views of solo exhibition, Wooden Feeback, Galleri Duerr, Stockholm, April 7 - May 14 2022.


Exhibition Text/ 

Jordana Loeb’s first solo exhibition at Galleri Duerr Wooden Feedback (2022), is a multidisciplinary installation that explores her body’s movements with wooden carvings, sound art, printmaking, and video. Utilizing the physicality of natural fibrous material, Loeb creates wood and stone carvings, sonic resonators, and relief prints to reflect on the transmutation of natural materials and the body.

Hollow dome sculptures lay the landscape for interaction. Found logs are transformed into stretching limbs. Thin sheets of wood become feedback resonators performed and modulated by the body. The exhibition space reveals a field of isolated wooden sculptures that communicate as a collective organism. Her carved log series resembles skeletal structures suspending outwards from Theraband latex straps to form actions of pulling, stretching and balancing. Smooth wooden formations protrude from the ground inviting physical interaction between the artist and the object. Resonating feedback emerges sporadically from hanging metal plates and large wooden carvings, turning sculptures into speaker membranes.

In her relief-print series, bodily actions are printed and then carved, creating gestures of rolling, dragging, and pushing. The process of carving around the imprinted form lifts the body out of wood and onto paper. These simple motions are performed to correlate the print with the anatomy and action. The relief and screen printing process is not merely a recording document but also aims to inform the movement itself.

Loeb’s background in ballet, modern dance, and the somatic method “Klein technique”, has led to a movement-inspired practice that studies bodily alignment through working with muscles of deep postural support. This fascination crosses between her printmaking, sculptural and sonic works to investigate the synergy and consequence of movement.








Wooden Feedback I-II
2022
Stereo-sound sculptural installation. Poplar ink carvings, tranducers, amplifiers
250 x 60 x 2 cm



The wood carvings resonate from different sine tones feeding into the natural material. The over tones and distortion originate from the wood itself.




 







Scapula - Breaking point
2022
7-channel sound installation
Stora Vika marble, zinc, plywood, transducers, mono speakers, amplifiers
Variable Dimensions