FOS

FOS
WORDS FOR WORKS
15.03.24 – 11.05.24
GLENTEVEJ 49 · COPENHAGEN

NILS STÆRK is pleased to present FOS' solo exhibition: Words for Works. Please find a link to the portfolio here.

If any sentence echoes through this corridor, it is as domestic as broken and unfamiliar. Layers of textiles set the scene for the repetition of a supple beat. Words. For. Works. Or was it works, for words? It is hard to hear. When I think of words, I see strings of letters unravelling. Or shells wrapped around things, like labels to an array of familiar things - a chair, a table, a window, a mirror.

Sequences of letters unfold in front of me towards the end of the luminous abstraction of this page, feeding the arrow of time running with the cursor. Left to right, with any yet-to-be-formulated idea, always ahead. For other ways of thinking and being in the world, the inscrutable future lives behind us. In that vision, unknown thoughts start from the back, expanding through my body towards the fingers that push the cursor forward, one type at a time.

It is a vaguely known feeling. Going about daily chores, I sometimes sense my mother so existentially close to me that her imaginary body takes over mine, entering from behind like a surgeon into a back-opened scrub. Our arms and hands merge into gestures of domesticity. It is then that I understand, most profoundly, how we are inescapably bound to each other, coiled into this creepy yet loving hybrid creature.

Is the present a factory of the past? Or a collision of timelines crumbles the past's foundations of the present? Strings of words pierce through forms and materials, shedding logic and bringing linear time on for the ride. How are they transformed when they emerge on the other side? Or how do they remain in that in-between, gluey and surprised into a time-suspended new thing, like the spooky creature created by my mother's ghostly penetration?

Hierarchies dissolve as language and time erase each other's order. Between skins, words swell, deform, and find a brief standstill in their new being. Membranes, both physical and metaphorical, lay bare, losing their defined shapes. If we expand that moment, we might get a sculpture. Coils and curves intertwine between opposing forces, creating an entanglement that defies linearity. Energy, whether derived from solar power or heat, is their driving force. Reminiscent of an archaeological dig into the layers of language, is touch the historian of this domestic space, now collapsed and lonely? Perhaps there should be no more words here. Just the sheer gravity of works for works.

Text by F.A. 

 

Michael Kvium

MICHAEL KVIUM
AN EYE FOR AN EYE
01.03.24 – 13.04.24
HOLBERGSGADE 19 · COPENHAGEN
 

NILS STÆRK is pleased to present Michael Kvium's solo exhibition: An Eye For An Eye, which marks the first show at Holbergsgade 19. Please find a link to the portfolio here.


One once said, "An eye for an eye will make the whole world blind". An eye for an eye – a concept as old as time itself, speaking for the desire for justice, for balance in the face of injustice. But is justice truly served by inflicting an equal wound for a wound? If I give you my eyes and my perspective alone, how will you learn that there are other ways to see the world? As we immerse ourselves in Michael Kvium’s solo exhibition, we’re compelled to ponder these questions.

Human figures are meticulously staged against monochrome backgrounds and grey skies; each accompanied by a prop, whether it be a swimsuit, a skull, a blue rubber glove, or an eyeball – each laden with profound symbolism. The interpretation and contextualization of these props are left to the viewer’s discernment.

Central to the narrative of the seven oil paintings on display is the concept of reciprocity – a belief that those who cause suffering should experience an equal measure of it themselves. Yet, as viewers delve deeper into Kvium’s work, they are confronted with the futility of this notion – the realization that vengeance only begets more suffering, ultimately leading to emptiness and despair.

At the heart of the artist’s exploration lies the concept of perspective – how we perceive the world around us and how our perceptions shape our reality. Through his work, Kvium delves into the notion of shifting viewpoints, where objects take on different meanings depending on the observer. This interplay between subjectivity and objectivity catalyzes introspection, prompting us to question our assumptions and biases.

Rather than providing answers, Michael Kvium’s works in An Eye For An Eye invite us to embrace uncertainty and ambiguity, encouraging us to explore the nuances of the human experience. Through minimalistic compositions yet evocative imagery, Kvium creates space for contemplation – a space where emotions are stirred, and thoughts are provoked; a chance to see the world through the eyes of the artist.

 

Torbjørn Rødland

TORBJØRN RØDLAND
SIMPLE GIFTS
09.11.23 – 22.12.23

NILS STÆRK is pleased to present Torbjørn Rødlands 6th solo-exhibition at the gallery: Simple Gifts. 

Please find a link to the portfolio here 


Think of tracing paper: when the lines on the tracing paper are aligned with the lines of the paper that has been traced, then the lines of the tracing paper disappear: you can simply see one set of lines. If lines are traces of other lines, then this alignment depends on straightening devices that keep things in line, in part by “holding” things in pace. Lines disappear through such processes of alignment, so that when one thing comes “out of line” with another thing, the “general effect,” is “wonky” or even “queer”.

Sara Ahmed, Queer Phenomenology, 2006

Legs adorned in vibrant blue tights gently sway in a hammock, suspended in states between relaxation and tension. Torbjørn Rødland’s Blue Hammock Legs captures the intersection of organic and inorganic elements. Toes curl, inviting reflection on the complexities of professed simplicity. The familiar becomes peculiar, disrupting the normative lines, offering a glimpse into queerness.

The word “queer” denotes an essence of oddness, strangeness or peculiarity. Surprisingly, though the topic of queerness is largely unexamined in the context of Torbjørn Rødland (b. 1970, Stavanger, Norway). Rødland may not himself identify as queer, yet the iconography of his photographs relates to queerness by challenging established normative categories. Something seems out of line, as opposed to the straight lines defined by British-Australian writer and activist Sara Ahmed. Rødland's photographs prompt us to question these lines to which we've grown accustomed, leading to moments of disorientation.

In her book Queer Phenomenology, Sara Ahmed delves into how society constructs lines, both metaphorically and physically, in order to define sexual orientation and guide individuals as they navigate their identities within normative categories. The normative straight lines result from repetition; from retracing the lines. The metaphor sheds light on how we use these given or constructed lines as directions to stay oriented, and how disruptions on the lines can lead to disorientation and provoke reflections on our identity and perception.

In this context, the term queer reaches beyond questions regarding sexuality and gender, serving as a broader term for what defies normative categories. It encapsulates something that cannot be rigidly defined, something that in essence is out of line.

As we delve further into the works presented in Simple Gifts, we encounter a captivating array of motifs, each with its own compelling narrative: A man's neck is threatened by a black baton held by the dainty yet resilient hands of a woman. A leg and foot in a high heel contort on a brick floor, evoking discomfort and intrigue. Cheese upon cheese forms an unconventional sandwich. A woman, with ice cream melting down her cheek, capturing an ephemeral moment. A man clings to legs dressed in latex, evoking desire and submission.

At first glance, the elements in Rødland’s photographs may appear familiar, much like the lines we've traced and retraced countless times. Yet, within each work, these familiarities are staged unconventionally, disrupting the lines that once guided us, challenging our sense of orientation. How can something in line seem so out of line?

As we retrace the straight lines, the privilege of orientation is taken for granted as something given. By disrupting the straight line, Rødland's photographs serve as a catalyst for deeper reflection and a reconsideration of our identity and our place in the world within the lines. His images capture the essence of queerness as they exist within the ambiguity between normative categories and the eluding definitions of them.

Torbjørn Rødland’s photographs do not offer quick readings; they invite us to explore the layered nature of each image, encouraging personal interpretations based on our own cultural, political and personal contexts as well as the lines we have retraced throughout our lives. 

Simple Gifts serves as a reminder that in the complexity of life and identity, the most profound gifts are often found in the familiar or even the seemingly simplest of moments, where the already traced lines we follow are disrupted.

– Josefine Juliane Wiell Bisgaard Mikkelsen

 

SHIFTING VIEWS

SHIFTING VIEWS
CARLOS AMORALES · CHARLOTTE BRÜEL · DARIO ESCOBAR · GARDAR EIDE EINARSSON · JONE KVIE · MADS GAMDRUP · REBECCA LINDSMYR · TOVE STORCH
20.01.24 – 02.03.24

NILS STÆRK is pleased to present the group exhibition Shifting Views with works by Carlos Amorales, CHARLOTTE BRÜEL, Dario Escobar, Gardar Eide Einarsson, Jone Kvie, Mads Gamdrup, Rebecca Lindsmyr and Tove Storch. Please find a link to the portfolio here 


Shifting Views delves into diverse artistic expressions connected by an exploration of transformative perspectives. Across various mediums, artists navigate the intricate world of layered compositions—be it the visible layers on canvas and sculpture or the metaphorical depths within conceptual frameworks. From deliberate manipulations of perception to symbolic resonances carrying hidden layers of meaning, the works on display open the multifaceted nature of interpretation. The exhibition title serves as both a guide and a conceptual anchor, encouraging viewers to engage with the evolving realm of multiple possibilities. Shifting Views leads us into a space where meaning is shaped by the interweaving of tangible and abstract dynamics, revealing a discourse on the interplay of the visible and non-visible.

Carlos Amorales’ Fragmented Typefaces 1-12 is a series of paintings created by applying multiple layers of oil stick on stenciled canvas, resulting in a unique fusion of typographical text and painting technique. These works showcase irregular patterns derived from encrypted alphabets, intentionally obscuring "readable" prose poems that recount autobiographical events. The deliberate interplay blurs the boundary between legibility and illegibility, presenting a compelling narrative of fragmented meaning within Amorales' artistic exploration.

Beneath the surface, Tove Storch’s sculptures pulsate with constant development, transforming poised structures into anticipation. The tangible objects balance material intelligibility with the force of physical matter, embodying potentiality. Storch acts as both witness and accomplice in this metamorphic process, connecting her installations through a red thread. Explaining bold material combinations and an intuitive, emotive nature, her creations authentically occupy space, revealing meaning and fostering non-verbal understanding with each artistic gesture, whether through addition or subtraction.

Gardar Eide Einarsson's Permanent Green Light continues the artists' exploration of covering the canvas, aligning with his Fluorescent Pink and Stainless Steel series. Emphasizing color as both the "found" element and title, it embodies a spirit of limitless possibilities. The green hue evokes a "green screen," symbolizing an empty space ready for any desired image. Einarsson engages with found materials, contemplating images' role in interpellating individuals. His work explores personal liberty, belonging, and propaganda's impact on ideological systems. Using diverse media, he navigates the tension between personal freedom and societal inscription with deadpan humor, aware of contemporary art's institutional context. 

With Sincerely yours, Rebecca Lindsmyr explores diverse facets of the written signature, treating it as both symbolic expression and a bureaucratic, political, and social marker of subjectivity. engaging in a nuanced negotiation between expressivity and readability, Lindsmyr deliberately deconstructs her own gestures, spanning childhood drawings to legal documents, while examining the border between language and art. The work probes the complex relationship between the signature and notions of ‘the self,’ exploring its invocation in painting and its pivotal role as a core signifier of authenticity and value.


Stitched-together leather soccer balls are hanging from the gallery ceiling, forming cloud-like sculptures. The suspended clouds in Dario Escobar's installation prompt reflection on industrial objects, transforming repeated soccer balls into a sculptural configuration reminiscent of supermarket displays. Escobar's exploration extends beyond individual ready-mades, focusing on the collective impact of sporting equipment in contemporary sculpture. This series, rooted in the accumulation of merchandise, serves as a lens for examining globalism and its multinational manifestations through the context of sports.

Jone Kvie's Seven Meteors depicts the artist's exploration of understanding the world and our place in it, delving into the means and limitations of sculpture. His mise-en-scène of objects sparks multiple associations, evoking uncertainty and defying a fixed narrative. The artist examines natural phenomena, including meteors and star clusters, translating them into sculptures that evoke the unknown. Despite inconclusive relationships to source materials, Kvie strives to distill complex concepts into tangible forms. Kvie considers both structural properties and the poetic potential of materials, creating sculptures that transcend immediate presence and explore the intersection of art and science.

Encased in acrylic glass displays, we find the Invisible Sculpture of Charlotte Brüel, meticulously screened in the synthetic plastic case resembling indestructible greenhouses. Brüel's recent works intricately explore the interplay between nature and human influence. Her works evoke elements of absurdism, reminiscent of the theatrical trend that emerged post-1945. Observing her showcases with minimalist, symbol-laden contents, they resemble diminished theatrical scenes. The comparative gaze emphasizes the nonverbal, sensual experience underscoring the works' simple complexity. Brüel's ever-evolving sculptures form a life's work that seamlessly intertwines with life itself, inviting the viewer into a captivating dialogue.

In the intricate realm of color perception, Mads Gamdrup immerses himself in a lifelong exploration, departing from conventional categorizations. Beyond stimulating photoreceptor cells, he delves into colors' memory-triggering power and diverse experiential dimensions. Dark Burnt Sienna explores monochrome color, probing its artistic potential in material and psychological connections. Utilizing raw pigments, Gamdrup transforms color into a tangible substance with abstract qualities, inviting diverse interpretations and expanding visual expression boundaries.

 

LEA PORSAGER

Lea Porsager
SNOOZE (90 Seconds to Midnight)
18.08.23 - 21.10.23

Join us Thursday, September 28th at 16:30-17:30 for an artist talk with Lea Porsager introducing her current exhibition in the gallery: SNOOZE (90 Seconds to Midnight). 

SNOOZE (90 Seconds to Midnight) marks Lea Porsager’s third solo exhibition with the gallery. Lea Porsager is an artist whose works play out in the triangular tension between quantum physics, tantric practices, and feminist theory. Her practice interweaves speculation, fabulation and materialization within a variety of mediums, including film, sculpture, text, and earth works.

Please find a link to the portfolio here 


Since her last solo presentation in 2016, the artist’s list of institutional solo exhibitions includes Kunsthal Charlottenborg, Copenhagen, 2021; Moderna Museet, Stockholm, 2020-21; FuturDome, Milan, 2020; Museum of Contemporary Art, Roskilde, 2019; Brandts, Odense, 2016. During this period, Porsager also worked on several public commissions such as Gravitational Ripples, an earthwork and memorial in Stockholm inaugurated in 2018; KLIT, a shore biotope in Odense in 2021; Palm_Reading_Touch_Swipe at Prästängsskolan in Stångby in 2022; Repulsive Enchantment at Aarhus School of Architecture in 2021.

In 2018, Porsager was selected as a CERN Honorary Mention for the Collide International Award. Porsager is currently working on a site-specific earthwork commissioned by Fuglsang Kunstmuseum. Porsager received her Ph.D. from Malmö Art Academy and Lund University in 2021, and is currently continuing her practice-based research through Mads Øvlisen Postdoc Fellowship with the project OUTRAGEOUS INTIMACY [Spooky Touch at a Distance], hosted by The Royal Danish Academy of Fine Arts, Schools of Visual Arts, in collaboration with Arts at CERN — the arts program at CERN (European Laboratory for Particle Physics in Geneva), for which she received an Honorary Mention for the Collide International Award in 2018.