Wednesday, January 31, 2007
It is five o’clock in the afternoon in Copenhagen on Halloween, 31 October 2003. Elmer has just left the Royal Danish Academy of Fine Arts after a master class. He is ebullient as he steps over the threshold into Egelund, where the artist Niels Reumert is opening his exhibition. Elmer contemplates a huge painting on the end wall and looks over at the artist, Reumert. “Shouldn’t I update you a little bit?” he says. Reumert looks at Elmer, indulging him as he replies, “When shall we start?” Time passes, and each time they run into each other in Copenhagen, they ask, “When shall we start?” It is March 2006. We are in a rented room in the A-Huset building at Islandsbrygge in Copenhagen. Reumert starts off, putting brush to canvas first. Elmer then takes his turn. The game is on: a challenge to the visual arts and to the picture itself. The “real” painter versus the conceptual artist: they paint and discuss. The “battle of the painting” fluctuates between confrontation and dialogue, between the artists making joint decisions and tripping each other up. To introduce their works, Reumert and Elmer have allied themselves with 18 bleeding-edge young painters. Each will contribute one work of art carefully selected by Reumert and Elmer and, with a starting point in the two artists’ project, they will each write a short text to accompany their paintings on exhibit and in the catalogue.
Posted by J-P Brask at 7:03:00 PM
TEXT: A candle that appears to be burning down soon, is found inside a glass vitrine that is placed on top of a classical showcase. This particular showcase usually used in museums for history. This candle though is burning for aprox. 50 hours but the viewer is only able to see a part of the actual size of it. It seems that the candle doesn´t get any shorter and so the fire stays the entire time at the same height level. You might be able to put up a statement with the outcome of a new time perception. This time perception is created by the inversion of the simplest thing we know since a long time – a burning candle. Just in this case the candle burns somewhere else.
Description: media_wood, stepping motor, controller, glass vitrine, cloth
measure_6 ft x 10 inch x 10 inch
R.T. HANSEN BERLIN INC
Gallery // Apartment
Gormansstrasse 19 A
10119 Berlin - Germany
Posted by J-P Brask at 6:57:00 PM
YOUNGHO LEE & MIKIO SAITO
"THE PENCIL OF NOX"
in our project space SATELLIT
Opening: February 8th, 2007 at 7 p.m.
The opening will be held by Prof. Simon Starling.
Duration of the exhibition: February 8th through March 31st, 2007
The Korean artist Youngho Lee and the Japanese artist Mikio Saito who since already some while cooperate as artist duo, present in their first solo show in our project space SATELLIT wall drawings, drawings, photography as well as video animation. Both artists are studying at the Frankfurt Städeschule, Youngho Lee with Simon Starling and Mikio Saito with Mark Lecky.
The exhibition “Pencil of Nature” cites the title of the first photo book by Henry Fox Talbot. Literally he used the rays of the sun to draw his “photography”. Lee and Saito turn this approach in its negative:
"If we imagine that our drawings are photography, they were taken in the dark and were drawn as a reality from our mind. They are personal remapped geography, transformed memory and architecture. And they are growing larger to be in ordinary life. If we believe strongly in something, there will emerge a fantasy figure in the dark (…)." [Saito & Lee]
The old game of animated film to transform one thing in another, to heal the broken, or to revive the Dead, is driven to a self-referential game constantly repeating itself.
Posted by J-P Brask at 6:46:00 PM
Tuesday, January 30, 2007
Opening at Gammel Strand Copenhagen...
LAVALAND - OLAFUR ELIASSON & JOHANNES KJARVAL
10. februar 2007 - 29. april 2007
About 30 paintings from Kjarval
Many photos from Olafur,- some schulputres, installations og 2 new works
Udstillingen præsenterer cirka 30 malerier af Kjarval, et større antal af Eliassons
fotografiske værker og enkelte skulpturer og installationer, samt to helt nye værker.
LAVALAND sammenstiller to af Islands mest centrale kunstnere og sætter fokus på
deres fælles interesse for naturen, som de med hver deres individuelle tilgang har gjort til
omdrejningspunkt for deres kunst. Centralt for Olafur Eliasson og Jóhannes Kjarval står
oplevelsen af landskabet og gennem en utraditionel sammenstilling af de to umiddelbart
forskellige kunstnere fremsætter udstillingen nye dimensioner og mulige sammen-
hænge for deres værker.
Jóhannes S. Kjarval (1885-1972) arbejdede livet igennem med at fortolke det islandske
landskab i ofte meget store malerier. Hans oplevelser af det islandske landskabs
særlige fænomener genskabte han i malerier, der fremhævede landskabets fysiske
bestanddele. Det nære og taktile; mossets overflade, lavastenene særlige struktur og
isdannelsernes mangefarvede udseende er alle motiver, der løber som en rød tråd
gennem hans værk. Sideløbende udviklede Kjarval et karakteristisk maleri, hvor
landskabet i højere grad er symbolsk og befolkes af levende skabninger, der vokser ud
og frem af landet.
Olafur Eliasson (f.1967) har siden sin studietid på Det Kgl. Danske Kunstakademi i
starten af 1990erne fotograferet naturen på Island igennem talrige serier, der ligeledes
samler sig om det islandske landskabs særlige kvaliteter. Landskabet registreres på
næsten videnskabelig vis i indsamlede observationer af forskellige kategorier af
naturfænomener og landskabsformationer som fx grotter, gletchere og kløfter, der alle
iscenesætter forskellige oplevelser af fænomenet. Fotografierne løber parallelt med
Olafur Eliassons almene interesse for at udforske vores perception af og interaktion med
naturen og mere overordnet vores forhold til omverdenen.
Posted by J-P Brask at 5:37:00 PM
Friday, January 26, 2007
Thursday, January 25, 2007
Wednesday, January 24, 2007
“Keeping Your End Up” is an exhibition of recent UEL Graduates, who have gained recognition as emerging talents. The exhibition will highlight the artists’ ability to alter our experience of the world through a subtle manipulation of everyday objects and no small amount of humour.
With "Touchdown”, Ralph Dorey utilizes the formal qualities of material, colour, form and site to create an autonomous object. For the artist each piece is an imaginary organ, a once functioning catalyst now redundant and existing as a phenomenalist picture plane. His work has been described as “vivaciously visceral, anthropomorphically awkward, contextually voracious and frequently large”. Dorey lives and works in London, where he is currently studying sculpture at The Royal College of Art.
Bryony Gillard creates site sensitive installations that control space, body and action. Gillard is interested in her work acting as a social mediator creating situations that enable a physical dialogue between individuals. “Tug Trap” is a human sized, transparent, bell shaped cage. A participant will pull a rope to lift the cage and another person will venture into the space under the cage. When the rope is released, the participant will be trapped - in an absurd clear prison. The artist will also be exhibiting a series of drawings, illustrating her many ideas and feats of imagination.
Guy Oliver presents two new video pieces for “Keeping You’re End Up” which display both his unique humour, and sense of high drama.
"Warriors Don't Cry (yrC t'noD sroirraW)" features Oliver's on-screen alter-ego, the ghost of former wrestling superstar, The Ultimate Warrior, who takes the viewer on a journey of love and loss through popular song. Using the distinctive Ultimate Warrior face-paint motif, the film places traditional self-portraiture in the context of a pop-video or YouTube karaoke performance.
In “Boddington: His Thoughts Can Kill”, shots of Boddington, Oliver’s pet cat, and long term collaborative partner are 'seamlessly' inter-cut with scenes from the 1981 film Scanners :
“The piece aims to answer the age-old mystery of, what is going on inside the mind of the average
Stuart Robinson’s work tries to explore the possibilities within objects, were they to exceed the confines of their assumed properties and functions. "The Four Course-men" is a photographic quartet of spewing condiments, as household sauces and spreads appear to be bursting out from weak points. The normally passive items suddenly become highly volatile with unexpected outcomes.
In ‘Untitled (NestBox)’ a garden nesting box extrudes an unfeasible quantity of a mysterious red substance into the gallery space. The piece continues Robinson’s interest in producing work that encourages curiosity, and intrigue.
Posted by J-P Brask at 12:01:00 PM
Tuesday, January 23, 2007
Monday, January 22, 2007
9 February 2007 - 29 April 2007
Danish artist Jeppe Hein creates a dynamic site-specific installation for The Curve as part of Barbican’s new programme of commissions for this unusual space. Hein’s piece redefines the space of the gallery, involving and perplexing the viewer.
Posted by J-P Brask at 4:43:00 PM
Sunday, January 21, 2007
Im realy looking forward to see this show.
The opening are 16 th of feburay.
Self-dramatization is a key concept in the American artist Cindy Sherman’s production. She uses herself as model and photographs herself in changing disguises. By manipulating her own body by means of make-up, clothes and artificial body parts, she appears in different forms and figures that range from the amusing and humorous to the provocative and violent. The exhibition has been organized by the Jeu de paume, Paris, and co-produced with the Kunsthaus Bregenz, the Louisiana Museum of Modern Art, Humlebæk, Denmark, and the Martin-Gropius-Bau, Berlin.
Posted by J-P Brask at 11:07:00 PM
An installation view of our current show by Eneas Capalbo. The show is called Abstraktes Bild.
Nate Loweman designed it and it has a photo of Nancy Reagan on it. Anyway, the show is all
about the 80's zeitgeist and we had a really cool mixture of people at the opening. Out of all people Bianca Jagger showed up...
The paintings are 24 x 24 inches and the are the best "bad paintings" anyone has painted!
Posted by J-P Brask at 1:07:00 PM
Saturday, January 20, 2007
OPENING RECEPTION on January 26th, 6-8pm
Goff+Rosenthal is pleased to announce "From Our Living Room to Yours",
a group exhibition curated by Daria Brit Shapiro, featuring new work by George Boorujy, Jeremy Earhart, Jon Elliot, Bill Lohre, Marci MacGuffie,
and Trong Nguyen.
Posted by J-P Brask at 1:54:00 AM
Friday, January 19, 2007
Thursday, January 18, 2007
Jeppe Hein Opening in TokYo tomorrow....
"Continuity Inbetween" 2007.1.19(Fri) - 3.3(Sat)
Jeppe Hein was born in Denmark in 1974, and works from bases in Berlin and Copenhagen. For the past several years he has exhibited at art museums and galleries around the world, and has been in constant demand for international art exhibitions. Still an upcoming artist, the art world is keenly watching how his work develops.
Jeppe Hein's works are humorous, drawing observers into newly-created physical and psychological experiences. In 2003 he created a labyrinth from water jets at the Venice Biennale, with sensors that raised walls of water in response to the movement of someone entering, trapping them inside. This large work attracted the most attention of any of the art at the Biennale. Another work is a large room with nothing in it. Visitors wear headsets that monitor the wearer's movement and vibrate unpleasantly when they detect movement in particular directions, thereby creating the walls of an invisible maze. Other works incorporate flames, such as the flames rising from the water spray in a fountain, or benches, such as a bench with clouds of vapor that billow out when someone sits down, enveloping the sitter.
Hein's works undercut perceptual and cognitive logic, amusing us through stimulating tricks or mechanisms that take us by surprise. Hein frequently uses sensors to detect how people move, utilizing that movement to change the behavior of the work in unpredictable ways. Visitors attempt to actively influence the work's behavior, but they find themselves having to accept that it cannot be completely controlled. That irrationality is part of what is amusing.
With his rich sense of playfulness, Hein makes just little changes to the 'normal' form and function of a space/object/phenomenon, or to its interrelationship with observers, but in doing so he opens up a whole new world that the observer has not seen or experienced before, demonstrating the fragility and lack of certainty behind the order and the rules that our daily lives are dependent on. Hein's works initially seem to be innocent purveyors of wit, but on closer examination they are much deeper; full of pleasure and joy.
Francesco Bonami, director of visual arts for the 50th Venice Biennale rated Hein's work very highly, setting it apart from simple interactive art that draws in visitors by describing it as "a sort of mental sculpture that has both a life of its own and a life shared with the viewer. It happens sometimes that the users of Hein’s work don’t even know what the work is about, actually they don’t even realize it’s a work of art.” Bonami adds that "The power of Jeppe Hein’s art is the capacity to hide into the context where it happens to operate"
The main piece in the solo exhibition at SCAI is his architectural installation, "Continuity Inbetween," in which two walls facing each other are joined by a line of water that jets between them. The effect is an uncanny sensation and a new experience. Hein will also be exhibiting new works in neon. This exhibition marks the start of a busy year for Jeppe Hein, with a schedule that includes exhibitions at the Tate Modern in London and the Sculpture Center in New York.
Posted by J-P Brask at 1:59:00 PM