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Gardar Eide Einarsson
DISTINCT FUNCTIONAL LAYERS HELP ESTABLISH HIERARCHY AND ORDER, January 29 - April 9, 2016

Gardar Eide Einarsson: DISTINCT FUNCTIONAL LAYERS HELP ESTABLISH HIERARCHY AND ORDER

Past exhibition
  • Exhibition text
  • Installation views
  • Works
  • Artist Biography

  • Gardar Eide Einarsson
    DISTINCT FUNCTIONAL LAYERS HELP ESTABLISH HIERARCHY AND ORDER

    January 29 – April 9, 2016

    NY CARLSBERG VEJ 68, COPENHAGEN

     

    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.

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    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.

  • Installation views
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  • Works
    • Gardar Eide Einarsson Fluorescent Pink (Paper) IV, 2015 Acrylic paint on arches paper
      Gardar Eide Einarsson
      Fluorescent Pink (Paper) IV, 2015
      Acrylic paint on arches paper
    • Gardar Eide Einarsson Distinct Functional Layers Help Establish Hierarchy and Order, 2016 3 aluminium light posts, each with 4 LED lamps .
      Gardar Eide Einarsson
      Distinct Functional Layers Help Establish Hierarchy and Order, 2016
      3 aluminium light posts, each with 4 LED lamps .
    • Gardar Eide Einarsson Fluorescent Pink (Paper) II, 2015 Acrylic paint on arches paper
      Gardar Eide Einarsson
      Fluorescent Pink (Paper) II, 2015
      Acrylic paint on arches paper
    • Gardar Eide Einarsson Fluorescent Pink (Paper) I, 2015 Acrylic paint on arches paper
      Gardar Eide Einarsson
      Fluorescent Pink (Paper) I, 2015
      Acrylic paint on arches paper
    • Gardar Eide Einarsson Fluorescent Pink (Paper) III, 2015 Acrylic paint on arches paper
      Gardar Eide Einarsson
      Fluorescent Pink (Paper) III, 2015
      Acrylic paint on arches paper
    • Gardar Eide Einarsson Fluorescent Pink (Paper) V, 2015 Acrylic paint on arches paper
      Gardar Eide Einarsson
      Fluorescent Pink (Paper) V, 2015
      Acrylic paint on arches paper
    • Gardar Eide Einarsson Fluorescent Pink (Paper) VI, 2015 Acrylic paint on arches paper
      Gardar Eide Einarsson
      Fluorescent Pink (Paper) VI, 2015
      Acrylic paint on arches paper
    • Gardar Eide Einarsson Fluorescent Pink (Paper) VII, 2015 Acrylic paint on arches paper
      Gardar Eide Einarsson
      Fluorescent Pink (Paper) VII, 2015
      Acrylic paint on arches paper
    • Gardar Eide Einarsson Fluorescent Pink (Paper) VIII, 2015 Acrylic paint on arches paper
      Gardar Eide Einarsson
      Fluorescent Pink (Paper) VIII, 2015
      Acrylic paint on arches paper
    • Gardar Eide Einarsson Fluorescent Pink (Paper) IX, 2015 Acrylic paint on arches paper
      Gardar Eide Einarsson
      Fluorescent Pink (Paper) IX, 2015
      Acrylic paint on arches paper
    • Gardar Eide Einarsson Fluorescent Pink XVII, 2015 Acrylic on canvas
      Gardar Eide Einarsson
      Fluorescent Pink XVII, 2015
      Acrylic on canvas
    • Gardar Eide Einarsson Fluorescent Pink (Paper) X, 2015 Acrylic paint on arches paper
      Gardar Eide Einarsson
      Fluorescent Pink (Paper) X, 2015
      Acrylic paint on arches paper
  • Artist Biography
  • GARDAR EIDE EINARSSON

    Born in Oslo, NO, 1976
    Lives and works in Tokyo, JP

     

    Gardar Eide Einarsson explores themes of personal liberty, belonging, and the ideological effects of propaganda through found materials and diverse media such as installations, paintings, and sculptures. His work navigates the tension between personal liberty and the constraints imposed by collective systems, often with a wry sense of humor. While invoking themes of subversion and anti-institutional critique, Einarsson’s work situates itself within a broader reflection on the artist’s classical role in society rather than a direct call for upheaval.

     

    By interrogating how images and materials shape ideological constructs, Einarsson reflects on the intersections of freedom, belonging, and propaganda. His practice critically engages with contemporary art's institutional framework, exploring how individual and collective identities are shaped within these structures. Through his nuanced approach, Einarsson challenges viewers to reconsider the boundaries between autonomy and conformity in a highly mediated world.

     

    Download artist's CV

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