In Asger Dybvad Larsen's first solo exhibition Dialogues Objectified with Colors in an Unsolvable Rubik's Cube' at Gether Contemporary, he investigates painting as a media and artistic object. The exhibition questions the autonomy of painting and exposes the artist's work, where works interact with each other in a concrete and historical way and create new contexts.
Over the past few years, Asger Dybvad Larsen has had his primary focus on painting, its art historical ballast and an exploratory approach to the processing of the traditional materials of painting. Thus, in his work production there are clear references to iconic artistic works and currents. For example, he works with acrylic casting of paint trays, thus creating a direct formalistic link to Frank Stella's striped geometric works.
When using the paint tray as an image, he also connects to his own practice in the studio, where his process is based on continuous production and destruction of works. It is an open process in which the works that he is working on are in constant flux. They are cut up and put together in new ways, they get applied material and are torn apart and sewn together again. The characteristic of Asger Dybvad Larsen's production thus becomes his process, where the individual work becomes an image of the constant artistic exchange and development, rather than it becomes a work for itself.
The studio acts as an archive which he can flip back and forth in, and where he can separate, compose and construct new contexts from independent works, processes and thoughts. But at the same time, this archive is in constant motion and development, and therefore the individual works appear as snapshots of the artistic journey through the times and places of the archive. He denotes himself as a;
"... powerless archivist for the indigenous family tree whose branches I constantly break off as proof that the structure really exists".
Asger Dybvad Larsen relates dialectically to his works and to art history. The main art historical reference for his work is minimalism, where one seeks to keep the subject out of the work. Through the work with simple forms and materials, a position is established in which the viewer senses the work instead of deliberately reading it. Minimalism presents a work, which does not postulate to be anything but what you see. Form, structure and material make up the object, which appears to be devoid of the expressive artist-ego. It is the immediate physical experience that defines the reading of the work.
This simplicity and sensitivity in experience characterizes Asger Dybvad Larsen's expression. He produce physical works, which despite their restriction of the surface on which they work, appear sculptural and interact with the space in which they work. The works resonate in the body of the viewer and cause a sensation of the work which points beyond the material sum of the work we are faced with.
Asger Dybvad Larsen
Asger Dybvad Larsen (f. 1990, DK) lives and works i Århus. He is a graduate of Det Jyske Kunstakademi, 2017. He has solo exhibited at Galerie Rolando Anselmi (DE) & (IT), Geukens & de Vil Gallery (BE), Gether Contemporary (DK), Pablo’s Birthday (US), False Front (US). He has participated in group exhibitions at Art Sonje Center (KR), L21 (ES), Nordic Contemporary (FR), Fabbrica Orobia (IT), Arroniz Gallery (MEX), Ernesto Esposito Collection (IT), Galeria Boavista (P), Viborg Kunsthal (DK), Larm Galleri (DK), Rod Barton (UK), Brask Collection (DK) among others. The works of Asger Dybvad Larsen can be experienced in the collections of AROS Aarhus Art Museum (DK) and CCA Collection (ES). In 2017 he received Juni Fonden’s art grand and in 2018 he became awarded with a scholarship from Lepsien Art Foundation i Düsseldorf. In 2017 Roulette Rousse puplished the monography ‘SPOR 1’ about Asger Dybvad Larsen