søndag den 29. maj 2016

Present//Recollection//Godsbanen Århus

mandag den 19. oktober 2015

torsdag den 9. juli 2015

KUNSTHAL NORD - Uden titel 15 - juli til august


torsdag den 9. april 2015

White Energy - Galleri KANT


"Core drilling the murky mists of the really real"
gips, hessian, armeringsjern

73x 26x20 cm
60x30x27 cm
60x30x27 cm

“Strange Strangers/ 
A plastic wrapped banana, a 3 sided mud box and a telescope walks into a bar....”
Gips, hessian, lazerprint
27x37x5 cm

“ZigZag Chasm”
Gips, hessian, lazerprint
59x42x 5 cm

“Journey through a wowen, knit or knotted material, of evenly spaced holes”
Gips, hessian, lazerprint
27x37x5 cm

torsdag den 12. marts 2015

Tommy Støckel |  Section from Art of Tomorrow, (Architecture) Detail
White Energy

Participating artists: 
A-Kassen, Anton Burdakov (UK), Peter Linde Busk, Ivana Franke (KRO), Asmund Havsteen-Mikkelsen,         Markus Von Platen, Cia Rinne (SE), Tommy Stöckel, Sif Itona Westerberg

Curated by Asmund Havsteen-Mikkelsen

The title of the show is inspired by Virginia Woolfs reflections on the creative energy in her book ’A Room of One’s Own’ (1929), the socalled incandescent state of being where the author writes in an utopian fever state of pure creation. 
Her own method – stream of consciousnes – can be seen in this light. According to Woolf it is the nature of art – when it has these elements of freedom, poetry, joy – to liberate new forces and energy in the viewer. Woolfs opinions expressed in her book can be seen as a contribution in a historical discussion centrered around the question of the autonomy of art and the artist in relation to society and the economical conditions of producing art. Woolf offers a point of view on why artists, female as male, should have freedom – and what this freedom means for society. 
The curatorial criteria of selection for the works to this exhibition is, that they are mainly white as a tribute to the white energy Woolf evokes, and at the same time have a strong formal power of enunciation. Ranging from sculptural installation in styropor (Tommy Støckel), minimalist sentences on paper (Cia Rinne), lacquer prints (Ivana Francke) to coated white clay sculptures (Busk) the works engage in various materials and means of expression. 
Together the works produce an unfamiliar space, because the white colour is  interpreted in different object-contexts and artwork-possibilities. At once a space of colour reduction and yet a widespread of mediums testifying to the freedom of expression today. The exhibition White Energy is a statement about the positive force of art in the world.   
Together with the exhibition opening the book ‘Non-philosophy and Contemporary Art’ (156 pages), A Mock Book Press, by Asmund Havsteen-Mikkelsen will be released. The book attempts to circumscribe the space of artistic thinking as that of non-philosophy, because artists absorb concept but use them in their own way. From a theoretical perspective the book is a pladoyer for white energy in the space of contemporary art. The publication is supported by the Danish Art Council. 
Sif Itona Westerberg | Untitled, 2015, Plaster, hessian og laser print, 36 x 27 x 5 cm.
                                                                                                                        Markus von Platen | Decadence, 2015,  Inkjet print on aluminum, 125 x 83 cm

tirsdag den 9. december 2014

WAX, FLAX AND FEATHERS at SixtyEight - Morten Stræde, David Stjernholm og Sif Itona Westerberg

Wax, Flax, and Feathers  

"I warn you to travel in the middle course, Icarus, if too low
the waves may weigh down your wings, if you fly too high the fires will scorch your wings. Stay between both.” Ovid, Metamorphoses

The exhibition Wax, Flax and Feathers brings together the Danish artists Sif Itona Westerberg, Morten Stræde and David Stjernholm. The works bring forth different aspects of our human interference with nature’s rhythms and systems, and how our modern industrial and technological ventures have affected our mental horizons and the way we relate to the world around us. The artists each look at how humanity, through the technologies it has developed, continually reaches beyond itself and shapes new relationships, which can promise improvements to nature, yet also threaten to destroy the very basis of our existence. 

The benefits of modern industrial inventions and technological advancement have been manifested in our improved living standards, mobility and a growing global wealth. Recent generations, such the ‘no future generation’, under the influence of the nuclear arms race and the economic depression of the 80s, may have had a tendency to view technological development negatively. The current generation, however, whilst growing increasingly aware of the challenges that face humanity, see technology both as one of the sources of our predicament, and a source of solutions to those same problems. There is rising concern as the challenges of the changing climate and the peaks and troughs of the economic cycle resurface. The balance between hope and dystopia seems to characterize our current thinking as weather and environmental phenomena become more tangibly apparent, but at the same time the sheer scale of the problem muddies the overall perspective, as does the challenge of trying to see through the various political interests. 

Sif Itona Westerberg uses, in the piece Un-earth, a mode of vision which has emerged in the last few decades, namely the satellite photograph as ‘the big picture’, to quite literally change our perspective on an open cast mine: that which scars the landscape at eye level, and which we know plunders the earth, becomes a pattern that might remind us of a fossilized creature, buried for millennia under the sea bed. Accompanying this is a sculptural piece, Post-mine encrustation, which shows the product of oxidization as newly exposed minerals react with the air in abandoned mine areas; a natural phenomenon occurring as a result of human intervention. In her plaster cast relief Beep Beep, a mutated four-legged duckling is fixed against the Warner Brothers Roadrunner, each going off in its own direction at hyper speed. For Roadrunner the deformation of the feet is the source of entertainment and a symbol of his continued survival through speed; for the duckling a scientific and ethical dilemma is implied in the use of modern technologies, of which we have yet to learn the full range of consequences.

David Stjernholm is similarly concerned with matter and time: in Picture of a stone, 200 mio. BC natural processes have over a great length of time transubstantiated all the vegetable matter in a tree trunk into mineral, whilst preserving all the details of the living organism. Conversely, in his photographs of different types of fluorescent lights he freezes the pulsation of the light-giving electrical charge through the tubes, exposing the element of time. In the piece Seedless Grapes a graphic tool mimes the artificially produced, easily edible seedless grape, which pleases our indolence over and above reproduction.  

Morten Stræde, in his circular reliefs 3rd Stone from the Sun I-III, examines the modern idea of reason and science as a demonstration of power through three different visions of human endeavour, whilst Inoculus III explores the central paradox between the original Stealth Bomber seen as an aesthetic object, and its death-bringing potential and premise. Stræde questions the degree to which we should allow science to dictate our behaviour and highlights humanity’s manoeuvering along the fine line between rationality and chaos.

lørdag den 8. november 2014