FERNISERING 8.12: XMAS’17 THE ANNUAL WINTER GROUP SHOW

Traditionen tro er Galleri Christoffer Egelund stolt af at kunne præsentere den store årlige gruppeudstilling XMAS’17. Her vil galleriets etablerede kunstnere vise deres værker side om side med særligt inviterede gæste kunstnere. XMAS’17 er en spændende mulighed for at opleve kunstnernes udvikling og se, hvor de er på vej hen på dørtærsklen til 2018.
Diversitet er det overordnede koncept for udstillingen XMAS’17, som belyser den bredde der er i medier og stil, der kendetegner samtidskunstens dynamiske felt. Galleriets lokaler vil flyde over med så forskellige kunstværker som minutiøse fotorealistiske malerier, tekstil skulpturer, foto, installation, tegninger og abstraktioner til mere konceptuelle værker.
Som en tidlig julegave, har vi fornøjelsen at introducerer de specielt udvalgte kunstnere for XMAS’17. Det har været overvældende hvor mange kunstner som har takket ja til invitationen og vi er meget stolte af at kunne vise værker af:
AARON FINK (US), ARMANDO MARINO (CU), CRYSTEL CERESA (CH), CHRISTOFFER JOERGENSEN (CH/DK), DANIEL M. THURAU (DE), EAMON O’KANE (UK), EMIL ROBINSON (US), FARZANEH OMIDVARNIA (IR), FRODO MIKKELSEN (DK), GORDON CHEUNG (UK), HEIKO MULLER (DE), JET-TE L. RANNING (DK), JOE SUZUKI (JP/US), JOHAN DECKMANN (DK), JOHANNE HELGA HEIBERG JOHANSEN (DK), JOHN NORRIS (US), JUSTIN BOWER (US), MARCO EVARISTTI (DK/CL), MAZJA HILLESTRØM (DK), METTE MAY (DK), METTE RISHØJ (DK), MICHAEL JOHANSSON (SE), MIKAEL CHR. STRØBEK (DK), NUNZIO PACI (IT), OLIVIA STEELE (US), PAUL BRAINARD (US), ROB TUCKER (NZ), SIMON GANSHORN (DK), STEFAAN DE CROOCK (BE), STEINUNN THORARINSDOTTIR (IS), SUE WILLIAMS A’COURT (UK), THIERRY FEUZ (AU/CH), VICENTE MATTE (CL), YUICHI HIRAKO (JP), WILHELMINA WYBRANDT (DK). Se værker
Fra galleriet til Jer alle: En rigtig Glædelig Jul!
Meld dig til ferniseringen på Facebook her
Udstillingen løber indtil den 20. januar. 2018. Åbningstider: tirsdag-fredag kl. 11-18, lørdag kl. 12-16. For yderligere informationer om udstillingen samt henvendelser vedr. køb, kontakt venligst galleriet på: hello@nullchristofferegelund.dk eller på +45 33 93 92 00.

YUICHI HIRAKO / SOLO SHOW / SPROUT / 13.10.-25.11

Galleri Christoffer Egelund is proud to present the young Tokyo-based artist, Yuichi Hirako’s third solo exhibition “Sprout”. The exhibition consists of a series of new paintings and sculptures where the Japanese artist seeks towards the light and examines the beneficial interaction between human and nature. It is the modern urbanized human being own relationship with the wild nature, which is central to Hirako’s artistic work. In a exuberant dream world where human life intermarriage with the primeval forest, Hirako identifies with both humor and insight the state of the civilization.
Antrophomorphic creatures inhabit the sprouting scenes of Yuichi Hirakos paintings and for a while the rooms of Galleri Christoffer Egelund as well when the plant-like beings seem to have crawled from the canvases into the rooms as sculptures. The renaissance artist Giuseppe Arcimboldo painted fantastic portrait heads made out of flowers, vegetables or fruits. In Hirakos paintings it seems like these plant people have been attributed bodies to walk around in a fairytale-like universe. Animated brushwork and pulsating colouring forms a world where the boundaries between culture and nature, man and plant and indoors/outdoors are non-existent.
In the art of Hirako it is not only nature and man that meet but also Western and Eastern notions. In Japan plants have earlier been given a godlike status, a phenomenon called Shinboku. In Western myths and fairy tales the wood and wild nature have been associated with quite other meanings; this is the habitat of witches, trolls and other horrific creatures. Hirako’s forests contain the holy and magical as well as the gloomy and threatening; this artist uses equally sized portions of light and dark colours.
Yuichi Hirako (b. 1982 in Okayama, Japan) graduated from Wimbledon College of Art in London in 2005. He now lives and works in Tokyo, Japan. Since his graduation he has exhibited at national as well as international venues including; The Museum of Modern Art (Gunma) in Japan, Museum of Contemporary Art in Tokyo, The Museum of Kyoto, Temporary Contemporary in London. He has received several art prizes from which could be mentioned VOCA 2013 (Vision of Contemporary Art), Tokyo Wonderwall Prize 2010 and Shell Art Award 2009.
Galleri Christoffer Egelund cordially invites you to the opening of Yuichi Hirako: Sprout, Friday the 13th  of October 2015. The artist will be present during the opening reception. The exhibition will run until November the 25th. Opening hours: Tuesday-Friday 11-18, Saturdays 12-16. For further information on artworks and press photos please contact the gallery at: hello@nullchristofferegelund.dk or at +45 33 93 92 00. View all works

VISITATION: HÙBERT NÓI & HALLGRÍMUR HELGASON

VISITATION

Húbert Nói Jóhannesson 

In the year 1982 and onwards I executed geological research in the highlands of Iceland. These surveys where aimed at the earth’s interior- circumstances hidden under the surface.
The measuring points where identified with poles that later got drawn onto a map by a surveying team. That map showed my exact position months earlier.
My artworks have from that time dealt with locations and memory. I am like the measuring instruments taking in my environment – traveling with it and in it- within me.
That evokes the question whether the locations I paint – from memory – show an actual location or an inner location.
Physicists and mathematicians are now looking at possible parallel worlds. That evokes my interests for it mirrors the two worlds I live in – the outer world and the world within – and the wish to synchronize them.

Hallgrimur Helgason

Hallgrimur Helgason is an artist and writer. He has held over 30 solo exhibitions and published 8 novels, the best known being 101 Reykjavik (1996), The Hitman’s Guide to Housecleaning (2008) and The Woman at 1000° (2011). Five of his novels have been published in Danish, two of his novels have been filmed, three have been staged in a theatre and three of them have been nominated to the Nordic Prize of Literature. Helgason has also written original film scripts. A Danish movie based on his screenplay (Comeback, starring Anders W. Berthelsen, directed by Natasha Arthy) will premiere in the summer of 2015. Here is a link: http://www.nordiskfilm.dk/Nyheder/C-O-M-E-B-A-C-K—sommerens-danske-komedie/

Hallgrimur Helgason started out as a visual artist, studying in Reykjavik and Munich. He later lived for three years in New York and five years in Paris, showing at galleries like Stux, Alain Gutharc and Philippe Rizzo. Since 1996 Helgason has been living in Iceland, dividing his time between writing and painting, between Reykjavik and the small island of Hrísey.

The graphic series “The Kodak Moments” were executed in the years 2004-2007 and shown at the Turpentine Gallery in Reykjavik in February 2007. With their sarcastically happy title, the series are mostly, though unconsciously, based on the artist’s own difficult relationship with the mother of his 2 youngest children, a relation that ended in divorce in early 2009. The series focus on the B-side of bliss, the dark side of love, the duties and dangers of family life, the ongoing tension and possible treason inside the household, the everlasting battle of the sexes. The works were drawn by hand and then scanned and worked on in the computer, and digitally printed. The original number of works was 110.

The exhibition will run until April the 11th 2015. Opening hours: Monday-Friday from 11-18, Saturdays from 12-16. For further information and press photographs, please contact the gallery at: info@nullchristofferegelund.dk or at +45 33 93 92 00.

 

Our participation to VOLTA NEW YORK

VOLTAshow

The American fair VOLTA NY has focused since 2008 on artists exclusively through solo projects. It is with honour that we announce our acceptance to it thanks to our artist Ida Kvetny. It will be this coming March, 5th-8th, when her works will be presented at VOLTA NY’s new home location, at Pier 90.

For further information about the fair: http://ny.voltashow.com/ABOUT.5726.0.html

For further information about the artist: http://christofferegelund.dk/ida-kvetny

We look forward to and we hope all of you keep following our news!

ANNE VILSBØLL & EMILIE LUNDSTRØM: SHAPE SHIFTING / 06.02 – 07.03 2015

Arcadia2-80x120-2048x750

Galleri Christoffer Egelund is proud to present the energetic conjunction of the two Danish artists Anne Vilsbøll and Emilie Lundstrøm in the exhibition: Shape Shifting.

In the exhibition Shape Shifting the primal power of the bull and the instinctive energy of the deer are united across a range of different media such as photography, painting, sculpture and installation. With references to history, dreams and myths, Emilie Lundstrøm and Anne Vilsbøll question our rational understanding of our planet and existence in a constantly expanding cosmos. Animal motives take center stage in the work of both artists when it comes to communicating the myth of our human reality. In his book Totemism from 1962, the French anthropologist Claude Lévi-Strauss wrote how ”animals are good to think with”, something that can still be found to be true in the compelling visual universes of Vilsbøll and Lundstrøm.

Anne Vilsbøll’s transfiguration of the bull motive balances between figuration and abstraction and communicates the disparate faiths of the bull: as subject of worship in the East and as object of entertainment in the West. The artist makes her own paper for her paintings which lends to them a very special, rough structure. Her intense work with paper production stems from the belief that what is painted on is just as important as what is painted. The saturated colour fields in combination with the texture of the paper give the pieces a rhythmical variation that seems to detach the motives from the canvases and let them influence the surrounding space..

Emilie Lundstrøm investigates the transformation and cycles of the natural world and its confrontations with ‘civilization’ through her photography. Deer are recurrent motives in her investigations. Nature, represented in the deer, reaches into and collides with human culture as is the case when New York City creates a ”task force” to handle the rising numbers of deer on Staten Island. Nature is cherished and protected but must also be kept under control so as not to threaten the borders of civilization. The deer of Lundstrøm’s photographs look up and confront the human presence.

An interesting contrast comes into being when the textured paintings of Vilsbøll meet the photographs of Lundstrøm. But at times the evident contrasts seem to dissolve when Lundstrøm lets some of her photographs appear grained and unfocused – as to symbolise the unstable limits between nature and civilization.

In the exhibited photograph Arcadia a heavy piece of red fabric hangs from a rope as put out to dry. When placed side by side with the colourful bulls of Anne Vilsbøll, this cloth takes on a very specific meaning. Just as the bull is taunted with the red cloth, we are lured into a fantastic universe where recognisable forms and abstraction live side by side and our world is revealed in the relationship between man and animal.

Emilie Lundstrøm is a visual artist, she lives and works in New York. She has a MFA from ICP-Bard University, NYC  in Advanced Photographic Studies, and a BA (Hons) in Fine Art Photography from Glasgow School of Art. She has exhibited her work at Charlottenborg Spring Exhibition 2011, Copenhagen Photography Festival 2011 and 2012, Royal Scottish Academy’s New Contemporaries Award exhibition, Edinburgh 2012, KE – The Fall Exhibtion 2010, Photographs of Hurricane Sandy, Governors Island, NY 2013 and Mono no aware, Brooklyn Light Studioes, NY 2014, etc.

Anne Vilsbøll is an artist, writer and curator specializing in handmade paper as artistic medium. She lives and works in Copenhagen, in St. Jeannet, France and Udaipur, Rajasthan, India. She studied Art History and the French language at Copenhagen University and the University in Aix-en-Provence from 1970–72 and is furthermore a trained teacher from Jonstrup Seminarium 1972-76. In 1982-84 she studied with professor Frank Eckmair,  Paper and Prints, Suny, Buffalo , New York and with  Nancy O’Banion, CCAC, Oakland and through several years she has done her research at paper mills and paper workshops all over the world (1984-2015). Her work has been exhibited at museums and galleries nationally and internationally, and she has undertaken numerous large-scale decoration tasks among others The Ministry of Foreign Affairs Denmark, Skæring Church, Rolex, Chatelain, Odense University Hospital, Hammel Neuro Center, Dong, Nykredit, Olicom, Foss Electric, Den Kgl. Veterinær – og Landbohøjskole, Silkeborg Music– and Theater House samt Viborg Stadion.

MARIA TORP / THE RIDDLE / 03.10.2014

Maria Torp, The Verger, Courtesy Galleri Christoffer Egelund
MARIA TORP, The Verge, oil on canvas 60×45

[DK]

MARIA TORP: THE RIDDLE / 03.10 – 01.11 2014

Galleri Christoffer Egelund er stolt af at kunne præsentere udstillingen The Riddle af den talentfulde, danske kunstner Maria Torp. The Riddle er hendes tredje soloudstilling i galleriet.

Gådefulde blikke og fortællende ansigter rækker ud mod bekueren fra Maria Torp udtryksfulde skildringer af liv in medias res. Hun skaber betagende, minutiøse portrætbilleder af mere eller mindre fiktive karakterer, hvor hvert et hårstrå, hver en blodsprængning, er omhyggeligt beskrevet med penslen.

Maria Torp arbejder ud fra den kunstneriske stilart fotorealisme, der vandt frem i 1960’ernes og 70’ernes USA som en udstikker af Pop Art. Men hendes arbejdsmetode bringer genren ad nye veje. Maleriernes fotografiske forlæg iscenesættes ud fra løsslupne, idégenererende tegninger, der er første trin i Torps arbejdsproces, hvorved hun indlægger et fabulerende element i fotografiets (formodede) nøgterne virkelighedsgengivelse. Torps tegninger er kendetegnede ved en langt større grad af abstrakion: ideerne tager forsigtigt form i det sorte blæk.

I værket The Verge ser vi en kvindes ansigt i profil, der konfronterer beskueren med et hårdt, penetrerende blik. Farverne i baggrunden virker formildende på hendes ellers hårde fremtoning, og foreslår en mere nuanceret læsning af den portrætterede Værket Restless skildrer en rygvendt kvinde, et velkendt motiv i kunsthistorien særligt kendt fra den tyske romantiske maler Caspar David Friedrich. Hovedpersonen i Torps maleri mimer Friedrichs Frau am Fenster (1822), når hun læner sig frem mod det oplyste vindue. Hvad hun ser derude ligger hen i det uvisse – måske en anden tilværelse eller en håbefuld fremtid? Værket fremviser en udlængsel fra en lejlighed, der er beskidt, vandskadet og kold. Værkets umiddelbare ro skjuler over et uroligt indre.

Maria Torp holder sig ikke slavisk til fotorealismens begrænsninger som virkelighedsskildrende genre. I en serie værker danner aflagte stykker pap fra gamle papkasser lærred for de fotorealistiske portrætter. I et af papværkerne synes en forhutlet, slidt kvinde at føje sig perfekt ind i pappets rå fremtoning. Her og der ser man et håndtag, og kunstnerens udskæringer i pappet bliver en del af det malede billede, når fx det øverste lag er skrællet af pappet for at danne striber i en bluse, eller når bølgepappet står frem som en del af ansigtet. Således fremviser malerierne deres konstruktion og bryder med den illusionisme og strenge finish, der ellers er kendetegnende for fotorealismen.

Farvebrugen er tiltider rå og overbevisende virkelighedsnær og i andre værker holdt i næsten overvirkeligt glossede pasteltoner. Torps fotorealistiske malerier lægger op til nysgerrig søgen efter et menneskets identitet ud fra den fysiske fremtoning, ikke mindst ansigtets. Torp inviterer os til at forsøge at løse gåden: hvem er dette menneske foran mig?

Maria Torp (f. 1975) bor og arbejder i København. Hun tog afgang fra det Kongelige Danske Kunstakademi i 2007 og har tidligere studeret ved London College of Printing. Hun har deltaget i flere gruppeudstillinger på gallerier, museer, kunsthaller, kunstmesser national og international og er netop udstillingsaktuelt på gruppeudstillingen “10.000 timer – hvad er talent ?” på Trapholt. Derudover har hun lavet udsmykningsopgaver til bl.a. FTF, Ferring, Velux Fonden og TrygVesta og udgør ligeledes en tredjedel af kunstnertrioen MAM sammen med kunstnerne Anika Lori og Mette Geisler.

Galleri Christoffer Egelund inviterer dig til fernisering på Maria Torp: The Riddle fredag den 3. oktober kl. 17-20. Kunstneren vil være til stede ved åbningen. Udstillingen vises frem til den 1. november 2014. Åbningstider: mandag-fredag kl. 11-18, lørdag kl. 12-16. For yderligere informationer om udstillingen samt pressefotos, kontakt venligst galleriet på: info@nullegelund.dk eller på +45 33 93 92 00.

[UK]

MARIA TORP: THE RIDDLE / 03.10 – 01.11 2014

Galleri Christoffer Egelund proudly presents the third solo exhibition with the talented Danish artist Maria Torp: The Riddle.

Mysterious stares and tell-tale faces confronts the viewer of Maria Torps photorealistic portrayals of lives in medias res. She creates fascinating, minute portraits of more og less fictive characters, with every strand of hair, every imperfection meticulously accentuated.

Maria Torp works in the tradition of the art form photorealism that gained ground in the USA of the 1960s and 70s as an offshot of Pop Art. But her working method takes the art form in new directions. The photographs, from which the pieces are painted, are staged on the basis of unrestained, idea generating drawings which forms the first step of the artist’s triadic working proces. This proces ensures the paintings a dreamlike element unfamiliar to the photograph’s (assumed) objective description of reality. Torp’s drawings are characterised by greater abstraction: the artistic ideas are formed in the black ink.

In the piece The Verge a woman’s face is seen in profile, confronting the viewer with a firm, penetrating gaze. The colours of the background seems to appease her tough appearance and suggest the possibility of a softer side to the woman portrayed. The artwork Restless depicts a woman with her back to the viewer, a motif not unfamiliar to the history of art, especially associated with the German romantic artist Caspar David Friedrich. The protagonist of Torp’s painting mimics Friedrich’s Frau am Fenster (1822) when she leans towards the illuminated window. What she sees out there remains uncertain – perhaps a different way of life or a dream of a hopeful future? The piece presents a longing to go abroad and away from an appartment that seems dirty, water damaged and cold. The tranquility of the scene conceals an inner restlessness.

Maria Torp does not slavishly follow the limits of photorealism as a reality depicting genre. In a series of artworks she uses cast-off pieces of cardboard boxes as canvases for her photorealistic portraits. One of the pieces shows a ragged woman who seems to fit in perfectly with the raw look of the cardboard. Here and there handles show in the cardboard canvases, and the artist’s carvings in the cardboard becomes part of the motifs as patterns of a shirt or as part of a face. In this way the paintings demonstrates their construction and breaks the illusionism and strict finish normally associated with photorealism.

The colours in the art of Maria Torp are some times rough and convincingly realistic and at other times almost more real than reality with their glossy notes of pastel. They are appeasing to the eye. But the artworks of Torp are so much more than that. The pieces prepare the ground for inquisitive search for a person’s identity or story in the physical appearance, especially that of the face. Torp invites us to try and solve the riddle: who is this person in front of me?

Maria Torp (1975) lives and works in Copenhagen, Danmark. She graduated from the Royal Danish Academy of Fine Arts in 2007 and has previously studied at the London College of Printing. Torp has exhibited her works in several galleries, museums, art institutions, art fairs national and internationel and are currently a part of the group exhibition “10.000 Hours – What is Talent?” at Tropholt Modern Museum of Art. Furthermore she has made commissioned work for corporations such as FTF, Tryg, Ferring and at the Velux Foundation and is co-founder of the artist trio MAM, with the artists Anika Lori and Mette Geisler.

Galleri Christoffer Egelund cordially invites you to the opening of Maria Torp: The Riddle on Friday the 3rd of October from 17-20. The exhibition will run until November the 1st, 2014. Opening hours: Monday – Friday from 11-18, Saturdays from 12-16. For further information and press photographs, please contact the gallery at: info@nullchristofferegelund.dk or at +45 33 93 92 00.

IDA KVETNY / LARGE FLECH COLOURED CONTAINERS / 22.08.-28.09.2014

IDA KVETNY Symbolic cabinet, 2014 Plaster, Graphite on MDF
IDA KVETNY
Symbolic cabinet, 2014
Plaster, Graphite on MDF (detail)

Galleri Christoffer Egelund er stolt af at kunne præsentere sin anden soloudstilling med den talentfulde danske kunstner Ida Kvetny.

Kvetny viser os rundt i nye afkroge af hendes myldrende univers på udstillingen Ida Kvetny: Large Flesh Coloured Containers, hvor maleri, tegning og skulptur går op i en højere enhed. Insisterende øjne, ansigter, svensknøgler, uformelige hudfarvede beholdere og totempæle møder abstrakte elementer, der sammen fører os ind i en parallel virkelighed, hvor det umulige er muliggjort.

I kølige blå nuancer skildrer Kvetny et univers frigjort fra ordnende principper. En billedstorm af figurer og ornamentik hamrer os i møde. Øjet finder sjældent hvile. Når man går nærmere og følger figurernes udviklinger og forbindelser, er det som at gå på opdagelse i et tankespind, hvor den ene tanke fører den næste med sig, indtil man lander et hidtil udkendt sted.

I Kvetnys nyeste værker oplever vi et spil mellem rumskabende og rumopløsende elementer, der kæmper om at få overtaget. I det store, aflange maleri Coastal står vi overfor et kystlandskab. Men på trods af at horisontale linjer er trukket op mellem himmel, hav og strand, som et traditionelt landskabsbillede, synes de tre sfærer at blande sig. Havbunden er kastet op på stranden.
I Maleriet Invidia (lat.for misundelse) er Kvetnys velkendte blå nuancer er erstattet af en mere dæmpet farveholdning. På samme vis som i hendes tegninger, er det her gråtoner, der fortæller historien. En historie om et indre følelsesliv, et sind i oprør, der uden problemer kan sættes i forbindelse med værkets titel.

Kvetnys kunst kan ses som en almengyldig manifestation af et kaotisk indre, en billedlig sammenstykning af de indtryk, mennesker, objekter, alt hvad vi møder i vores hverdag. For samtidig med et møde med Kvetnys særegne verden, møder vi den verden, vi selv befolker, den hverdag vi selv gennemlever. En verden, der til tider kan synes kaotisk og overvældende, travl og uoverskuelig. Men som Ida Kvetneys kunst også berigende, smuk og herligt udfordrende. Kvetny fylder billedrummet til bristepunktet, som var hun Hieronymus Bosch gone science-fiction, og som beskuer kan man kun glæde sig over, at more is more hos Kvetny.

Ida Kvetny bor og arbejder i København. I 2007 tog hun sin kandidatuddannelse i Fine Art fra Central Saint Martins College of Art and Design i London. Hendes værker har for nyligt været udstillet på Torrance Art Museum, Los Angeles (2013); Nikolaj Kunsthal i København (2013-14) og på Munch Gallery i New York (2014). Derudover har hun udstillet steder som Holstebro Kunstmuseum; Charlottenborg Kunsthal; Museum of Art, Seoul National University; Brandts i Odense, på den store samlerudstilling “Mad Love” (2007) på Arken Museum of Modern Art i København og på utallige gallerier. I foråret 2012 blev hendes biografi inkluderet i ”Kraks Blå Bog” over de mest betydningsfulde nulevende danskere. Hun har fået tildelt flere priser herunder Årets Unge Kunstner 2006 (Ledernes Hovedorganisation).

Galleri Christoffer Egelund inviterer dig til åbning af udstillingen Ida Kvetny: Large Flesh Colored Containers fredag den 22. august 2014. Udstillingen løber indtil onsdag den 24. september 2014. Åbningstider: mandag-fredag kl. 11-18, lørdag kl. 12-16. For yderligere information og pressefotografier kontakt venligst galleriet på: info@nullchristofferegelund.dk eller på +45 33 93 92 00. For yderligere informationer besøg www.christofferegelund.dk

LOUISE HINDSGAVL | MEDIOCRITY IS NO CRIME | MARCH 28 FROM 5-8 @ CHRISTOFFER EGELUND | FREE BEERS KINDLY SPONSORED BY K1664 ;o)

Louise Hindsgavl from Artist Video Branding   Copenhagen based ceramic artist Louise Hindsgavl talks about her fascination of the absurd and the need to reboot her artistic approach. Courtesy Galleri Christoffer Egelund
Louise Hindsgavl
from Artist Video Branding
Copenhagen based ceramic artist Louise Hindsgavl talks about her fascination of the absurd and the need to reboot her artistic approach.
Courtesy Galleri Christoffer Egelund

[DK]

FERNISERING FREDAG DEN 28. MARTS FRA KL. 17-20

LOUISE HINDSGAVL (DK) / MEDIOCRITY IS NO CRIME / 28.03.-19.04.2014

Galleri Christoffer Egelund er stolt af at kunne præsentere den tredje soloudstilling af den danske keramikkunstner Louise Hindsgavl (f. 1973) under titlen Mediocity Is No Crime.

Fra sikker afstand ser det ganske uskyldigt ud. Men træder man tættere på Louise Hindsgavls porcelænsfigurationer, får man sig en uventet og til tider ubehagelig overraskelse. Hvor man med porcelænsmaterialets bagage forventer friske hyrdedrenge og lyshårede skønjomfruer, får man i stedet sammenstykkede skabninger, der for længst har mistet deres uskyld. En storvommet mand med hesteben udfører et kirurgisk indgreb på en fasttømret engel, en godmodig malkeko udfører intimkirurgi på sig selv og abstrakte elementer smelter sammen med de deforme væsener. Hindsgavls arbejde har været banebrydende inden for det kunstneriske arbejde med porcelænet, og flere kunstnere er siden fulgt efter i udviklingen af en ny figurativ porcelænskunst. Louise Hindsgavl flytter på underfundig vis porcelænsfiguren ud af den utopiske glansbillede-idyl, den normalt hviler i, og får den til at forholde sig til den virkelige verden.

På udstillingen Mediocrity is no crime præsenterer Louise Hindsgavl os for to nye værkserier herunder en serie af “hvide værker”, der lægger sig i forlængelse af kunstnerens tidligere arbejde. I værket Quiet Please møder vi en desperat dådyrmor med bjørnehoved, der er ved at klippe snuden af sit kid. Frustration og afmagt har drevet hende til dette kontroltab, hvilket understreges ved, at skulpturen er vendt på hovedet. Et andet sted i galleriet hænger en menneskeligenende karrekter, der er i færd med at skære næsen af sig selv i jagten på den ideelle skønhed.

Abstraktionen har en fremtrædende plads i Louise Hindsgavls nye arbejde, og abstrakte elementer angriber figurerne og fremviser transformationen, det ubegribelige og det usagte. I serien Sketch for a Larger Life fører Louise Hindsgavl abstraktionen skridtet videre. I de noget mindre og ganske farverige værker findes reminiscenser fra Hindsgavls figurative univers, fx træet, men ellers er det abstraktionen, der har fået overtaget. Figurerne står som abstrakte fortællinger, der tillader kunstneren at bearbejde det udefinerbare og samtidig åbne op for fortolkningsmulighederne. Med serien genindfører hun et element af leg og frihed i sin praksis, og stiller sig selv spørgsmålet: hvor perfekt skal det egentlig være?

Louise Hindsgavl kommenterer med udstillingen vores evige higen efter perfektionen. Hvad enten det drejer sig om børneopdragelse, arbejdsliv eller udseende skal alt helst være gjort 120 procent. Men en sådan bestræbelse har konsekvenser; vi går ned med stress, bliver depressive og tyndslidte. Den blanke, rene porcelæn symboliserer på fineste vis den finpudsede facade, vi forsøger at opretholde overfor omverdenen. Men kommer man tættere på og kradser en smule i glasuren, finder man hurtigt frem til det kaos, den usikkerhed og de undertrykte længsler, som hersker bag facaden.

Louise Hindsgavl er uddannet ved Designskolen i Kolding ved Linien for Keramik og Glas (1994-1999). Hun har siden sin afgang ved Designskolen udstillet i Norden, Europa, USA og Asien. Hun er repræsenteret i væsentlige samlinger nationalt og internationalt herunder Minneapolis Institute of Art, Minneapolis, USA; MAD, Museum of Art and Design, New York, USA; Nationalmuseum Stockholm, Sverige; Victoria and Albert Museum London, UK; Designmuseum Danmark; Trapholt, Danmark og ASU Art Museum, Arizona, USA. Hun er blandt andet blevet tildelt Statens Kunstfonds 3-årige Arbejdsstipendium (2010), Silkeborg Kunstnerlegat (2010), Statens Kunstfonds Arbejdslegat (2008, 2006, 2004) og Biennaleprisen, Biennalen for Kunsthåndværk og Design (2004).

Galleri Christoffer Egelund inviterer dig til fernisering på udstillingen Mediocrity Is No Crime fredag den 28. Marts i tidsrummet 17-20. Ved ferniseringen vil kunstneren være til stede. Udstillingen løber frem til den 19. april 2014. Åbningstider: mandag–fredag 11-18, lørdage fra 12-16. For mere information og pressefotografier, kontakt venligst galleriet på: info@nullchristofferegelund.dk eller på +45 33 93 92 00. For at se de udstillede værker klik her

[UK]

OPENING RECEPTION FRIDAY MARCH 28 FROM 5 TO 8

LOUISE HINDSGAVL / MEDIOCRITY IS NO CRIME / 28.03.-19.04.2014

Galleri Christoffer Egelund proudly presents the third solo exhibition by the Danish ceramic artist Louise Hindsgavl (b. 1973) entitled Mediocrity Is No Crime.

From a safe distance it looks quite innocent. But take a step closer to the porcelain figurations of Louise Hindsgavl, and you will have an unexpected, and sometimes unpleasant, surprise. Where you would expect cheerful shepherd boys and fair maidens you get complex creatures that lost their innocence long ago. A man with a full-grown paunch and legs of a horse is tearing open the back of an angel rendered helpless by a huge nail through its wings, a milking cow is performing intimate surgery on herself and abstract elements are melting into the deformed beings. Louise Hindsgavl has uncovered new territories within the field of porcelain art where others have since followed. Hindsgavl removes the porcelain figure from the utopian world where it normally resides and makes it take a position in the real world, a place not always so picture perfect.

At the exhibition Mediocrity is no crime Louise Hindsgavl presents two new series including a series of “white pieces” in continuation of the earlier work of the artist. In the sculpture Quiet Please we come across a frustrated doe whose head is that of a bear. She is just about to cut of the nose of her own fawn. Desperation and powerlessness has driven her to this loss of control which is highlighted by the fact that the piece is turned upside down. Another piece at the exhibition shows a human figurine who is on the point of cutting of his own nose for the sake of ideal beauty.

Abstraction occupies a prominent place in the new work of Louise Hindsgavl, and abstract elements seem to attack the figures and show the incomprehensible and the unsaid. In the series Sketch for a Larger Life Hindsgavl takes the abstraction to the next level. In these somewhat smaller and more colorful porcelain pieces it is possible to find reminiscences of the figurative universe of Hindsgavl, e.g. the tree, but other than that abstraction has taken over. The abstract narratives allow the artist to deal with the indefinable and at the same time open her artworks up to interpretation. With this series she reintroduces an element of play and freedom into her praxis, and raises the question: how perfect does it have to be?

With this exhibition, Louise Hindsgavl comments on our eternal search for perfection. Whether it concerns family life, working life or our looks, everything should be done a 120 percent. But such an endeavor has its consequences; stress, depression and frayed nerves. The shiny, clean surface of the porcelain symbolizes in a most delicate way the perfect appearances we are trying to keep up. But if you step closer and scratch the glaze you will quickly find the chaos, insecurity and imperfection hiding underneath.

Louise Hindsgavl graduated from Designskolen, Kolding, DK, in 1999 from the Department of ceramics and glass. She has exhibited widely in Denmark, Europe, the US and Asia since her graduation. She is represented in major collections worldwide including: Minneapolis Institute of Art, Minneapolis, USA, MAD, Museum of Art and Design, New York, USA, Nationalmuseum Stockholm, Sweden; Victoria and Albert Museum London, UK; Designmuseum Denmark; Trapholt, Danmark and ASU Art Museum, Arizona, USA. Furthermore, among others, she has received: The Danish Art Foundation work grant of 3 years (2010), Silkeborg artist grant (2010), The Danish Art Foundation grant (2008, 2006, 2004) and The Biennale Award, The Biennale of Louise HindgavlArts and Craft and Design (2004).

Galleri Christoffer Egelund cordially invites you to the opening of Mediocrity Is No Crime on Friday the 28th of March 2014. The exhibition will run until April the 19th. Opening hours: Monday-Friday 11-18, Saturdays 12-16. For further information and press photographs please contact the gallery at: info@nullchristofferegelund.dk or at +45 33 93 92 00. To view exhibited works click here

 

Michael Johansson / Lines and Layers / 20.09.-19.10.2013

Michael Johansson, Courtesy Galleri Christoffer Egelund
Michael Johansson, Courtesy Galleri Christoffer Egelund

Galleri Christoffer Egelund proudly presents the exhibition Lines and Layers by the Swedish artist Michael Johansson. Lines and layers unfold in the artist’s strict, yet witty, compositions of everyday objects.

The exhibition is primarily made out of new pieces that can be divided into two series; every piece constructed from objects found at one of the artist’s many visits at flea markets. Foldable Ladder Assembly Kit – II is one example from the series of 1:1 construction kits. A ladder has been taken apart and the parts put together in a metal frame with strings attached. To strengthen the association with construction kits the pieces has been painted entirely orange. The function of the ladder has been removed to transform the object into art. The same can be said of the other type of artworks presented at the exhibit. Here multiple objects have been stacked together as real life Tetris cubes. Boxes are stacked as a sandwich with an intermediate layer of smaller boxes and containers put together in strict order and thereby impede the originally intended function.

What unites the two different types of pieces is the fact that gathering, collecting and assembling is essential to human beings. We have moved from the hunter-gatherer society to a gatherer-assembler society. We gather stuff around us and assemble ourselves, as is shown in condensed form at the exhibition. When the artist is out gathering objects at the flea markets, he follows a very stringent system, namely one where he finds one seemingly unique object and then continues his search until he finds another one just like it. This underlines the issue of authenticity in the age of mass production. However, all hope is not lost in Johansson’s art, because even if the objects are the same, the marks left by their users are unique. This in turn leads to thoughts of a similar issue, namely the fact that a large part of a person’s identity is defined by consumption. That is, you assemble your identity with self-assembly furniture from IKEA.

Johansson’s work continues the tradition of the readymade; the exhibition of mass produced, everyday objects as art, started by the famous urinal (Fountain, 1917) of the Dadaist Marcel Duchamp. But instead of just exhibiting the ladder or the boxes as they are found he uses the readymades at materials as a painter uses paint and canvas.

The Swedish artist achieves to create order in the mess of things surrounding us. Harmony and balance emerges when he makes use of traditional artistic effects such as straight lines, repetition and colour balancing. The artworks are delights for the eye. But it is the symbolic value and storytelling that is at the forefront. Michael Johansson uses the mass produced objects to create unique artworks with several layers of meaning to help us reflect on our everyday surroundings.

Michael Johansson graduated from Trondheim Art Academy in 2003 with studies at Kunsthochschule Berlin-Wei?ensee (2002) og Royal College of Art, Stockholm (2003) and took his master degree at Malmö Art Academy (2003-2005). Since he graduated he has exhibited extensively both in and outside of Sweden including at Malmö Konstmuseum (SE), Galerie Filomena Soares (PT), Moscow Museum of Modern Art (RU), Meessen de Clercq (BE), Vigeland-museet (NO) og Nikolaj Kunsthal (DK). Furthermore, he is represented in several collections among these Malmö Konstmuseum (SE) and has received various grants including Norwegian Government’s 3-year working grant and IASPIS artists in residence in Tokyo.

Galleri Christoffer Egelund cordially invites you to the opening of Michael Johansson: Lines and Layers on Friday the 20th of September from 5-8 pm. The artist will be present during the opening reception. The exhibition will run until October the 19th 2013. Opening hours: Monday-Friday 11-18, Saturdays 12-16. For further information and press photographs please contact the gallery at: info@nullchristofferegelund.dk or at +45 33 93 92 00.

DANSK
Galleri Christoffer Egelund er stolt af at kunne præsentere udstillingen Lines and Layers af den svenske kunstner Michael Johansson (f. 1975). Linjer og lag opstår i kunstnerens stringente og finurlige sammensætning af  hjemlige genstande.

Udstillingen består primært af en række nye værker, der deler sig i to forskellige serier; alle konstruerede af hverdagsgenstande fundet på et af kunstnerens utallige besøg på loppemarked.  Foldable Ladder Assembly Kit – II er et eksempel på et værk fra serien af 1:1 modelbyggesæt. Michael Johansson har skilt en stige ad for at sætte delene sammen i en metalramme med strenge i mellem, der efterfølgende er malet orange. Værket er ensfarvet for at styrke associationen til modelbyggesæt. Funktionen er frarøvet stigen, der i stedet er forvandlet til kunst. Det samme gælder den anden serie, hvor genstande er stablet sammen i snorlige kuber. Kasser, stablet som en sandwich, med et mellemlag af mindre æsker og beholdere i streng orden, der besværliggør deres oprindelige funktion.

Hvad der samler de to værktyper, er netop dét at samle, noget der er helt essentiel for mennesket: fra jæger-samler samfund til IKEA-samle samfund. Vi samler ting omkring os i vores hjem, som det vises i kondenseret form hos Michael Johansson. Ligesom hans værker fremtræder som stringente systemer har kunstneren også et system for hans indsamling af loppefund. Han tager ud og finder én tilsyneladende unik genstand, hvorefter han søger videre og finder en anden præcis magen til. Dette understreger problematikken omkring autenticitet i masseproduktionens tidsalder. Men alt håb er ikke tabt i Johanssons kunst, for selvom genstandene er ens, bærer de unikke brugsspor og fortæller en historie om det liv, der er blevet levet omkring dem. Og ligesom mennesket sætter spor i genstandene påvirker genstandene mennesket. I et forbrugssamfund som vores er de ting, vi samler omkring os en stor del af vores identitet. Så er det op til den enkelte at tage stilling til, hvorvidt vores bunker af ting er frigørende eller faretruende.

Johanssons arbejde lægger sig i traditionen for brug af hverdagsobjekter som kunst, ”readymaden”, der blev skudt i gang, dadaisten Marcel Duchamps famøse pissoir (Fontæne) fra 1917. Men frem for blot at udstille stigen eller kassen som de er, bruger Michael Johansson ”readymades” som materiale, som en maler ville bruge maling og lærred.

Den svenske kunstner formår at skabe orden i virvaret af ting omkring os. Harmoni og balance opstår, når han benytter sig af traditionelle billedkunstneriske virkemidler som vandrette og lodrette linjer, repetition og farveafstemning. Værkerne fremtræder smukt for øjet. Men det er først og fremmest historiefortælling og symbolværdien, der har betydning. Michael Johansson anvender det masseproducerede til at skabe unikke værker med mange (betydnings)lag, der kan hjælpe os til en refleksion over vores hverdagslige omgivelser.

Michael Johansson er uddannet ved Kunstakademiet i Trondheim (2000-2003) samt Kunsthochschule Berlin-Wei?ensee (2002) og Royal College of Art, Stockholm (2003) og tog han sin kandidat på Malmö Art Academy (2003-2005). Siden sin afgang på Malmö Art Academy har han udstillet hyppigt både inden og uden for Sverige. Af væsentlige udstillingssteder kan nævnes Malmö Konstmuseum (SE), Galerie Filomena Soares (PT), Moscow Museum of Modern Art (RU), Meessen de Clercq (BE), Vigeland-museet (NO) og Nikolaj Kunsthal (DK). Han er desuden repræsenteret i flere kunstsamlinger blandt andet på Malmö Konstmuseum (SE) og har modtaget flere priser og stipendier herunder Norges 3-årige arbejdsstipendium (2010) samt IASPIS artists in residence i Tokyo.

Galleri Christoffer Egelund inviterer dig med ledsager til åbning af udstillingen Michael Johansson: Lines and Layers fredag den 20. september, 2013. Udstillingen løber indtil den lørdag den 19. oktober, 2013. Åbningstider: mandag-fredag kl. 11-18, lørdag kl. 12-16. For yderligere information og pressefotografier kontakt venligst galleriet på: info@nullchristofferegelund.dk eller på +45 33 93 92 00.

Louise Hindsgavl / Human Desires / Aug 30 – Sep 28 2013

HumanDesires

Galleri Christoffer Egelund proudly presents the site specific installation Human Desires by the Danish artist Louise Hindsgavl (b. 1973).

Anthropomorphic frogs with feathery wings and their friends occupy the project room at Galleri Christoffer Egelund from Friday, August the 30th.

The series Human Desires consists of hovering nightmare tableaus in porcelain displaying human lust and desire – the forbidden kind. The bestial side of man has taken over, and this is evident as the porcelain figurines are composed of equal parts human and animal. In one of the mobiles a player with a cow’s head is conducting female genital surgery on herself, grinning, apparently unaffected by the circumstances (Human Desires #7). The artist emphasizes the absurdity of such a voluntary cosmetic operation particularly if you consider its evil twin: involuntary female circumcision, also known as Female Genital Mutilation, often seen in parts of Africa and The Middle East. In another part of the room we are confronted with the remnants of a playhouse after a bombing raid. This is a case of vengefulness where innocence was ignored.

As always, in the narrative universes of Louise Hindsgavl we are lured in by the beautiful, seemingly innocent, porcelain and then in for a thought-provoking shock when the traditional shepherd girl grows animal limbs and conducts cosmetic genital surgery.

Louise Hindsgavl graduated from Designskolen, Kolding, DK, in 1999 and has exhibited widely in Denmark, Europe, the US and Asia since her graduation. She is represented in major collections worldwide including: National Museum Stockholm, Sweden; Victoria and Albert Museum London, UK; Minneapolis Institute of Arts, MIA, USA; Carlsberg Art Fondation, DK; The The Röhsska Museum, Gothenburg, SE; Designmuseum, Copenhagen, DK; Trapholt, Kolding, DK; ASU Art Museum, Arizona, USA etc. Furthermore, among others, she has received: The Danish Art Foundation work grant of 3 years (2010), Silkeborg artist grant (2010), The Danish Art Foundation grant (2008, 2006, 2004) and The Biennale Award, The Biennale of Arts and Craft and Design (2004). For an elaborated biography, please visit: www.christofferegelund.dk.

Galleri Christoffer Egelund cordially invites you to the opening of Louise Hindsgavl: Human Desires on Friday the 30th of August from 4-8 pm. The exhibition will run until September 28th. Opening hours: Monday-Friday 11-18, Saturdays 12-16. For further information and press photographs please contact the gallery at: info@nullchristofferegelund.dk or at +45 33 93 92 00.

DK

Galleri Christoffer Egelund er stolt af at kunne præsentere den stedsspecifikke installation Human Desires af den dan-ske kunstner Louise Hindsgavl (f. 1973).

Bevingede menneskefrøer og venner indtager projektrummet hos Galleri Christoffer Egelund fra fredag den 30. august og en måned frem.

Serien Human Desires består af svævende mareridtstableauer i porcelæn, der alle tager udgangs-punkt i menneskets lyst og begær – og her er der tale om den forbudte af slagsen. Det dyriske har fået overtaget, hvilket synliggøres af porcelænsfigurernes sammensatte karakter: halvt menneske, halvt dyr. I et af seriens værker udfører en aktør udstyret med en ko’s hoved en skamlæbereduktion på sig selv, storsmilende og ganske upåvirket af ubehagelighe-derne (Human Desires #7). Kunstneren fremhæver absurditeten af et sådant frivilligt kosmetisk indgreb, især med tanke på dets dystre tvilling: ufrivillig omskæring af kvinder (Female Genital Mutilation), særligt udbredt i visse dele af Mellemøsten og Afrika. Et andet sted i rummet konfronteres vi med resterne af et itusprængt legehus efter et bombeangreb, hvor hævngerrighed ikke har taget hensyn til uskyld.

Som altid i Louise Hindsgavls narrative universer lokkes vi ind af det smukke, umiddelbart uskyldsrene, porcelæn og får et tankevækkende chok, når hyrdepigerne har fået dyrelemmer og foretager kosmetiske indgreb på deres kønsorganer.

Louise Hindsgavl er uddannet ved Designskolen Kolding (1994-1999). Hun har siden sin afgang udstillet bredt i Norden, Europa, USA og Asien. Hun er repræsenteret i væsentlige samlinger nationalt og internationalt herunder Nationalmuseum Stockholm, Sverige; Victoria and Albert Museum London, UK; Minneapolis Institute of Arts, MIA, USA; Ny Carlsbergfondet; Röhsska Museet, Göteborg, SE; Designmuseum Danmark; Trapholt, Danmark, ASU Art Museum, Arizona, USA, m.fl. Desuden er hun blandt andet blevet tildelt Statens Kunstfonds 3-årige Arbejdsstipendium (2010), Silkeborg Kunstnerlegat (2010), Statens Kunstfonds Arbejdslegat (2008, 2006, 2004) og Biennaleprisen, Biennalen for Kunsthåndværk og Design (2004). For en fyldestgørende biografi se hjemmesiden: www.christofferegelund.dk.

Galleri Christoffer Egelund inviterer dig med ledsager til åbning af installation Human Desires fredag den 30. august fra kl. 16-20 og lørdag den 31. August fra kl. 12-16. Udstillingen løber indtil den lørdag den 28. september 2013. Åbningstider: mandag-fredag kl. 11-18, lørdag kl. 12-16. For yderligere information og pressefotografier kontakt venligst galleriet på: info@nullchristofferegelund.dk eller på +45 33 93 92 00.