We are proud to be presenting works by Lu Yang at this years ASIA NOW from 20-23 October in Paris.
Born in Shanghai, Lu Yang is one of the most important contemporary Asian artists and this year’s Deutsche Bank “Artist of the Year." With a fascination of the human body, neurology and control, Lu Yang's works provide a bridge between scientific technology and aesthetics drawn from the hypermediated nature of the contemporary East Asian culture industry. Lu Yang professes to 'live on the internet' and Lu's works appear as a poetic madness of internet-era politics, religion, technology and consumerism.
At this years ASIA NOW, we will be presenting works that focus on a virtual reincarnation called Dokusho Dokushi, or DOKU for short. The gender-neutral avatar is a hyperrealistic figure whose countenance is modeled on LuYang’s face. All facial expressions and movement patterns are performed by dancers and then recorded using motion capture technology, a process that generates 3D models on this basis for video games, for example.
Lu Yang presents DOKU not only through the art of video, but also through round mandala compositions. LuYang studied at the China Academy of Arts in Hangzhou and lives and works in Shanghai. Since 2015, LuYang has been involved in numerous group exhibitions worldwide, currently at The Milk of Dreams, 59th Venice Biennale. The artist has had solo exhibitions in Beijing, Moscow, and most recently Aarhus and Erlangen, and as of the end of September, at the Zabludowicz Collection. 2019 awardee of the BMW Art Journey.
‘DOKU Human’ embodies the human realm of existence. Of all the avatars, this one probably resembles LuYang the most. But already in this incarnation LuYang questions our binary ideas. For the avatar resembles a cyborg. It is wearing a technoid suit, whereby it is not clear whether he is artificial skin or the body itself. In fact a Japanese master of the art of tribal tattoo, was asked to design tattoos for a digital human, after which the avatar’s body pattern was realized. DOKU Human seems to be a kind of blueprint for all of the other incarnations and is surrounded by a hypermodern urban world. In Buddhism, it is most desirable to be reborn in the human realm. Although in the human world suffering is inevitably experienced through birth, aging, illness, and death, and there is violence, separation, fears, human beings have the opportunity to learn to overcome themselves and their destructive behavior.
DOKU Heaven embodies the illusion of a completely carefree, bliss-filled existence in the realm of the gods or devas, a Garden of Eden, a conception of paradise. The avatar, clad in playful clothing, dances on the stream of a river adorned with fluorescent crystals, surrounded by a paradisiacal tropical forest full of spherical sounds and light phenomena. Here, one can also see the influence of various traditional Balinese and Indonesian dance styles, such as Legong, which LuYang recorded with dancers in Bali using motion capture and then digitally reproduced in the movements and facial expressions of her avatars. But the halo of DOKU Heaven seems like a deceptive aura. In the realm of Heaven there are also the temptations of luxury and idleness, the propensity for ignorance price, which prevent the pursuit of simplicity and awakening.
DOKU Asura represents the reincarnation realm of the asuras, the fighters, warlike titans or demons who are also celestial beings. In Hindu mythology, they were supplanted by the devas. In Sanskrit, Sura means “light being.” The prefix “A” indicates the opposite. Asuras are therefore “opponents of the light beings.” They quarrel with the gods and try to take their place, but they do not succeed despite constant struggle. The dance of DOKU Asura is inspired by the Indonesian Warrior or Baris dance. The design of DOKU Asura’s armor and the temple architecture interspersed with futuristic towers combine various global historical, mythical and religious elements with high-tech. Samsara, the wheel of life, is also integrated here in an ambience that is clearly reminiscent of the aesthetics of fantasy games.
DOKU Animal is at once naive and complex. This incarnation of LuYang, with its ear cap and boots made of fake fur, is less reminiscent of a deity or a superhero than of a cos player. Or the “Harajuku style” influenced by manga, goth, techno and Lolita fashion, which originated in the boutique district of the same name in Tokyo and conquered the world in the 1990s and early 2000s. But DOKU Animal does not dance in a teen show or at a techno rave or sporting event. Rather, the avatar appears in a kind of medical laboratory, which is simultaneously an abattoir, a gym for animals, and Noah’s Ark. It also refers to our ambivalent relationship to animals, to our compulsion to optimize and market not only ourselves, but everything around us. Of course, it also alludes to the suffering of animals, which continues to increase in unimaginable proportions in the ever more highly industrialized world. In Samsara, rebirth as an animal stands for instinct, ignorance, the blind drive for self-preservation. Animals, like humans, also have a Buddha nature. But they are incapable of recognizing it. They always remain hunter or prey and thus cannot escape the cycle of eating and being eaten.
DOKU Hungry Ghost looks like a gothic pop star. The realm of Hungry Ghosts, the so-called Pretas, is traditionally inhabited by emaciated beings who can swallow only one drop of water at a time and are thus tormented by insatiable hunger and thirst. Hungry Ghosts represent the sins of addiction and greed. DOKU the Self begins with an apocalyptic vision in which DOKU Hungry Ghost wantonly destroys human civilization with earthquakes and monstrous thunderstorms, which it blames for its miserable existence. He dances in the style of Kebyar Duduk, an Indonesian dance in which a stooped posture and the use of fans are typical. Yet DOKU Hungry Ghost is a cold, unempathic apparition, reminiscent of a manipulative player. In the commentary, the avatar is also referred to as a “caster,” someone who establishes roles and identities instead of transcending them.
DOKU Hell dances with a severed head in his hand—the head of DOKU Human or LuYang? This archetypal motif alludes to Eastern and Western religions and art history. It can be seen as a reference to Kali, the Hindu goddess of death and destruction, and at the same time the composition is reminiscent of Caravaggio’s famous painting David with the Head of Goliath (1600/01). Perhaps it also hints at the symbolic death of the artist, who is decapitated by his avatar. DOKU Hell’s dance is inspired by the demon queen Rangda, who fights against Barong, the leader of the good spirits. The battle between the two is embodied in the Balinese Barong dance.
In Samsara, hell is the lowest realm, and those reborn here must endure torment until their bad karma is repaid. With LuYang, a medialized, globally recognizable version of hell can be seen, reminiscent of the architecture of science fiction and mystery films or even the series Stranger Things. But as with the higher realms of Samsara or Dante’s Inferno, Hell is only a product of the human imagination.
We are proud to announce that Asger Dybvad Larsen will be participating in the exhibition Minimalism-Maximalism-Mechanissmmm at Aarhus Kunsthal.
Minimalism-Maximalism-Mechanissmmm is a group exhibition in four acts realised in collaboration with Art Sonje Center, Seoul. Staging artistic formats which examine how artists select, use and process materials to tell stories about their surroundings and daily life, the project focuses on how a contemporary art institution presents itself to its artists and audiences, getting visitors to experience and learn how abstract and meaningful connections can be created in space.
The exhibition enables audiences to encounter multiple ways of viewing and questioning curatorial and institutional approaches to exhibition making. The title has several connotations. ‘Minimalism’ refers to an art movement which began after World War II in the Western art world.
One movement is often a reaction to others and thus the term ‘maximalism’, which hints at an aesthetic of excess, is a reaction to the principles of the Minimalist movement. A ‘mechanism’ is part of a larger process, as we observe in abstract and physical systems, and a set of multiple mechanisms is typically called a machine.
The arts, which are composed of a myriad of systems and workings, might therefore be called an art machine. Lastly, ‘ssmmm’ is a purposeful misspelling. It is intended to be read as a stutter, as if a machine was getting stuck and making repeated, mechanical noises. When visiting an arts institution frequently, audiences might have an experience that seems to stutter, that repeats itself and seems stuck.
Act 1 and Act 2 are intended to generate a contemplative relationship between the artwork, its making, and the observer. Act 1 presents a grouping of minimalistic art consisting of tactile and sensual works on canvas and on paper, as well as mixed media sculptures. Embedded in these works are the material traces left behind by their own making, which reveal how the artistic process is a fundamental element of each work. Their materiality is mainly influenced by the ways they were touched by nature and/or an urban setting. For instance, Kang Dongju’s drawings are propelled by night walks, during which she traced patterns on pavements to mimic starry night skies. Act 2 presents paintings where the artists have created narrative stories from urban and rural areas. Whilst the storytelling is generated through the artists’ memory, their materiality is experienced through the canvas, or the real and fictional characters they depict. Kent Iwemyr’s paintings, for example, tell stories about people and odd events that he has experienced in or around the small community in Sweden where he lives.
Act 3 invites audiences to interact with the works and actively participate with their hands, minds and bodies. For instance, the artist collective The Dumpling Club wants people to participate, share and co-produce recipes that establish relations. Stories unfold while making and eating dumplings, transforming a banal cooking session into a community-based experience focused on stories which centre around immigration, the entanglement between food and identity, and a longing for different futures.
Titled Archive of Aesthetic Exploration, Act 4 is an accessible cabinet of curiosities. It consists of an archive where audiences are invited to explore hundreds of small artworks stored in boxes, and a laboratory where visitors can set up and juxtapose artworks taken from the archive. In this way, they get to experience how the practice of curating can influence the relationship between artwork and viewer. As an example, Tove Storch’s series of untitled, glazed ceramic plates gives visitors a rare opportunity to get close to her seductive world by touching their delicate surfaces.
In the first iteration of the show at Art Sonje Center (20.01.2022 – 06.03.2022; 17.03.2022 – 24.4.2022), the exhibition was divided into four acts. At Kunsthal Aarhus, the first three are unified, edited, and condensed in such a way that the previously distinct lines between the acts blur. All acts shift away from a traditional format which uses a physical and static display, and move towards a participatory, relational and activating exhibition.
The exhibition is curated by Jacob Fabricius and Mikkel Hammer Elming
Shin Dokho, Cho Eunchae, Galleri Magnus Karlsson (Stockholm), Kim Haeju, Cho Heehyun, Kim Jang Un, Kim Sunjung, Moon Jeongyeon, Kvadrat A/S, Lee Seolhui, V1 Gallery (Copenhagen)
As part of the exhibition programme 'HEART Future' it is with great pleasure that HEART-Herning Museum of Contemporary Art presents the first solo museum exhibition with danish artist Rune Bosse in fall 2022.
Exhibition period 09.09.22 - 26.02.23
In his practice Rune Bosse investigates nature and its processes through a relational poetic and scientific approach. He studies its structures, patterns and attributes, meticulously getting to grips with how everything works and grows and how each element effects one another.
Saturating his work is the thought that everything is connected through a logic of nature, body and mind. In his work the interconnectedness is a premise for everything to exist in the way it does. It is about the effect of nature on nature and of man on nature and vice versa. Nothing exists on its own but is rather part of a relational chain causing effect on one another. Studying trees, roots, plants, germinating grains, withering leaves etc. and therein the fundamental natural mechanisms is an attempt to understand ourselves from the perspective of the brief timeliness of a human lifespan.
With great patience Bosse follows natures slow growth and its interrelations, meticulously gathering evidence for his studies; soil, roots, branches, leafs, plants etc. and submits the material to various scientific and poetic processes bringing to light its fundamental parts. The work cannot be rushed or hurried along as it's dependent on the pace of the natural processes involved, which with time and step by step will unveil its changeable secrets. Assembling all the various samples and specimens are part of the work to map and to understand.
Bosse's ordered and scientific approach is coupled with a poetic sensitivity. The samples and specimens remain just that without a philosophical background through which to understand and relate his findings. Therefore many of his works are accompanied by poems, underlining the work and becoming an enveloping matter binding everything together. The poetry becomes a tool to sum up and define the direction of his studies and to accompany our understanding of his findings. Bosse's investigation of nature is an investigation into the mechanisms of life itself and in turn of ourselves and of our own understanding of who and what we are in relation to the nature we are intrinsically connected to and deeply depend on.
As a part of Rune Bosse's current solo exhibition at HEART - Museum of Contemporary Art we present a new film about the making of Treefall.
In his practice Rune Bosse investigates nature and its processes through a relational poetic and scientific approach. He studies its structures, patterns and attributes, meticulously getting to grips with how everything works and grows and how each element effects one another.
We are proud to announce Marie Kølbæk Iversens's solo exhibition 'Histories of Predation' at O-Overgaden
The exhibition runs from August 27 - October 23 2022
From the press release:
Marie Kølbæk Iversen’s exhibition at O – Overgaden interlaces East Atlantic folktales of merpeople, the history of capitalism, and new marine biological research in the extremely long-lived grey shark.
Histories of Predation is an exhibition project by Marie Kølbæk Iversen located at the intersection between mythology, art, and science. Kølbæk Iversen investigates how non-modern forms of knowledge may contribute to reflections about historical and current cultural conflicts in the North Atlantic region.
The exhibition is rooted in the juxtaposition of East Atlantic folk songs about merpeople, and the extremely long-lived grey shark, also known as Greenland shark or gurry shark. The shark’s transit zones stretch from Northeastern North America, Greenland, Iceland, Svalbard, across the White Sea, and, towards the south, the Faroe Islands, the British Isles, Norway, and Skagerrak. Across the Nordic-Germanic languages, the grey shark has traditionally been designated as a ‘merperson’: In Icelandic and Danish as ‘merman’—‘hákarl’/‘havkal’—and in Norwegian and Swedish as ‘mermaid’—‘håkjerringa’/‘håkjäring.’ Through the geographic and linguistic trajectories of the grey shark, Marie Kølbæk Iversen activates mythological axes of the Atlantic Ocean by including folklore from her East Atlantic home region in Western Jutland that features merpeople as dissident Others in relation to the Danish state and its authorities.
The exhibition at O – Overgaden is anchored in a video installation based on microscopic video recordings from within the eye lenses of the grey shark. Through carbon-14 dating of its eye lens nuclei, recent marine biological research from the University of Copenhagen has shown that the shark may live to become as old as 272 to 512 years, which opens up a perspective of more-than-human ‘eye witnessing’ that far exceeds the human life span: if we direct our gaze towards humanity’s cultural history from the shark’s place in time, the life of a single shark may span the development of capitalism, the foundation of modern science, the industrial revolution, the development of consumer society, historical and current colonialisms, and the Anthropocene era. The project thus invites us to imagine different realities across diverging temporal and spatial scales: the historical past, which travels to the present through the shark’s gaze, and the distant future, which we may imagine ourselves beholding with the eyes of newborn sharks. Just as the Heathlands’ songs about merpeople, the grey shark–the ‘havkal’—becomes an embodied mythical figure in Marie Kølbæk Iversen’s work, connecting the modern Western world with its outsides.
Rovhistorier | Histories of Predation also features the release of the music album Donnimaar. O Tilli. The album is part of Kølbæk Iversen’s ongoing investigations into the artistic and commons-based heritages of the West Jutlandic Heathlands, and is a sonic exploration of the ways and doings of merpeople at the edge of modernity.
We are looking forward to welcoming you at booth no. 21 at ENTER Art Fair 2022, where we will be presenting new works by:
Asger Dybvad Larsen
Sif Itona Westerberg
Enter Art Fair 2022
Oceanvej 1, 2150 Nordhavn
Thursday 25.08 : Preview
Friday 26.08 : 12–8 PM
Saturday 27.08 : 11-7 PM
Sunday 28.08 : 11-6 PM
We are looking forward to welcoming you at booth no. 12 at CHART Art Fair 2022, where we will be presenting new works by:
Sif Itona Westerberg
Christine Overvad Hansen
CHART Art Fair
Kongens Nytorv 1, 1050 København
Thursday 25.08 : Preview
Friday 26.08. : 11-7 PM
Saturday 27.08. : 11-6 PM
Sunday 28.08 : 11-5 PM
The exhibition Metamorphoses presents works by leading Danish contemporary artists who all work, in different ways, with metamorphosis and transformation - in the form of a transformation from one state, form or understanding to something else. The artists often resort to myths and legends from antiquity and the Middle Ages, reinterpret them and "morph" them into our contemporary age and conversations. They incorporate the hybrid as a fusion of forms, narratives across past and future.
The exhibition taps into current debates and the questions we ask ourselves today: Is it an expression of the idea that everything is changing and that the boundaries between man/nature, nature/man/technology are becoming blurred, and that everything and everyone changes and can be changed from one thing to something else? Or is it a reflection of the fact that our time involves a longing for the past in an attempt to understand and act in a contemporary time characterized by crises?
Several of the artists work with the space between technology and myth or the historical, so that the works appear both archaeological, contemporary and futuristic at the same time.
The exhibiting artists are: Sif Itona Westerberg, Nanna Abell, Johanne Helga Heiberg, Amalie Smith, Christine Overvad Hansen, Kinga Bartis and Helene Nymann.
Amalie Jakobsen is proud to participate in the group exhibition Climate of Concern: Burning Out in the Age of Fossil Expressionism at Radius Center for Contemporary Art and Ecology in Delft.
Bianca Bondi, Julian Charrière, Amalie Jakobsen, Regina de Miguel, Agnieszka Polska, Lisa Rave, Oliver Ressler, Miriam Sentler, Sam Smith
CLIMATE OF CONCERN is the second exhibition of the Underland year program, examining the current over-indebtedness to the fossil fuel industry and mineral extractivism through the work of nine artists.
In 1991, the petrochemical business group Shell released the documentary Climate of Concern, which displayed the potentially catastrophic consequences of climate change: increasing drought, extreme weather, floods, crop failures, disappearing islands, and migration. Nevertheless, Shell, alongside other companies such as Exxon and BP, deliberately hid internal reports carried out in the nineteen-eighties that predicted the catastrophic planetary consequences of the increasing emission of carbon dioxide released by fossil fuels extraction. Still to this day, Shell continues to do business as usual by profiting from fossil fuel extraction, actively contributing to climate change. Coal, petroleum, and natural gas have become an inseparable part of all aspects of industrial and energy production, and a substantial part of the technological ‘progress’ in history has been possible through the extraction of such resources. As a consequence, we have become intertwined with fossil memory so much so that there is no single aspect in our lives that is not somehow impacted by the (ab)use of fossil fuels. Everywhere we look there is a manifestation of what philosopher Peter Sloterdijk has called ‘fossil expressionism’: from the buildings we inhabit, the pavement they stand on, and the cars that pass them by, to the clothes we wear or the wrapping of our food; traces of fossil fuels are part of our daily landscape, identity, and existence.
The joint trace-effects of advanced capitalism, technological transformation, and the resulting environmental breakdown are increasingly becoming matters of urgent socio-political changes that transcend humanity and apply to every living organism on the planet. The second chapter of Underland explores how the current over-indebtedness on fossil fuels provides both the framework and the backdrop for our ways of thinking, being, and acting to an untenable regime of ecological collapse. What are ways of abandoning fossil fuel culture and shifting towards sustainable practices of living? How can this Devil’s bargain with non-renewable energy be reversed, and what alternative relationships can be established for a future beyond fossil-based lifestyles?
The all-pervasive use of fossil fuels shapes our thinking, acting, and capacity to relate to things and to one another; artist and author Brett Bloom has coined it petrosubjectivity.Petrosubjectivity is in our food, our healthcare, our means of transport, our clothes, our sex. While conditioning every action and thought we produce, it hinders any attempt to reverse it. This is exemplified in renewable energy, or, what Bloom suggests calling more accurately, ‘fossil fuel dependent energy’. In order to produce windmills and solar panels, huge amounts of waste and emissions are produced. By 2050, the International Renewable Energy Agency estimates that close to seventy-eight million metric tons of solar panels will have become obsolete, and that the world will be generating about six million metric tons of new solar e-waste per year. Turbine blades, on the other hand, shortly become obsolete, and the energy production in wind farms gradually decrease over time, becoming remnants of ‘green’ alternatives that nevertheless keep on disrupting the landscape and altering biodiversity. That is not to say that individual, more sustainable choices are to be dismissed: it is rather a matter of dismantling the misleading impression of ‘green’ alternatives and products promoted and lobbied by fossil fuel companies in the hypocritical practice of greenwashing.
In the Anthropocene, fossilization does not only occur organically. Humans have substantially modified landscapes through the urbanisation of cities, which will leave behind a fossil record both above—skyscrapers and highways—and below ground—metro and sewage systems. Humans have also altered the streams of rivers, the pH of oceans—causing acidification—and the composition of the atmosphere. All these alterations intervene directly in the geological development of the planet, causing major shifts that could eventually compare to great geological changes that radically transformed life on Earth. Land, conceived as a commodity for human use and enjoyment, is abused for the sake of our current carbon-infused lifestyles.
As writer Robert MacFarlane postulates, the Anthropocene compels us to insert our thinking in ‘deep time’, a time scale that stretches beyond human life and challenges the presumption that the world exists for human profit only, in eternal availability. Fossil fuels are limited, and yet fossil-burning enterprises are keen on making and burning as many new fossils as possible, as quick as possible. Professor Donna Haraway envisions the near future geologists reading our fossils in the strata of rocks both on land and underwater. Yet geologists are currently able to do so, as human waste is already fossilising in plastiglomerates, a composed material made of rock and molten plastic. Despite continuous evidence of fossil culture’s effacing consequences and the thin chances of surviving them, we have little capacity to comprehend how our idea of self, subjecthood, and the world is shaped by oil relationships because of their implicit ubiquity. Making petrosubjectivity explicit stands as a most urgent need to eventually free ourselves from our current dependency to it. How can we prepare on as wide a scope possible for subverting fossil culture? How can we still operate in systems of required extractivism, and what does that entail for our concepts of nature, culture, and ecology? What are the chances of worldly commitments to recognising the urgency to develop alternative logics of existence?
We are proud to announce that Gioele Amaro (IT) will do a solo exhibition in the gallery from 19.08.22 - 24.09.22. For that occasion, we have asked him a couple of questions:
Q: We are very proud to show your first solo exhibition with the gallery opening 19 August. Can you tell us a little bit about the concept of the show?
A: Is about the very old question that every painters has to go trought: what is art and what is beauty? Art is an expression of our thoughts, emotions, intuitions, and desires, but it is even more personal than that: it’s about sharing the way we experience the world, which for many is an extension of personality. It is the communication of intimate concepts that cannot be faithfully portrayed by words alone. And because words alone are not enough, we must find some other vehicle to carry our intent. But the content that we instill on or in our chosen media is not in itself the art. Art is to be found in how the media is used, the way in which the content is expressed
Q: Since you did your duo exhibition at the gallery last autumn you’ve had a really busy time. Can you tell us what you’ve been up to since then and how your work has developed?
A: I was lucky enough to deepen digital art in its various forms and to get closer to different cultures especially in the East where I worked with great people.
Q:Where do you find inspiration for your work, is it books and the arts or do you have other fields that inspire you in developing your work?
A: Above all fiction, books, essay novels by great artists. I graduated in art and architecture so there are many things I would like to read and have heard about that are stuck in the future for the moment.....
Q: I know you’ve got a (busy) great schedule but summer is approaching fast. Where’s you favourite place to kick back and relax and enjoy your time of?
A: Francesco, Ernesto, Fausto, Mattia, Valerio are my islands. I can't think of a nice place without thinking about spending time there with family or friends. But if one day they all be busy i'll choose somewhere in Sicily!
Q: Looking into the future can you tell us a little about what you have on your horizon?
A: Loving someone as much as i love my work.
Amalie Jakobsen and Birk Bjørlo is participating in the exhibition From "Abstraction" to Abstraction at The Stefan Gierowski Foundation in Warszawa, Poland
"What is abstract art? How to recognize it? What is now understood in the world as abstraction and how does it compare to what I currently think about abstraction?" - asks prof. Stefan Gierowski, the originator of the exhibition.
At the exhibition, we will see the works of young (up to 35 years old) female artists and artists from various countries; incl. from Poland, Hungary, Austria, Ukraine, Germany, Denmark, Great Britain, the Netherlands, Spain and the United States. Their work will be the starting point for a discussion on the contemporary definition of the term "abstraction" in art, especially in painting. The exhibition will be arranged by two artists working in the field of painting and spatial forms: Emilia Kina and Bartek Buczek. Reflections on the condition of non-figurative painting and the way it is perceived by contemporary people will be summarized in the publication accompanying the exhibition. The exhibition will include tours and workshops. The artists and works exhibited at the exhibition were selected by the Foundation's team in consultation with prof. Stefan Gierowski.
Anouk Lamm Anouk, Justyna Baśnik, Birk Bjørlo, Szilvia Bolla, Bartek Buczek, Hannah Sophie Dunkelberg, Edyta Hul, Naila Ibupoto, Amalie Jakobsen, Roberto Jamora, Marcin Jasik, Emilia Kina, Bartosz Kowal, Julia Krupa, Sofiia Kupetska, Jeewi Lee, Grzegorz Łoznikow, Kaja Marzec, Patrycja Masiarz, Krzysztof Mętel, Márton Nemes, Iza Opiełka, Kinga Popiela, Olga Skorża, Stach Szumski, Serena Vestrucci, Keke Vilabelda, Anna Vostruchovaite, Lotte Wieringa, Paulina Włostowska, Amanda Ziemele
We are proud to announce that we will be participating in this year's Art Herning, May 6-8.
We will be presenting works by: Sif Itona Westerberg, Birk Bjørlo, Jay Gard, Rune Bosse, Amalie Jakobsen, Asger Dybvad Larsen and Lu Yang.
We look forward to welcoming you in booth no. 6040
Opening hours - Art Herning:
6. Maj: 14.00-19.00
7. Maj: 11.00-17.00
8. Maj: 11.00-17.00
We are happy to announce that Rune Bosse is one of this years invited guest exhibitors, together with Ester Fleckner and Marie Thams, for the exhibition 'Den Frie Udstilling 2022: Atmospheres'. The artists are invited to respond with works in one of the categories: action, euphoria, melancholy, spirituality, depending on the atmosphere they see their works belong to.
The exhibition runs from March 26 - May 29 2022
Opening: March 25 2022, 4-7 pm
The association Den Frie is Denmark’s oldest artist association and the forthcoming exhibition presents works by the association’s artists and invited guests. The association is an artistic community where artists gather across generations, practices and artistic attitudes to explore new artistic ideas and concepts.
The starting point for Den Frie 22 is the concept of atmosphere – a mood in a room or a tone that strikes. An atmosphere is constantly changing and is always influenced by a given space and all it encompasses.
The exhibition is curated by artists Sophia Kalkau and Milena Bonifacini
Sif Itona Westerberg is proud to participate in the group exhibition 'Women and Change' at Arken Museum of Modern Art
There are treats aplenty in store in the exhibition Women and Change, which focuses on 150 years of very different representations of women and gender in art.
What does it mean to be a woman today? What is feminine? Who defines what femininity is? Who can be female? And is femininity gender specific at all? The exhibition Women and Change unfolds how Western art history has depicted women from the Modern Breakthrough of the late nineteenth century to the most recent contemporary art. In a wealth of works of art by Danish and international artists, you can explore how artists have, over the course of the past 150 years, reflected, responded to and resisted changing perceptions of both women and gender: from Impressionist portraits to performative body art. From lush studies of nudes to critical examinations of how history is written.
The exhibition features works by Marina Abramovic, Genesis Belanger, Bolette Berg and Marie Høeg, Dara Birnbaum, Benedikte Bjerre, Louise Bourgeois, Elina Brotherus, Nancy Burson, Arvida Byström, Claude Cahun, Sophie Calle, Cassils, Franciska Clausen, Kate Cooper, Anne Katrine Dolven, Marlene Dumas, Ditte Ejlerskov and EvaMarie Lindahl, Paul Gauguin, Guerrilla Girls, Gudrun Hasle, Lea Guldditte Hestelund, Astrid Holm, Olivia Holm-Møller, Sophie Holten, Kirsten Justesen, Lena Johanson, Birgit Jürgenssen, Marie Krøyer, P.S. Krøyer, Johannes Larsen, Marie Laurencin, Sarah Lucas, Vilhelm Lundstrøm, Ana Mendieta, Lee Miller, Carla Colsmann Mohr, Berthe Morisot, Emilie Mundt, Wangechi Mutu, Kai Nielsen, Astrid Noack, Frida Orupabo, Lene Adler Petersen, Laure Prouvost, Paula Rego, Tabita Rezaire, Pipilotti Rist, Niki de Saint Phalle, Luna Scales, Tschabalala Self, Cindy Sherman, Apolonia Sokol, Alina Szapocznikow, Vibeka Tandberg, Mickalene Thomas, Andy Warhol, Gerda Wegener, Sif Itona Westerberg, J.F. Willumsen, Francesca Woodman, Kristian Zahrtmann and Cajsa von Zeipel.
We are excited to see Asger Dybvad Larsen as part of the group exhibition Minimalism-Maximalism-Mechanissmm Act 1–Act 2, January 20 - March 6 2022 at Art Sonje Center 2-3F, Seoul, South Korea
The exhibition will stage traditional expressions in a non-traditional and experimental setting. With clear curatorial intent, the exhibition examines how artists select, use and work with materials. Minimalism-Maximalism- Mechanissmmm’s four acts develop from a traditional setting and physically, static display to a participatory, relational, and activating exhibition. Through the series of four acts the audience will encounter multiple ways of disseminating, experiencing, utilizing, viewing, and questioning curatorial methods and institutional approach to presenting works.
The exhibition is curated by Jacob Fabricius
Shanghai-based Lu Yang is a rapidly rising star on the international art scene, and ARoS now presents the artist’s first-ever solo show at a European art museum.
The exhibition Digital Descending at ARoS takes the form of a flashing immersive world made up of sounds, screens, film and a video game, creating a sensuous and hectic digital universe. Visitors move through Lu Yang’s virtual parallel world inhabited by gods and demons, heroes, warriors and cyborgs inspired by universes hailing from the realms of gaming, manga and Eastern religions.
In the various works featured in the exhibition, the artist’s own genderless avatar appears in multiple versions, including the brand-new hyper-realistic avatar DOKU, which constitutes the main character in the work DOKU – 6 Realms of Reincarnation. Lu Yang calls the avatar a digital reincarnation: DOKU is based on a high-tech face scan of the artist’s own face, capable of reproducing expressions with almost 100 per cent accuracy.
Sif Itona Westerberg is one of the 10 contemporary artists participating in the exhibition THE LEGACY - of Anne Marie Carl-Nielsen at Den Frie Udstillingsbygning.
The exhibition runs from November 26 2021 - March 6 2022
From the Press release:
Legacy can be a source of inspiration and it can also be a burden. Regardless, legacy is a transgenerational principle by which the past materialises in the present and influences the realm of possibility here and now. Legacy can also be a choice. An artist can choose to engage in dialogue with works created in a different time and context. In such cases, the past not only influences the present – the opposite is also true. The works created today inform our approach to and understanding of historical works and artists.
THE LEGACY – of Anne Marie Carl-Nielsen presents new works by Nanna Abell, Nina Beier, Hannah Heilmann, Sophia Kalkau, Marie Lund, Rasmus Myrup, Tal R, Jytte Rex, Torben Ribe and Sif Itona Westerberg, who poetically and intriguingly frame the work of Danish sculptor Anne Marie Carl-Nielsen (1863-1945) in the context of our time.
In their respective practices, the artists consider Anne Marie
Carl-Nielsen’s oeuvre on various planes, including her use of form,
themes and motifs, as well as her life and materiality. Taking their
starting point in different works, including her famous equestrian
statues and never-realised works, the artists explore a broad range of
techniques and approaches, from dissolution of hierarchies to
conflicting forms and radical changes in scale.
We are proud to announce Christine Overvad Hansen's solo exhibition 'HARD CODING SOFT TACTICS' at Holstebro Kunstmuseum
The exhibition runs from November 20 2021 - April 3 2022
From the press release:
Christine Overvad Hansen works with a great sense of both materials and the potential of bodies for change - their transformative power, and the exhanges that constantly take place between scuplute and body. The exhibition operates in the field of tension between the fixed and immutable, and the open and flexible - that which can be manipulated.
The title of the exhibition welds two concepts together:Hard coding is a computer programming term which means that one or more values in a program cannot be changed – the data is embedded directly in the source code or program. These values thus represent unalterable information – static constants in a closed system that do not integrate or interact with external inputs.
Soft tactics, on the other hand, are concrete but subtle
manipulation techniques that enable one person to exert a strong
influence over another: a kind of gentle power that practically crawls
beneath your skin. The works in the exhibition span these two poles:
between the static and fixed, and the manipulated transformation –
expressed through the materials of the works.
The works in Hard coding, soft tactics form a collection of sculptural personae, each of which tells a story about physical and psychological conditions. They are searching for a community, or attempting to break free from a relationship.
In the encounter between mechanical action repetitions, soft modelled forms in bronze or fired stoneware, textiles and feathers, the works in combination form a narrative about the moment of truth when a fixed pattern of action may perhaps become possible to break. In this way, the works constantly alternate, shift, displace and translate the relationship between bodies, psyche and materiality.
Overvad Hansen’s works are both familiar and strange, often straddling the border between the corporeally experienced and the speculatively fictional. With the body as a central element – both as a recurring theme and as an instrument, means and material in the sculptural process – Hard coding, soft tactics presents works that tap into our shared human memory, consumption and accumulating behaviour, and our ways of engaging in social relations and exchanges – as well as, in particular, our way of constructing social codes and norms.
We are proud to announce Amalie Jakobsen's solo exhibition 'Cosmic Coastline' at Kunforeningen Gl. Strand
The exhibition runs from November 12 2021 - February 20 2022
From the press release:
Mining in space and a growing amount of space debris forming like a planetary ring orbiting planet Earth. Humans are present in outer space today more than ever before.
Do we consider it a threat, and who or what poses a threat?
The Danish artist Amalie Jakobsen presents her solo-exhibition COSMIC COASTLINE at GL STRAND and brings our rapidly growing presence in space up for discussion.
The exhibition is centred around the seemingly paradoxical influences of the space industry on our lives.
With a carefully choreographed landscape of sculptures and animated films, Amalie Jakobsen highlights the growing human presence in space: the growing interest in exploration, mining asteroids, technological development, conflicted by the possible threat of the increased amount of space debris posed by mining, and the accumulation of satellites in planet Earth’s lower orbit.
A series of marble sculptures in various sizes challenge our common
notion of materials from outer space, and the space industry’s
insatiable hunt for water and valuable minerals from asteroids. At the
center of the exhibition, a complex satellite sculpture engages the
visitors with an interactive robotic performance, while a two-channel
animated video highlights the future perspectives of space technology in
poetic and unsettling ways.
Gether Contemporary was proud to participate in Artissima Art Fair 2021, featuring works by Rune Bosse and Sif Itona Westerberg
Artissima is Italy’s most important contemporary art fair. Since its establishment in 1994, it has combined the presence of an international market with a focus on experimentation and research.
Galleries from around the world participate every year. In addition to the fair (Main Section, Dialogue/Monologue, New Entries, Art Spaces & Editions), Artissima is also composed of three art sections, headed by a board of international curators and museum directors, devoted to emerging artists (Present Future), drawings (Disegni) and rediscovering the great pioneers of contemporary art (Back to the Future). Starting from 2020 the three curated sections are virtually hosted on the Artissima XYZ digital platform, accompanied in 2021 by a physical collective display within the exhibition pavilion.
We are very happy to present the beautiful catalogue Immemorial - Sif Itona Westerberg that we puplished together with ARoS, in connection with Sif Itona Westerberg's solo exhibition Immemorial this fall.
The catalogue is designed by Spine Studio and edited by Lise Pennington.
We are very proud to announce that Sif Itona Westerberg will be having her largest to date solo and museum exhibition at ARoS this fall
The exhibition runs from October 1 2021 -January 23 2022
From the catalogue:
ARoS is proud to present the largest museum exhibition to date featuring Danish sculptor Sif Itona Westerberg. Graduating from the Royal Academy of Fine Arts in 2014, Westerberg was quick to attract attention on the Danish art scene with her iconographic sculpture made of aerated concrete, often based on subjects from Greek mythology. The blend of the mundane industrial material and the refined craftmanship gives rise to a very distinctive contrast that feels simultaneously delicate and monumental. Westerberg's works incorporate references to the carved narrative friezes of antiquity and medieval art's elaborate iconography of fabulous beasts, known to many a Dane from church murals. Based on these historical role models - which include artistic modes of expressions as wel as narrative subjects - Westerberg's art confronts ethical and political issues of her own day. Her works always point to our contemporary era where the boundaries between technology, man and nature seem blurred This Juxtaposition allows her works to become hybrid manifestations, unmooring them from any firm temporality. Instead, they bridge the chasms between the mythological tales of the past, contemporary sci-fi visions and posthuman future.
The exhibition Sif Itona Westerberg - Immemorial is devided into three acts. The first act (House of Dionysus) shows works relating to the mythological figure Dionysus, god of wine and ecstacy.
The exhibitions second act (Swan song) consists of a new series of works exhibited for the first time at ARoS. It is based on the Greej myth of Phaethon, som of the sun god Helios. Phaethon borrowed his farther's sun chariot, but soon lost control of it. The chariot darted high up into the sky, creating the Milky Way in the process, then hurtled down to earth where the scorching sun laid waste to everything.
The exhibition's third and final act (Fountain) consists of works from the series Fountain, which takes its starting point in hybrid creatures from the European Middles Ages and genetically modified laboratory animals created by modern technology.
- Lise Pennington, acting director
We are proud to announce Christine Overvad Hansen and Asger Dybvad Larsen's duo exhibition Traveling Thresholds Among Mundane Mutations at Viborg Kunsthal.
The exhibition runs from September 24 2021 - Janurary 16 2022
From the press release:
In the exhibition Traveling Thresholds Among Mundane Mutations, the two young contemporary artists Asger Dybvad Larsen and Christine Overvad Hansen work with the idea of an artistic course where materials, concepts and works feed each other and create new perspectives and contexts. Some works will point to physical mechanical and repetitive movements, as in Christine Overvad Hansen's sculptures. Other works will work with the cycle as a methodological approach, which i.a. can be seen in Asger Dybvad Larsen's paintings, which consist of canvas that has been sewn together and cut up time and time again.
The two artists have created both new individual works and the collaboration on new works that together explore the materials' inherent qualities, history and potentials. Concepts and compositions in the exhibition's mechanical sculptures and stitched paintings create connections where boundaries cross each other, merge and emphasize a fruitful artistic development. The exhibition reflects a chain of recurring processes that make up a hermetically sealed system.
Do stones feel grief? Are they humming?
They did so in KØS large international exhibition, Hummings, which unfolded in Køge's urban spaces and landscapes from 14 Aug - 26 Sep 2021.
Hummings was the pilot edition of a comprehensive international exhibition for art in the public space in Denmark. The recurring exhibition, created on the initiative of KØS in collaboration with Køge Municipality, will serve as an ambitious experimental platform for innovative art in public spaces.
Fiction and poetry took over Køge's urban space when Hummings presented 17 art projects by Danish and foreign artists, writers and thinkers. The exhibition included readings, walks, workshops, performances, architectural and sculptural interventions, as well as video and audio works and installations by leading artists in the field of art in public spaces.
The participating artists were: Jonathas de Andrade, Kerstin Bergendal, Rune Bosse, Ayşe Erkmen, Asunción Molinos Gordo, Lawrence Abu Hamdan, Lea Guldditte Hestelund, Jakob Jakobsen, Maider López, Jumana Manna, Olga Ravn, Karin Sander, Christoph Schäfer, SUPERFLEX, Hale Tenger and Héctor Zamora.
The word ‘humming’ covers a wide range of phenomena: from the humming noise produced by machines and the sound of gases seeping up through the earth's tectonic layers, to the humming mating call of the male plainfin midshipman fish or the indistinct sounds of the pre-linguistic. The exhibition Hummings allows us to imagine a new language that connects across species and the human and non-human.
Hummings was about the polyphonic and hybrid and served as a metaphorical tool to explore the possibilities of giving voice to the invisible, silent, oppressed and vulnerable. The exhibition was a call to draw attention to all that is going on unnoticed right in front of us, and that which is not yet defined, finished, or legible.
Through the various works, which i.a. was inspired by the latest research in microbiology and anthropology as well as the social sciences and environmental research, the exhibition creates a space where fiction and reality, culture and nature, science and faith meet, merge or dissolve. Instead of leaning on knowledge production marked by contradictions, the exhibition invited us to make ourselves receptive to a new intertwining of many possible worlds and times.
Finally, Hummings served as a commentary on art in public spaces as a genre in an attempt to connect its history with future expressions.
Geographically, Hummings was centered around Køge Bay: Søndre Havn og Strand, Køge Marina and Tangmoseskoven, which are planted on top of a landfill. Finally, the square, the river banks and the residential area Ellemarken were also included.
CHRISTINE OVERVAD HANSEN
Christine Overvad Hansen works with sculpture in a broad sense. Her works are often based on traditional sculptural materials and techniques, combined with mechanical elements, performance and materials sourced from the more mundane, such as cosmetics and home and clothing textiles. For her exhibition at HFKD titled Traders, she has produced a number of sculptural works, all of which revolve around themes such as relationships and exchanges. With an eye for the exhibition space and the viewer's bodily interaction with the works, the works unfold narratives of both the exchange of, and the (unfulfilled) pursuit of assets, information or affections.
oVo / BIRK BJØRLO &
LEA GULDDITTE HESTELUND.
oVo is both the name of the artist duo consisting of Lea Guldditte Hestelund and Birk Bjørlo, as well as the title of this exhibition, which is the first major institutional exhibition the couple has created together. Together, they have created a site-specific installation that, through several different spatial tactics, encloses and affects the viewer's body. Large metal sculptures, at once load-bearing and connected by a naturally colored felt fabric, extend towards the light from the windows up above the work. The whole room is bathed in pink light and the temperature in the room is high and tightly embracing. As a whole, the exhibition produces a feeling of being inside a superorganism, where the individual works are in common dependence on each other, and where care is a basic condition.
eat & becʘ̃me
Silas Inoue’s practice is based on an idiosyncratic approach to nature and man, and how these concepts are inextricably linked. In his work with drawing, sculpture and installation, Inoue combines analytical world observations with intuitive and imaginative expressions. The sculptural works often contain food, and touch on themes such as evolution, future ecologies, technologies and infrastructures. In the exhibition eat & becʘ̃me, Inoue has given thought to the nutritional aspects of his practice, and to how consumption is related to becoming. With living mould fungus, sugar immersed in frying oil and drawings of hyper-exotic gourmet dishes, Inoue builds a mood revolving around modern vanitas motifs that spring from thoughts of growth and decay in a globalized world.
Amalie Jakobsen is preoccupied with the relationship between human civilization and the mechanisms of nature in its purest form transferred to sculptural formations that mediate facts and challenge the maximum balance between cosmos and chaos.
The solo exhibition Carrying Capacity at Politikens Forhal consists of four sculptures, all of which are based on the ellipse and in confrontation with gravity and our worldview. Here, stringent shapes and colors unite in time and space with a personal insistence on a new world order, where we humans become the change we want for ourselves and the future of the planet. The title of the exhibition, Carrying Capacity, is a technical term used by experts to assess how large a population a city or area can carry before it collapses.
Three sculptures, brightly colored with red minerals from insects, black meteor earth and sand taken from the warmest place measured on the planet, occupy the exhibition space in Politikens Forhal. The exhibition's largest sculpture, painted with powdered algae, enters into a dialogue with its surroundings and the air of the Town Hall Square. As abstractions or graphs illustrating a series of natural phenomena, the works point to some of the greatest challenges of our time, visualized via the blue-green Diatom algae, which is central to the air we breathe; the light sand from the world's hottest city, Jakobabad in Pakistan; the synthetic black meteor earth, extracted from mining in space; and the red pigment from insects, which heralds the protein-rich food of the future.
With this exhibition, Amalie Jakobsen points to a central contemporary theme, thematizing human over-consumption of nature's resources and a constant urge for development. The works appear as markers of these issues, or perhaps as straightforward predictions of what the future will bring.
Amalie Jakobsen (b. 1989) graduated from BA in Fine Art Goldsmiths University, London, in 2014 and has since exhibited in Johannesburg, Mexico City, Chicago, London and Copenhagen. She lives and works in Berlin.
Overgaden is pleased to present The Trail or Time Between Trees, the first major solo exhibition by the Danish artist Rune Bosse. Since his graduation from the Royal Danish Academy of Fine Arts in 2016, Rune Bosse has created installations and sculptural works with themes such as time, space, relations, and interconnectedness through experiments with, and studies of, ecological processes and the mutual relations of living organisms. To accommodate the exhibition, parts of the building has been dismantled to provide the right conditions for plants and greenery to develop undisturbed outside the control of the institution. The exhibition is a hybrid total installation somewhere between art and natural science, a tribute to the forest, the transformative powers of nature, and sheer fascination with its ungovernable forces.
For The Trail or Time Between Trees, Rune Bosse has conducted a number of preliminary studies in a forest in the southern part of Zealand, which has functioned as part laboratory and part studio and whence soil and plants have been fetched and brought to Overgaden. The laboratory has been recreated in the first gallery space, presenting sculptures of curved ivies, intricate tree roots, as well as flasks and test tubes containing samples of different types of forest material in various stages of development. On the table are scientific encyclopaedias, while sketches and drawings record the artist’s present and future experiments with the growth direction of trees. The laboratory shows Rune Bosse’s attempts at gaining control of, and manipulating with, the forest to gauge its reactions and to understand it as an entity.
The exhibition reflects a positive view of the future and perception of nature rather than a prophecy of doom moving towards the ultimate end of everything: in the forest, organic life is mutually interdependent in a relationship where contrasting renewal and decay are dissolved and linked in a circular continuum. The trail through the exhibition is not a dead end, but suggests a circular shape where repetition and immersion almost take on a ritual, performative, or meditative character. The trail may appear endless, reminiscent of the linguistic term ’going round in circles’ or ‘going about mindlessly’, or perhaps looking to the future as in ‘finding the way forward’ or ‘treading one’s path’. In Rune Bosse’s own exhibition poem The Trail or Time Between Trees, being in the forest is described as an open declaration of devotion. Perhaps it is the relationship with the forest that will enable us to perceive a new way forward?
Rune Bosse (b.1987) graduated from the Royal Danish Academy of Fine Arts in 2016, combining this with studies at Olafur Eliasson’s experimental art school, Institut für Raumexperimente, Berlin. Bosse’s shows include the group show Festival of Future Nows at Hamburger Bahnhof, Berlin, in 2014, EXTRACT at the exhibition venue Kunstforeningen GL Strand, Copenhagen, in 2017, the AROS Triennial The Garden also in 2017, and the exhibition Jordforbindelser (Down to Earth) at Fuglsang Kunstmuseum in 2018.
Creatures composed of different animals were once the domain of mythology. Today, such creatures are cultivated by the very same modern science, which systematically has challenged religious worldviews, superstition and the existence of supernatural beings. Chimeras no longer simply designate the kind of fire breathing mythological creatures, composed of lion, goat, and snake, which we find on ancient Greek pottery. Since the 20th century, the concept also applies to mixing cells from different animals within biology and genetic research.
Hybrids and relics are recurring themes in the work of Sif Itona Westerberg. In her installation Fountain, the Danish artist processes historical representations of composite creatures at a time when such creations no longer simply bear witness to a bygone era. Itona Westerberg’s hybrids, carved and shaped in aerated concrete panels, are based on imagery from legends and myths. Her sculptures are a reminder of what human imagination is capable of. However, what human beings could only dream of, describe and depict in medieval times, is now something researchers actively work on creating and bring to life. In recent years, international researchers have carried out a series of controversial laboratory experiments. In the USA, researchers have injected sheep embryos with human cells with the declared goal of growing human organs for transplantation. In China, monkey brains have been enriched with human brain cells – an experiment whose purpose critics question. CRISPR gene editing, which allows for cutting and pasting DNA strings, is but one among other new technologies that open up vast possibilities of manipulation of existing fauna and flora.
Itona Westerberg’s installation does not present itself as futurology about new biotechnology or eco-systems. Her work is rather a meditation on the metamorphoses of life from mutations in the primeval soup to the journey from water to land towards gene modification and manipulation of plant and animal species. However, in this exhibition there is no chronological timeline from past to present to future. Remnants from different time periods wildly weave in and out of each other. The exhibition, which takes the form of a fountain, is built around medieval hybrid creatures that spew water out of their mouth. The water is collected in tubs of polyester, which contain fabricated deposits of trilobites extinct 252 million years ago next to scientific visualization models of DNA strings. The water is pumped back via hoses through pipes of aluminum, which has found application within everything from construction work to design since the 20th century. If the exhibition is contemporary art, it is however not solely a picture of our specific moment in time.
The title word ‘fountain’ is derived from the Latin word for spring or source. Fountain marks not so much where something comes from but rather wherefrom something continually flows. In Itona Westerberg’s work, hybrids and chimeras aren’t treated as obscure mythological creatures, which science and enlightenment once discarded as mere fiction, but as creations that new research endows with new life.
The creatures which Itona Westerberg has carved in aerated concrete are sourced from adornments of cathedrals and scripts. In medieval times, illuminated manuscripts – where text is framed by ornaments and images – teemed with hybrid figures. While the text was considered holy, the margin allowed for profane and pagan fantasies of fabulous beings contrary to the Christian teachings of distinct species anchored in an eternal God-given world order. Today, when humans are equipped with ever more advanced prostheses, implants, and speculations about homo sapiens as but one step on the road towards a post-human future, hybrids are once again objects of indignation and fascination.
The exhibition is accompanied by a selection of fiction and non-fiction books curated by Itona Westerberg. The books have served the artist as inspiration during the making of Fountain and additionally serve the public as alternative points of entry into the exhibition.
Director of Tranen