Olaf Breuning presents ‘Plans for the Planet’ at the National Gallery of Victoria, Melbourne, Australia.
“Artist Olaf Breuning presents Plans for the Planet, an adventure playground for kids to explore, be creative and share their points of view. Throughout the exhibition, children can view animated drawings by the artist, help save a forest, make a portrait and type up plans for the planet for everyone to see.” - National Gallery of Victoria
Plans for the Planet is generously supported by The Truby and Florence Williams Charitable Trust managed by Equity Trustees, the Packer Family and Crown Resorts Foundations, the Neilson Foundation and Spencer Ko and can be experienced until 03.10.2021
"After a couple of years preparing "Plans For The Planet" at NGV in Melbourne finally opened its doors. We planned to open one year ago, but Corona made it impossible, which was maybe a good thing for the show since the very ambitious team lead by Kate Ryan had more time to work on all the details. The show is based on my work and designed by the fantastic NGV team and me. It is a show for kids to make them think playfully about our current relationship with nature and our plans for the future. Most of the show is interactive; kids can draw on pads, activate small animations by tapping on cutout flowers attached to the wall, putting their drawings on a large wall screen, and many more fun things. They can even walk on printed wooden planks over an imaginary hot lava stream - Jurassic Park meets "Saving The Planet". The show hopefully makes our future generation in charge more sensitive about our behavior towards nature." - Olaf Breuning
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Lea Porsager 'STRIPPED' at Kunsthal Charlottenborg.
The exhibition is on view until 08.08.2021
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In the exhibition, Porsager mixes science and esoteric knowledge, including tantric meditation and quantum physics. In her works, energy, matter and body meet and clash up against each other in unseen ways as she lets new forms emerge in encounters with phenomena that we cannot perceive with our senses alone.
The exhibition opens with three cut-up wind turbine blades lying like fallen giants on the floor of Kunsthal Charlottenborg’s grand space. The emptiness of the hall and the spaces between the individual pieces are permeated by an immense, invisible force. Where the blades have been cut, openings appear: wormholes to another dimension, or female openings in the otherwise phallic shape of the blades? Porsager plays with the wind mill as a historic image of the power of the imagination – and as a present-day symbol of sustainable energy, offering assurances that our lives can continue as before as long as our energy is clean.
The works in the exhibition point beyond themselves as art: they could be machines and strange measuring instruments, or cultic objects used for obscure rituals. When Porsager’s works open themselves up to other, alternative or even alien meanings, our imagination is pushed to enter new dimensions. In that sense, the title of the exhibition – STRIPPED – can be understood as a way of kicking old habits, or of unlearning what one previously knew, thereby becoming open to what lies hidden on the other side of humanity’s understanding of ourselves as the centre of the world.
Lea Porsager (b. 1981) is a graduate from the Royal Danish Academy of Fine Arts in Copenhagen and from the Städelschule in Frankfurt am Main in 2010. She has had solo shows at venues such as the Henie Onstad Art Center in Oslo, Kunstverein Göttingen, The Emily Harvey Foundation in New York and The Museum of Contemporary Art in Roskilde. Porsager took part in documenta 13 and the 14th Istanbul Biennale. She is currently working on public art commissions in Denmark, Norway and Sweden. Her land art piece Gravitational Ripples was inaugurated in June 2018 at Djurgården in Stockholm, commemorating the Swedish victims of the tsunami disaster in Southeast Asia in 2004. Porsager holds a PhD from the Malmö Art Academy. She lives and works in Copenhagen.
STRIPPED is curated by Lars Bang Larsen and organised in collaboration with the Moderna Museet in Stockholm. The exhibition is supported by the Augustinus Foundation, the Beckett Foundation, the Knud Højgaard Foundation, the Obel Family Foundation, the Danish Arts Foundation and the William Demant Foundation.
The exhibition is accompanied by a new publication edited by Milena Høgsberg as well as by a series of events, including a talk by American feminist and physicist Karen Barad, who is a great source of inspiration for Porsager’s practice.
Text by: Kunsthal Charlottenborg
In the occasion of Carlos Amorales current exhibition 'THE AMORALES BROTHERS' in the online exhibition space MELLEMRUMMET, a presentation of new collages and paintings can be experienced in the gallery showroom.
We look forward to welcome you.
In recent years, Carlos Amorales has investigated the possibilities of color. His latest series, Jungla de estrellas (Star Jungle), uses fragmented abstraction as a visual language. Each canvas begins with collage, a part of the artists’ practice for years, which is itself a repetitive act with cycles of cutting, placing, and pasting. The compositions are highly intuitively guided by aesthetics to formulate indecipherable typography defined by fragmentation.
Bubble Mask is another variation, yet they operate in a different color plane of gradients. Placed in the foreground of the painting, a mask seems to be the most acute part. Yet, a mask conceals something from view to cover up a similar linguistic pattern in the background. The mask also appears in the artist's latest video work as a connector image between two worlds, the digital and physical, articulating current shifts in representation.
In both painting series, Amorales draws from past series like El esplendor geométrico (2015) and La Orgía de Narciso (2020), continuing the explorations of color, space and repetition.
Working on these painting series during the height of the pandemic provided an outlet giving consistency and certainty in the most uncertain time. The practice provided a concentrated emotional and energetic outlet, a routine to get lost and find relaxation by literally bringing order to chaos. The centrality of color allowed Amorales to react to the different stimuli of the various hues while detaching from anxiety-ridden reality.
Tove Storch 'ØJNENE' at Politikens Forhal
The exhibition is supported by the Danish Art Foundation and will run until 12.06.2021
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1785 København V
The exhibition will run until August 15, 2021
"Torbjørn Rødland (born 1970 in Stavanger, Norway) works with analog technology and readymade spaces to create photographs that render the everyday uncanny. His images blend the cool, seductive aestheticism of commercial and fashion photography with the layered complexity of a conceptual practice, resulting in ambivalent perspectives that both attract and repulse. This contradictory stance is intentional, the artist’s careful positioning of his work within a fugitive field. From the media-savvy reality critique of 1980s Pictures Generation–era artists, à la Cindy Sherman and Richard Prince, to the seemingly captured moments of Nan Goldin and Larry Clark or the rigorous conceptualism of Christopher Williams and John Baldessari, practitioners working in photography in recent decades have sought to upend notions of authorship and originality in representational imagery while grappling with the concerns of conceptualism within a medium that is inherently grounded in reality. Concurrently, the advent of digital photography has both expedited and removed uncertainty from the process, rendering the analog formats Rødland uses a specialization.
Combining elements from both fleeting and constructed space to summon “a more layered move into the erotic, the psychological, [and] the spiritual,” Rødland strives for a new, hybrid, and unfamiliar (analog) art form, which he calls “transpluralistic photography.” His images channel the mythmaking quality of both contemporary media and art historical paintings, inspired by the ways in which pictures can evoke multiple meanings and complex if ambiguous narratives. Images like Baby, 2007, a portrait of a nude baby sitting upright with one arm positioned across the chest, looking intently into the camera, or Five Tears, 2014, a black-and-white image showing the downturned face of a woman with a stylized blond bowl haircut and viscous tears suspended on her cheeks, could seem to deconstruct religious iconography as much as the often objectifying gaze of commercial photography. For his presentation at The Contemporary Austin, the artist’s first solo exhibition in Texas, Rødland will display a selection of recent and older photographs alongside new photographs created in Austin"- The Contemporary Austin
The exhibition is curated by Heather Pesanti, Chief Curator & Director of Curatorial Affairs, The Contemporary Austin, with text also by Pesanti.
Torbjørn Rødland: Bible Eye is funded in part by Jarl and Pamela Mohn.
Torbjørn Rødland, "Eggs," 2019