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Betamax
Charlotte Brüel, Rebecca Lindsmyr, Iulia Nistor, Lea Porsager, Sonia Landy Sheridan, Tove Storch, and Haegue Yang, February 4 - March 26, 2022

Betamax: Charlotte Brüel, Rebecca Lindsmyr, Iulia Nistor, Lea Porsager, Sonia Landy Sheridan, Tove Storch, and Haegue Yang

Past exhibition
  • Exhibition text
  • Installation views
  • Works
  • Featured Artists

  • Betamax

    February 4 – March 26, 2022
    Glentevej 49, Copenhagen

    The exhibition title Betamax is a reference to Sony’s 12.7 mm home-video-tape format launched in 1975. The name is derived from the tape’s drive mechanism, which resembles the Greek letter beta. In spite of several superior attributes, including a better-quality picture, it was nevertheless outpaced by the VHS system on the global market. At present, the VHS- and Betamax formats are a thing of the past, for younger generations perhaps just words without body. Words that have disappeared from our language, replaced by new standards for digital representation such as JPEG or NFT. In an etymological sense, the word ’technology’ is made up of téchnë, Greek for arts and craft, and lógos, meaning thought and reason. Technology has since become truly distanced from its original meaning and assumed an almighty and, at times, inhumane character.

     

    “Consciousness constantly creates new things, coloured by what came before and what will be, a constant process, the very phenomenon of creating states of consciousness – that is time. Existing in time, therefore, means being in a state of creation in a heterogeneous, continual stream of ‘has been, is, and will become’.”[1]

     

    The ethos of art is non-linear – like our perception of time. The exhibition presents seven different practices which, collectively, extend across four generations. With their individual experience, they represent different contemporary impressions. Traces intersecting across media. It is a coincidence which, like non-representative painting, is never an upshot of chance but rather a result of stored movements and patterns of perception, operating among several kinds of consciousness.

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    It is a psychological and physical algorithm used to create, examine, and solve problems during the creational process. Like the camera-based works in the exhibition, it is the actual process behind the picture that brings about the final result. We are presented with manipulative surveillance shots copied from the screen like an analogous screenshot. Works with an inbuilt vacuum of forty years – studies in early digital image experiments which cannot be relegated to a specific time frame, since the works’ creational process spans four decades.

     

    The idea of a room for continuous creative activities is continued in sculptures whose narrative appears open, exact, and unfinished – a network where several spaces come together as one. The exhibition generates a complex network, in which the large installations are shaped by objects subjected to physical cumulative reduction and a redistribution of energy – from colossal vertical connecting links between heaven and earth to openings uniting nature and civilisation. Individually, several works try to unite industrial material and various kinds of arts and craft. Details are not sublime but essential parts of the whole – and, at the same time, the whole is embedded in each separate detail. Together, the works in the exhibition represent a collective pattern of movement, pointing back, forward and sideways.

     

    ’Generation loss’ might be interpreted as a generation of people who have lost something. Originally, it is a technical term denoting a cumulative loss of quality arising when copies of copies are made over time. Man’s genetic material is the result of replication, ensuring a stable passing-on of DNA from one generation to the next. Like the chromosomes in our cells, human culture has to be passed on. The DNA of our different cultures is structured by rituals, often appearing so heterogeneous in its form that it seems to surpass our own biology in complexity.[2] In light of the passing on of culture, ’generation loss’ might, on the contrary, evoke artistic value; each repetition serves to further inform the idiom. The minor deviations or displacements possibly resulting from repetition will form a basis for new experience. One is tempted to ask whether repetition exists, at all – or whether it is solely insistence on development?

     

    “Body: it is a world-building word, filled with potential, and, as with glitch, filled with movement. Bodied, when used as a verb, is defined in the Oxford Dictionary as “giving material form to something abstract”.”[3]

    / Laura Goldschmidt

     

    [1] Anne Fastrup: At vare – om tiden og bevidstheden hos Henri Bergson, 1989, pp. 19–20.

    [2] Den Danske Radeerforening. Medlemsnyt, May 2020 by Andreas Albrectsen: ‘LA Air – Jonathan Monk’.

    [3] Legacy Russell: Glitch Feminism. A Manifesto, (Glitch is Cosmic), 2020, pp. 41–42.

  • Installation views
  • Photos: David Stjernholm (View more details about this item in a popup).
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    Photos: David Stjernholm

  • Works
    • Lea Porsager erOgenOus zOnes [generatOr. Organizer. destrOyer] XXXI, 2022 Sliced wind turbine blade
      Lea Porsager
      erOgenOus zOnes [generatOr. Organizer. destrOyer] XXXI, 2022
      Sliced wind turbine blade
    • Lea Porsager erOgenOus zOnes [generatOr. Organizer. destrOyer] XXX, 2022 Sliced wind turbine blade
      Lea Porsager
      erOgenOus zOnes [generatOr. Organizer. destrOyer] XXX, 2022
      Sliced wind turbine blade
    • Iulia Nistor Untitled (from Revenge of the Given), 2021 Oil on wood
      Iulia Nistor
      Untitled (from Revenge of the Given), 2021
      Oil on wood
    • Tove Storch Untitled, 2017, 2022 Steel rebar. Site specific installation
      Tove Storch
      Untitled, 2017, 2022
      Steel rebar. Site specific installation
    • Rebecca Lindsmyr Between Being and its Semblance (VII), 2022 Oil on canvas
      Rebecca Lindsmyr
      Between Being and its Semblance (VII), 2022
      Oil on canvas
    • Rebecca Lindsmyr Between Being and its Semblance (VIII), 2022 Oil on canvas
      Rebecca Lindsmyr
      Between Being and its Semblance (VIII), 2022
      Oil on canvas
    • Charlotte Brüel Invisible sculpture, 2021 Acrylic glass, cobalt blue color pigment on gold base, acrylic tube and acrylic plate
      Charlotte Brüel
      Invisible sculpture, 2021
      Acrylic glass, cobalt blue color pigment on gold base, acrylic tube and acrylic plate
    • Charlotte Brüel Invisible sculpture, 2020 Acrylic glass (6 and 6 mm), dog hair, acrylic glass tubes
      Charlotte Brüel
      Invisible sculpture, 2020
      Acrylic glass (6 and 6 mm), dog hair, acrylic glass tubes
    • Charlotte Brüel Invisible sculpture, 2020 Acrylic glass (5 and 6 mm), pheasant feathers
      Charlotte Brüel
      Invisible sculpture, 2020
      Acrylic glass (5 and 6 mm), pheasant feathers
    • Charlotte Brüel Invisible sculpture, 2020 Acrylic glass, cutout of copy of pallet painting, mirror
      Charlotte Brüel
      Invisible sculpture, 2020
      Acrylic glass, cutout of copy of pallet painting, mirror
    • Sonia Landy Sheridan Drawing in Time VI, 2014 Photographic print from Dysan-discs on Epson 9900-printer, EASEL-software by John Dunn, Z2D Cromemco-computer and Cat 2-graphic card
      Sonia Landy Sheridan
      Drawing in Time VI, 2014
      Photographic print from Dysan-discs on Epson 9900-printer, EASEL-software by John Dunn, Z2D Cromemco-computer and Cat 2-graphic card
    • Sonia Landy Sheridan Drawing in Time II, 2014 Photographic print from Dysan-discs on Epson 9900-printer, EASEL-software by John Dunn, Z2D Cromemco-computer and Cat 2-graphic card
      Sonia Landy Sheridan
      Drawing in Time II, 2014
      Photographic print from Dysan-discs on Epson 9900-printer, EASEL-software by John Dunn, Z2D Cromemco-computer and Cat 2-graphic card
    • Sonia Landy Sheridan Drawing in Time I, 2014 Photographic print from Dysan-discs on Epson 9900-printer, EASEL-software by John Dunn, Z2D Cromemco-computer and Cat 2-graphic card
      Sonia Landy Sheridan
      Drawing in Time I, 2014
      Photographic print from Dysan-discs on Epson 9900-printer, EASEL-software by John Dunn, Z2D Cromemco-computer and Cat 2-graphic card
    • Sonia Landy Sheridan Drawing in Time III, 2014 Photographic print from Dysan-discs on Epson 9900-printer, EASEL-software by John Dunn, Z2D Cromemco-computer and Cat 2-graphic card
      Sonia Landy Sheridan
      Drawing in Time III, 2014
      Photographic print from Dysan-discs on Epson 9900-printer, EASEL-software by John Dunn, Z2D Cromemco-computer and Cat 2-graphic card
    • Haegue Yang Knotty Spell in Chunky Forest, 2016 Clothing rack, casters, jute twine, nylon cord, knitting yarn, lampshade frames, copper plated bells, metal rings, screw eyes, pine cones
      Haegue Yang
      Knotty Spell in Chunky Forest, 2016
      Clothing rack, casters, jute twine, nylon cord, knitting yarn, lampshade frames, copper plated bells, metal rings, screw eyes, pine cones
  • Featured Artists
    • Charlotte Brüel
      Artists

      Charlotte Brüel

    • Rebecca Lindsmyr
      Artists

      Rebecca Lindsmyr

    • Lea Porsager
      Artists

      Lea Porsager

    • Tove Storch
      Artists

      Tove Storch

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CONTACT

+45 3254 4562
gallery@nilsstaerk.dk

Inquire

GLENTEVEJ 49
Copenhagen

Tuesday — Friday: 11 am — 5 pm

Saturday: 11 am — 3 pm

HOLBERGSGADE 19
COPENHAGEN

Tuesday — Friday: 12 pm — 5 pm

Saturday: 11 am — 3 pm

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