The Leaf by Kåre Frang at Kunstscenen

 

Kåre Frang
The Leaf
November 30 - December 21, 2018

Close to the edge of "The Leaf" we find two large frescoes cast in plaster: one is showing a blue cat sculpture reproduced four times with micro alterations; the other is showing images of Danserindebrønden by Rudolph Tegner conjoined like in a cinematic montage. The blue cat and the well both originate from the city of Elsinore where Kåre Frang grew up and were among the first public sculptures he became acquainted with as a child. The blue cat was standing in front of the artist’s kindergarten as a portal between different worlds. Here in the works they appear altered and intensified. In size and format, they refer most obviously to posters or public ads, but also more generally to the atmosphere of urban infrastructural space. They mix commodity aesthetics with a fluid, temporal visuality and connect past and present into a single-layered affect space.

The well is also referred to in a small model of a well cast in bronze and painted with acrylics in a double articulation of value enhancement and camouflage. The bronze well appears like a toy, a small prop, or a simplified sketch before the actual construction starts. It also suggests how a well might look, say in a comic book. It is placed in a transparent anti-theft box, as a kind of paradoxical item for consumption. Similar to the series of cats it is an object taken out of circulation and inserted in a new geography between the coordinates of a white cube - winter landscape - parking space.

Finally, next to cats and wells, we meet an abstract aluminium wall relief cast on top of a parking sign: A concentrated point where economy and the right to occupy a sector of the urban space unite in an image. The aluminium work looks like an aesthetic mix of glass mosaics, a traffic accident and watercolour workshops from art classes in primary school. It is simultaneously fragile and harsh, a kind of vandalism or meltdown that here comes to life again as a charred composition of colours, lines and words.

---

I udstillingen The Leaf befinder Den blå kat sig i, og under overfladen, af et størknet lag gips i reklamestander format (Abribus/Adshel). Den blå kat er samlet op fra periferiens billedarkiv i Kåres egen historie, og placeret som et billede på det første møde med en portal mellem verdener og personaer. Ligesom i Hollywoodfilms måde at visualisere overgangen til et minde mødes to forskellige vinkler af Danserindebrønden af Rudolph Tegner, barnets og den voksnes perspektiv, i en blanding af inkjet ink og gips.

Brønden som element går igen i flere af udstillingens værker, eksempelvis i form af et sløset udført murerarbejde i legetøjs skala, oversat til bronze. Bronzerne kan opfattes som en slags mellemting mellem legetøj og offentlig skulptur, og er anbragt i tyverisikrede plexiglas bokse. Det gør dem til en slags umulige varer og påpeger brøndens umiddelbare symbolske værdier (såsom portalen til underbevidstheden eller forudsætningen for alt (civiliseret) liv), som værdifulde og til dels utilgængelige ud fra sociale og økonomiske vilkår.

På mange måder er The Leaf en personlig udstilling placeret mellem produktæstetik, flydende visualitet, fortid og nutid.


---

Åbning fredag d. 30 november kl. 17 - 20
https://www.facebook.com/events/738731883147651/










I, I. - Exhibition by Anna Moderato

 

Anna Moderato
Fernisering lørdag d. 10. november kl. 15 - 17
10. november - 26. november 2018

I, I. er en udstilling om visualitet og iagttagelse, om at se sig selv udefra eller gennem andres blikke og om overgangen mellem det private og det offentlige. Den består både af en installation på Kunstscenen og af værker placeret på Bispebjerg kollegiets vinduer på den anden side af parkeringspladsen. Vinduesværkerne er et samarbejde med beboerne på kollegiet, som derved også er aktører i udstillingen. Det fordobler udstillingens rum fra et til adskillige. Værkerne har form af piktogrammer eller regulerende infrastruktur, som vi normalt støder på i vores udendørs færden gennem byen, fx på skilte eller barrierer. Piktogrammer er lavet til at kunne afkodes hurtigt og entydigt. Et kors, et øje, en hånd har som billeder nogle konventionelle betydninger, som fungerer effektivt, fordi der ikke stilles spørgsmålstegn ved dem. De er med til at regulere vores adfærd, uden at vi behøver at tænke over det.

Værkerne transformerer de forskellige typer piktogrammer ved at gøre dem mere ustabile. De optræder som halvgennemsigtig flader, er oversat i modstridende materialer, eller skifter farve i reaktion på lyset. På forskellige måder betvivles den offentlige kode og den frisættes til mere private eller flertydige formål.

På ferniseringen vil udstillingen desuden indeholde en 4-kanals lydinstallation i området omkring Kunstscenen.

---

Anna Moderato
Opening Saturday 10 November, 3 - 5 pm
10 November - 26 November 2018

I, I. is an exhibition about visuality and observation, about seeing oneself from the outside or through the eyes of others and about the crossings between private and public space. It takes place at Kunstscenen but also spreads out to include works mounted on the windows of Bispebjerg Kollegiet across the parking lot. These window-based works are made together with the residents of the college dorms, making them participants in the exhibition. It doubles the show from one to a multitude of spaces and subjects. The works appear as pictograms or regulatory infrastructure of the kind that we normally encounter in public spaces, for example as road signs or barriers. Pictograms are traditionally employed to be quickly and efficiently decoded. Images such as a cross, an eye, or a hand all have conventional meanings that are perceived almost unconsciously and can thereby subtly regulate our behaviour without us thinking about it.

The works transform these convention-type images by making them more* unstable. They are reproduced as translucent surfaces, translated into other materials, or they shift colour in reaction to the light. In different ways the public code is put into doubt and set free for other, more private or ambiguous, interpretations.

At the opening, the exhibition will also include a 4-channel sound installation in the area surrounding Kunstscenen.

facebook event

idoart.dk







1 UV Senstitive acrylic beads, nylon thread, fibreglass mesh, silicon.
2 PVC strip curtain, galvanised steel.


PVC strip curtain, asphalt roll roofing, galvanised steel.


UV senstitive acrylic beads, nylon thread, fibreglass mesh, silicon, UV LED strip, mesh tape, cloth tape, window foil


UV senstitive acrylic beads, nylon thread, fibreglass mesh, silicon, UV LED strip, mesh tape, cloth tape, window foil


Window foil








RIOBRAVO - exhibition by Benedikte Bjerre

B. states that Kunstscenen reminds her of a filmset from the first westerns where they built sets outside and used the bright light from the sun to illuminate an indoor scene. It gives a special feeling of being inside and outside at the same time. She also shows me some chestnut animals placed in groups. Some of them are so close to each other that they are fighting for the same space. Others stand alone or ride their horses as if they are on their way. They are all silent and motionless yet full of life. The figures are not only a collection of things, but small people with feelings and intentions of pride, courage, anger and desperation. Their liveliness comes especially from their attitude and gestures, the way they push the room away, dwell in it, or steer towards a point in the horizon.

On the table between the chestnuts is also todays New York Times with a cover page article about Donald Trump. This conjures thoughts surrounding the idea of the West and the West's self-perception today. B. mentions that Rio Bravo, in addition to being the title of a movie and a river between the United States and Mexico, is also a danish political agreement on childcare from 83’. Again, we speak of Kunstscenen itself and the area around it as a borderland between inner Nørrebro's intense festival atmosphere and Bispebjerg's almost nostalgically subdued everyday life. The location of the northwestern railway track makes it one of the city's blind spots. B. Retrieves a book with a text about Westerns written by film researcher Bazin. In 1953 he wrote that Westerns are “the humans confrontation with nature”, and that "the movement to the west is our odyssey".

DA

B. fortæller, at Kunstscenen minder hende om en filmkulisse, der ligesom indspilningen af de første Western film, bruger det stærke lys fra solen til at belyse en indendørs scene, ved at bygge den udendørs. Det giver en særlig stemning af at være ude og inde på samme tid. Hun viser mig samtidig nogle kastanjedyr anbragt i grupper. Nogle af dem er så tæt op ad hinanden, at de nærmest kæmper om samme rum. Andre står mere alene eller rider som var de på vej. De er alle er tavse og ubevægelige. Men ikke desto mindre er de fulde af liv. De virker ikke kun som ting, men også som små personer med følelser og intentioner som for eksempel stolthed, mod, vrede og desperation. Livligheden kommer især af deres holdning og fagter, af den måde de skubber rummet fra sig, dvæler i det, eller styrer henimod det som et punkt i horisonten.

På bordet mellem kastanjerne ligger også dagens udgave af New York Times med en forsideartikel om Donald Trump. Det får os til at tale om ideen om vesten og vestens selvopfattelse i dag. B. nævner at Rio Bravo udover at være titlen på en film og en flod imellem USA og Mexico, også er et politisk forlig om børnechecken fra 83'. Vi taler videre. Nu igen mere konkret om Kunstscenen og området omkring den som grænseland imellem indre Nørrebro's intense festival stemning og Bispebjergs nærmest nostalgisk afdæmpede hverdagslighed. Det nordvestlige banelegemes placering gør det til en af byens blindevinkler. B. henter en bog med en tekst om Westerns skrevet af filmforskeren Bazin, han skrev i 1953 at Westerns er "menneskets konfrontation med naturen", og at "bevægelsen mod vest er vor tids odyssé".



22 EXT. QUICK DRAW
Chipboard, varnish, glue, horse chestnuts,
matches, veralite, plastic, awning fabric,
cigarette butt




View all photos






7 INT. SALOON
Chipboard, varnish, glue, horse chestnuts,
matches, matchbox, plexiglas, colored foil,
lavender









36 EXT. NIGHT - RIVER PASS
Chipboard, varnish, glue, horse chestnuts,
matches, veralite, acrylics, tape, flowpen ink









Installationview



Installationview



27 EXT. VALLEY
Chipboard, varnish, glue, horse chestnuts,
matches, chewing gum, modifed 10-cent
euro coins, acrlyics, lighter, lavender






3 EXT. GRAND VISTA
Chipboard, varnish, glue, horse chestnuts,
matches, veralite, wood









Installationview















GARGOYLE @ Kunstscenen


Gargoyles are public sculptures in stone. We are familiar with them from the facades of medieval cathedrals where they are placed high above the ground representing fantastical or grotesque creatures. Balancing on the edge between sculpture and architecture, they often have a practical function as gutters to lead rainwater away from the building. Symbolically gargoyles were meant to ward off and protect against evil spirits by possibly being even more frightening than their imaginary adversaries. The name comes from the French word for throat and is mimetically related to the gurgling sound of water they emit in rainy weather when water flows through their open mouths.

Gargoyles appear as hybrids between humans and animals, horror and comedy, form and formless. They are carved by anonymous artists as collective expressions of fantasies or nightmares, but the best of them typically have individual characteristics pointing to highly personal interpretations of a shared form. They seem to make physical what is invisible to the official culture, similar to the fanciful drawings in the margins of medieval manuscripts. Gargoyles are peripheral entities originating from the popular culture throughout time, its obsessions and contradictions. They give form to that which we are not in control of or can't understand.


DA

Gargoyler er en form for offentlige stenskulpturer, som især kendes fra middelalderens katedraler, hvor de sidder højt oppe på facaderne som groteske, fantastiske væsner. De befinder sig på kanten mellem skulptur og arkitektur, og har praktisk haft en funktion som nedløbsrør til at lede regnvand bort. Symbolsk var deres opgave at afværge onde ånder ved selv at være endnu mere skræmmende. Navnet kommer af det franske ord for strube og er mimetisk forbundet til den gurglende lyd de frembringer i regnvejr, når vand løber igennem deres åbne mund.

Gargoyler fremtræder som hybride blandinger af mennesker og dyr, skræk og komik, form og formløshed. De er lavet af anonyme kunstnere som udtryk for kollektivets fantasier eller mareridt, men de bedste har også individuelle træk, som peger på mere personlige fortolkninger af den fælles form. De virker som materialiseringer af det, som den officielle kultur ikke har plads til, på samme måde som de fantasifulde tegninger man kan se i marginen af manuskripter fra samme tid. Gargoyler er randeksistenser udsprunget af populærkulturen gennem forskellige tider, dens besættelser og modsætninger. De giver form til det vi ikke har kontrol over eller ikke kan forstå.

Facebook event

https://artviewer.org/gargoyle-at-kunstscenen/

http://tzvetnik.online/portfolio_page/gargoyle-at-kunstscenen/




View all photos here!



Aia Sofia Turan
Untitled, 2016
Jesmonite



Aia Sofia Turan
Untitled, 2016
Jesmonite



Aia Sofia Turan
Untitled, 2016
Jesmonite



Rikard Thambert & Jens Hüls Funder
Bispebjerg, 2018
Plaster, LEGO



Rikard Thambert & Jens Hüls Funder
Bispebjerg, 2018
Plaster, LEGO



Rikard Thambert & Jens Hüls Funder
Bispebjerg, 2018
Plaster, LEGO



Installation view



Claus Hugo Nielsen
Untitled, 2013-18
Oil painted plaster, wood, PU foam



Claus Hugo Nielsen
Untitled, 2013-18
Oil painted plaster, wood, PU foam



Claus Hugo Nielsen
Untitled, 2013-18
Oil painted plaster, wood, PU foam



installationview



Aia Sofia Turan
Everyone should have a butterfly by their bed, 2018
Epoxy, oil pastels, pigment, pen ink



Nanna Abell
Gurgle/lush prism, 2018
Plastic cover, perforated Coca-Cola can



Aia Sofia Turan
Untitled, 2016
Jesmonite


installationview















Opening the 17th of August:

En plein air




17th of August till the 7th of September

Astrid Svangren, Ditte Ejlerskov, Erik Hed,
Marie Søndergaard Lolk, Martin Aagaard,
Morten Knudsen, Oliver Bak, Rasmus Høj Mygind
and Sylvester Hegner.

Organized and curated by
Magnus Thorø Clausen &
Kåre Frang.

Kunstscenen.xyz
Behind the bushes Tagensvej 147
2 min. from Bispebjerg st.


















View all photos



Marie Søndergaard Lolk
Rural, 2018
Acrylic on foam board



Ditte Ejlerskov
Jeg må, 2018
Oil and posca-pen on canvas



installationview



Oliver Bak
Strings, 2018
Guache, tempera og colorpencil on canvas



Astrid Svangren
I roll in the snow..., 2018
Plexi mirror, oil and silk



installationview



Martin Aagard Hansen
Chime root, 2018
Oil on canvas



installationview



Sylvester Hegner
No title, 2018
Oil and watercolour on canvas



Morten Knudsen
Untitled (Hand), 2018
Oil, gouache, paper, wax og pencil



Erik Hed
Trälsjäl, 2018
Coal, pigment, kasein on cotton/hear mix



installationview













INT

'En plein air' is the first exhibition on Kunstscenen. It is a group show that refers to the category of open-air painting, originating in French Impressionism with works painted outdoors directly in front of the motif. The paintings in the show are not necessarily painted out of doors, nor are they necessarily images of nature (although many of them actually are). But they are landscape paintings in the sense that they are shown and exist in the open air for a longer period of time, and will therefore be in continuous interaction with sunshine, rain, moss, trash, smog and humans. The natural surroundings are thus taking an active part in the show, they will change the works from one day to the next, in ways impossible to predict or control.

Works by:
Astrid Svangren, Ditte Ejlerskov, Erik Hed, Marie Søndergaard Lolk, Martin Aagaard Hansen, Morten Knudsen, Oliver Bak, Rasmus Høj Mygind and Sylvester Hegner.


---

DA

"En plein air" er den første udstilling på Kunstscenen. Det er en gruppeudstilling, der forholder sig til kategorien friluftsmaleri, som går tilbage til fransk impressionisme, hvor det betegner malerier, som er malet udendørs direkte foran motivet. Malerierne på udstillingen er ikke nødvendigvis malet i det fri, og de forestiller ikke nødvendigvis natur (men mange af dem gør faktisk). Men de er landskabsmalerier i den forstand, at de vises og eksisterer i det fri og således gennem længere tid vil være i kontinuerlig interaktion med solskin, regn, mos, affald, bilos og mennesker. Så naturen og omgivelserne blander sig i udstillingen, og er med til at forvandle værkerne fra dag til dag på måder, som ikke helt kan forudsiges eller kontrolleres.

Værker af: 
Astrid Svangren, Ditte Ejlerskov, Erik Hed, Marie Søndergaard Lolk, Martin Aagaard Hansen, Morten Knudsen, Oliver Bak, Rasmus Høj Mygind og Sylvester Hegner.





Kunstscenen



Kunstscenen is a new outdoor exhibition space by Magnus Thorø Clausen and Kåre Frang, located on an overgrown lot behind Bispebjerg Station in Copenhagen. It is built of a cast concrete floor and two walls making up a corner, yet does not have neither roof nor electric lighting. The exhibitions in Kunstscenen are therefore directly exposed to wind and weather, as well as natural light and shadows. The space brings to mind a section of a well-known gallery space or art fair booth yet here out of place and context. Over the next couple of months, we will launch transient exhibitions that will change in sync with the surroundings and maybe gradually disappear in nature. We are looking for ways of naturalizing the art context, to create a new space somewhere between art space, public space and nature, where the boundary to everyday life is less absolute.

Kunstscenen is open to all passers-by day and night. You can choose to only see the exhibitions in the night, or maybe early in the morning at sunrise.

See documentation photos here on this site or on our instagram account: kunstscenen.xyz

Feel free to contact us at email@kunstscenen.xyz

Directions:





Stort tak til: Dsb Ejendomme, Øbro Træ, Dansk Mobil Beton, Bispebjerg Lokaludvalg og Det Obelske Familiefond.




                     




Instagram / Facebook





© Kunstscenen 2018