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.
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
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
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 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