As a part of the current exhibition Tirsdagssonaten a special Sunday afternoon coffee will take place on September 21 at 14 – 16 pm. Two colleagues, Aase Eg and Kasper Hesselbjerg, are invited to speak about their work. The exhibition runs September 12, 2014 – September 28
The exhibition is supported by The Danish Arts Foundation
Author: admin
Tirsdagssonaten
A sonata is basically a way of organising a larger piece of music for one or two instruments. Usually it consists of three or four movements that each has its own formal structure and tempo. In this way the different “voices” can enrich each other.
From the 12th to the 27th September 2014, this organisational principle will be put into practice as the backdrop for a visual art exhibition where two artists engage in a dialogue.
Cai Ulrich von Platen and Kerstin Bergendal use very different forms of expression and artist roles in their praxis. However, they purposely use long durational processes and the specific chosen site in their work.
In this case, the chosen site is Carlsberg’s former malt warehouse – an introverted, windowless purely functional space, which currently acts as the exhibition space New Shelter Plan.
The exhibition Tuesday’s Sonata has been designed specifically for this room. The point of departure is a large-scale, formal intervention into the physical space. A ten-metre long wall is installed through the middle of warehouse creating a diminished room. The walls of this new space are painted in order to temporarily alter the character of the entire space. At three or four points within this framework, the artists enter into a direct dialogue with, or challenge, each other. These four dialogues are elaborated and inscribed into an improvised entirety.
The starting point for the concept of the exhibition is the idea of using the space as if it were a workshop. A shelter – or a ”safe space” where thoughts, pictures and materials are stacked, and old and new works can be juxtaposed in unexpected constellations. Here they can be tried out, moved around and written into a new context.
As a part of the exhibition, a special Sunday afternoon coffee will take place the 21th of September at 14 – 16 pm. Two colleagues, Aase Eg and Kasper Hesselbjerg, are invited to speak about their work.
Cai Ulrich von Platen is also appearing at an upcoming exhibition at Møstings Hus in September, as well as at the Clausens Kunsthandel in November this year.
Kerstin Bergendal has just completed a three-year project for Marabouparken Konsthall, the Swedish Public Art Agency/ Samverkansprojektet, and the municipality of Sundbyberg in Sweden – PARK LEK. For this she just recieved the Bror Ejves fond award.
The exhibition is supported by The Danish Arts Foundation
Well somebody’s got to do it
The performance lecture Well somebody’s got to do it (Nogen skal jo gøre det) will take place underground in the tunnels beneath Carlsberg on the 21st of August 2014. The lecture involves a playful but concrete 7-step plan on how to perform a successful modern day coup d’état.
Even though the theme of the lecture is political and deals with aspects of activism, the work in itself is not bound to a certain political view, it rather speaks about politics and political action by portraying a dream or a fantasy that is in part highly feasible and in part absolutely outrageous. A burning question at the heart of the project is that of morality and ethics (e.g. how far can one go in order to achieve one’s goals and if the circumstances are dire, what kind of sacrifices can be made for ‘the greater good’?).
The performance is open to the public, but due to the limited number of places the visitors must book a time slot that suits them prior to the lecture by sending an e-mail to wellsomebodysgottodoit@gmail.com requesting a time between 17:00 and 21:00 on the 21st of August. Please write “Well Somebody’s Got to Do It” in the by-line and include your name and telephone number in the e-mail. The slot is booked when you receive an invitation from the artist stating the specific time and meeting place for the performance.
A vision of perfection. An object of affection
Where were you when you watched “The Royal Wedding Massacre” in the television show “Dynasty”? Or what would your christmas be without ‘Disney’s Christmas Show’ or your New Year without “Dinner for One”?
It’s easy to ask yourself those questions when New Shelter Plan invites you for the opening of Søren Hüttels exhibition “A vision of perfection. An object of affection”.
In a contemporary visual language the exhibition process sentimentality and the personal recollection through different references of the international television and popular culture, which we watched from a Danish standpoint in the 80s and 90s.
On the premises of the sentimental, nostalgic, recollection and tradition which the traditional television media plays upon, Hüttels exhibition should be seen as an investigation of the personal recollection and the recognition as a premise in the visual arts. This is why Søren Hüttel has carved the bathing suit of Pamela Anderson from Baywatch in marble, model ALF and includes his own photographic depictions of different locations from televisions series like Walsh’s house in Beverly Hills 902010.
Sentimentality in the visual arts has been dismissed as bad taste ever since Clement Greenberg wrote his essay “Avantgarde and Kitsch” in 1930. Hüttels exhibition is though a more complex interpretation than the traditional discussion of high-low culture.
Hüttels exhibition is not a critique of the sentimental or the nostalgic nor does it take an ironic distance to the subject matters, but it’s more a consideration of the cultural visual references which are staged in a visual art context. Thereby it plays at the irrational, the unimportant and the meaningless.
The entire exhibition is constructed so the visitor enters a room which are in themselves a stage of the works – a complete installation which is also a stage. Hüttels installations are always eclectic stagings of single works and elements which are in contradictory relation. An eclectic entity where these elements for themselves and in the entity appear as an answer to each other but at the same time forms an entity.
The exhibition is supported by The Danish Arts Foundation
Smooth Flowing Fountains
Wulkan works with the circular process in which is presented sound, matter and light – both as individual components and a coherent expression. The exhibition SMOOTH FLOWING FOUNTAINS will appear as one rhythmic pulsation of slow changes in which different stages of sound, matter and light slides over one another in layers.
Each day Wulkan will perform a four hour sound collage.
The exhibition is supported by Copenhagen Art Council
Talk: Imaging Black Womanhood
In this exhibition talk curator and art historian Dr Temi Odumosu will explore the major themes of “Possession: Art, Power and Black Womanhood” and situate the work of participating artists within a wider context of historical and contemporary representations of Black women.
POSSESSION
“If I didn’t define myself for myself, I would be crunched into other people’s fantasies for me and eaten alive.” – Audre Lorde
“There is no agony like bearing an untold story inside of you” – Maya Angelou
Possession showcases the work of 12 international Black women artists, whose work explores multiple concepts of being and belonging. Through deeply personal expressions these artists reflect on Black womanhood as a dynamic archive of knowledge, formed of flesh, spirit and memory. In mixed media practices and against the backdrop of their own biographies, they offer rare and beautiful insights into what it means to travel with this identity through public and private spaces, to dare to speak where voices are often subdued or silenced, and to honour ancestral inheritances as creators of art. Whilst clearly confronting the enduring legacies of slavery and colonialism experienced in their own lives, these artists also poetically demonstrate the healing and transformative power of sharing ones own story with a community of witnesses.
This exhibition is generously funded by The Danish Arts Foundation and Copenhagen City Council. Artist participation in the project has also been supported by the following agencies: FRAME Finland for the inclusion of Sasha Huber, the Mondriaan Fund for the inclusion and production of works by Patricia Kaersenhout, and the Danish Arts Council for the production of works by Michelle Eistrup.
TALK: Imaging Black Womanhood: Archival Memories and Poetic Reflections by Dr Temi Odumosu. Thursday June 12, 19:30 at New Shelter Plan
Filmscreening: Man Bites Dog
A camera crew follows a serial killer/thief around as he exercises his craft. He expounds on art, music, nature, society, and life as he offs mailmen, pensioners, and random people. Slowly he begins involving the camera crew in his activities, and they begin wondering if what they’re doing is such a good idea, particularly when the killer kills a rival and the rival’s brother sends a threatening letter.
Lord Høwe Island
Leah Beeferman and Matthew Harvey asked five artists to, as a group, make a collaborative digital video “collage”. The project will take shape as a unified video piece (both on a monitor at New Shelter Plan and online) and as separate, individual vignettes (online only). As with Parallelograms, this project will be instigated by the artists’ response to a source we provide: A scene from an experimental play by Ionesco.
>>> VIEW ONLINE EXHIBITION <<<
Street Haunting
The exhibition Street Haunting by Nanna Debois Buhl features a series of works that all utilize the act of walking in unexpected ways. For each work, Buhl has created a system where a walk becomes a catalyst for images and stories, revealing new paths through urban and literary landscapes.
In Buhl’s work Collected Walks, a hybrid fictional character travels across time and space. The installation combines a soundtrack composed of literary fragments about women walking through different cities with a series of cyanotype prints made by Buhl on her daily walks in various locations. The print series Street Haunting revolves around photographs of a young woman found by Buhl on a walk. These photographs are presented along with divergent readings from five psychics who speculate on the young woman’s life and persona based on a set of questions used for character development in scriptwriting. For the slide installation Night Map, Buhl has transferred the Parisian route of two lovers from Michèle Bernstein’s 1961 novel La Nuit (modeled on the 18th century novel Les Liaisons dangereuses) to the area surrounding New Shelter Plan (Vesterbro, Carlsberg og Valby). Starting from the very location of the exhibition, Buhl has created a new setting for the story through the détournement of texts and maps. This new chapter is shown alongside two previous chapters based on nightwalks in Brooklyn, New York and Münster, Germany.
By exploring the role of the Flâneuse, Buhl connects different literary periods and fields of writing in singular ways. Voices from the politically-charged 19th century works of George Sand fuse with Virginia Woolf’s reflections on the imaginary possibilities of walking and with fragments from contemporary pop culture (Sex and the City). The exhibition unravels new routes through the city as well as through literature, addressing the walk as a way to experiment with identity and to carve out a space for reflection. For Buhl, walking is at once a physical act (done of necessity or otherwise), a mode of production, and a metaphor.
Nanna Debois Buhl received her MFA from The Royal Danish Academy of Fine Arts in 2006 and participated in The Whitney Independent Study Program, New York in 2008-09. Recent shows include: Pérez Art Museum, Miami, El Museo del Barrio, NY; Art in General, NY; The Studio Museum in Harlem, NY; Bureau, NY; Lunds Konsthall, Sweden; Museum for Contemporaty Art, Roskilde; and Kunsthallen Brandts, Odense, Denmark. Her work is in the collections of the Museum for Contemporary Art and The National Museum of Photography in Denmark. She has been artist-in-residence at Lower Manhattan Cultural Council and International Studio & Curatorial Program (ISCP), New York. Revolver Publishing has published her artists’ books Atlas of Anatomy (2013), A Journey in Two Directions (2010), and City Grammar (with Liz Linden, 2010). Her work has recently been discussed in Art in America, Flash Art, Artforum, and The New York Times.
The exhibition is supported by The Danish Arts Foundation and Copenhagen Art Council