PAINTER'S NEST

23.05. - 12.07.2014

We are delighted to announce the exhibition Painter’s Nest by Michael Kvium. The show consists of all new paintings and it is Kvium’s second solo exhibition with the gallery.

Staging is essential to the art of Michael Kvium. This approach has been employed and refined in different expressions such as performances, video installations, paintings, and sculptures and the performative aspect is a recurrent artifice throughout his entire career.

The staging and the performativity are once more the focal points in the exhibition Painter’s Nest. The characters, or rather the performers, in the paintings depict different representations of a painter. The role of the artist is examined in various stagings and often the representation of the artist appears to reflect the beholder’s own imagination of an artist. This matter develops in different attributes of the portrayed painters – features that all relate to the metier of a painter: a brush, a tube of paint, a painting cloth etc.

In his artistic practice, Kvium consciously engages with themes and genres from the history of art. This time, the investigation of the artist’s studio (or nest) is central – a well-known genre brought up by many artists such as Rembrandt, Diego Velázquez, Jan Vermeer, and Gustave Courbet. In contrast to his predecessors, Kvium is not depicting an idealized and romantic image of an artist but rather he is interested in a humanized painter.

The show reveals what hides under the make-up, behind the mask and the scene. And this is not always pretty! The paintings present unhealthy, grotesque, and deformed bodies that most of all resembles simple flesh. Painter’s Nest uncovers to the audience an exposed painter in his studio.

Michael Kvium (1955) lives and works in Denmark and Spain.

TOVE STORCH

28.08. – 18.10.2014

PREVIEW 27.08.2014  17:00 – 20:00

9 pages

Rusted metal, silk with imprint

200 x 90 x 56 cm

16 pages

Rusted metal

200 x 90 x 82,5 cm

6 pages

Rusted metal, silk with imprint

200 x 90 x 41 cm

11 pages

Rusted metal, silk with imprint

200 x 90 x 65 cm

Untitled 1

Rusted metal, silk with imprint

6 x 250 x 135 cm

Untitled 2

Rusted metal, silk with imprint

6 x 250 x 135 cm

Untitled 3

Rusted metal, silk with imprint

6 x 250 x 135 cm

Tove Storch’s second exhibition at the gallery consists of 7 new works in rusted metal and silk. Pigment is transferred from one material to another creating imprints and spatial repetitions. Objects and materials are held in a tense almost vibrating composition between walls, floor and ceiling.

DISTINCT FUNCTIONAL LAYERS HELP ESTABLISH HIERARCHY AND ORDER

29.01.2016 - 09.04.2016

Text by Angus Cook

One thing is for sure: the blue lights are no metaphor for mind-control. Rather, questions of mind-control may be understood as a metaphor for the bidirectional relationship of artwork to viewer.

Is it mere coincidence that blue and pink are the colors with the most compelling scientific evidence to support their use as medicine?

That they are similar in this respect is somewhat curious because these particular colors strike me as more chromatically polarized than black and white or red and green.

Color as medicine is a strange idea.

But not as strange as color as medicine as art.

The installation is composed of juxtapositions—visual, cognitive, emotional. Painting and sculpture. Stable and unstable. Daydream and nightmare. Appearance and reality. Freedom and control. Public discourse and the world of the imagination. Life and death. These and other polarities, whose mutual incompatibility is emphasized by way of their juxtaposition, are simultaneously merged by the closeness of their contact, and exchange then lose their ostensible identities.

The tension that is created by this system of opposing forces produces an instability that becomes both an integral part of the structure, and the energy that ultimately undermines it. The destructive instability is in turn counteracted by further emergent layers.

Difference becomes sameness, as sameness becomes something else again.

The very principles of juxtaposition, by which the installation operates, are counteracted by that something else again. Nothing is as it seems because nothing is allowed to stay the same—visually, cognitively, emotionally.

About the exhibition

The exhibition presents a new installation and works on paper. The installation consists of three light posts, each with four blue LED lamps of a kind used on specific train stations in Japan. The supposed anti-depressive color of the light is intended to reduce the number of suicides committed on these stations. The paintings on paper are created using fluorescent pink paint.

The exhibition is Einarsson’s fourth solo exhibition in the gallery. Einarsson has previously had solo exhibitions in institutions such as ARoS, Aarhus Art Musuem, DK, Bergen Kunsthall, NO, Kunsthalle Fridericianum, Kassel, DE, Bonniers Konsthall, Stockholm, SE, Reykjavik Art Museum, IS, Astrup Fearnley Museum of Modern Art, Oslo, NO, The Modern Art Museum of Fort Worth, US, Centre d’Art Contemporain, Geneve, CH, Museum St. Louis, US, Frankfurter Kunstverein, DE, Swiss Institute, New York, US amongst others. Einarsson lives and works in Tokyo.

UNIONS AND INTERSECTIONS

01.11.2014 - 20.12.2014

Nils Stærk is pleased to present Guatemalan artist Darío Escobar’s (b. 1971) first solo exhibition in Scandinavia. The exhibition will consist of new and recent sculptural works.

The title of the exhibition Unions and Intersections underlines a general theme in Escobar’s work. The chosen objects, which make up Escobar’s sculptures become markers and signs of both unions and intersections through the way they are arranged and their conversion into art.

Most of the works presented in the exhibition are sculptures made partially or entirely out of sporting goods such as footballs, basketballs, or billiard cues. Sports have been a recurring theme in Escobar’s work in recent years. However, one is not looking at the work of a sports-obsessed artist; someone who cannot get enough of the life-affirming thrills sports can offer. For Escobar these sporting effects are, to a much larger degree, signs of multinational brands and movements, which in the last decades have swept across the world and made any distinction between the local and the global impossible.

To Escobar sports and the culture that surrounds it is inseparable from a worldwide consumerism that offers itself as a ticket to an international community if one is prepared to pay the price. By using effects from this culture Escobar calls attention to this particular situation, though without pointing fingers at sports fans. His work is also not to be understood as a sarcastic comment on the global art world or art market because of its ability to absorb such commercial elements. The works are a sincere investigation of complex power structures, including the relationship between art and consumerism.

Darío Escobar lives and works in Guatemala City. He has been included in numerous solo and group exhibitions, among them, Gold, Bass Museum of Art, Miami, and Fútbol: The Beautiful Game, Los Angeles County Museum of Art (all 2014); Confusion in the Vault, Museo Jumex, México D.F. (2013); 2013 California-Pacific Triennial, Orange County Museum of Art, Newport Beach, California; Darío Escobar/La experiencia del objeto, Museo de Arte Contemporáneo de Santiago, Santiago, Chile, Singular/Plural,  SCAD Museum of Art, Savannah, Georgia, and The Island: A Game of Life, Gallery One, Manarat al Saadiyat, Abu Dhabi, United Arab Emirates (all 2012); Los impolíticos, Palazzo delle Arti Napoli, Naples, Italy, Périfériks, Centre d’art Neuchâtel, Neuchâtel, Switzerland, and Mundus Novus, 53 Biennale di Venezia, Venice (all 2009); and Poetics of the Handmade, The Museum of Contemporary Art, Los Angeles (2007). Escobar’s monograph A Singular Plurality: The Works of Darío Escobar was published by Harvard University Press in 2013.