Close Call



Kunstscenen Is Closing / Close Call / 20.09.19

On Friday September 20th we are bringing Kunstscenen to an end with a 1-day exhibition and closing party to celebrate the event. You and everyone else is invited to participate with a work for this final show.

If you would like to participate please send your name to closecall@kunstscenen.xyz before Tuesday September 17th - and bring your work to Kunstscenen on Friday September 20th between 10 am and 1 pm. It's up to you to decide where and how to install your work based on a first come - first served principle. If you have a more immaterial project in mind such as a performance, a sound piece or something else, that is of course also possible. When we have an overview of the works we will draw up a map with names and titles - which is why we need to have all works (events, activities etc.) before 1 pm.

The exhibition opens later the same day from 5 pm - ?. We will built a bar and serve food and drinks, there will be music and torches will be lit as darkness falls.

When the exhibition party is over you are encouraged to reclaim your work. If its more convenient you are also welcome to pick it up on Saturday. On Sunday Kunstscenen will be disassembled and the walls removed which means that all works that haven't been collected yet will be moved to somewhere in the bushes (our storage space throughout the year).

This invitation goes out to everyone so please spread the word. The exhibition is our take on the open call format, and is our way to explore loss of control and lack of limits. The result may be blowing as the wind.

We hope you would like to join us and celebrate that Kunstscenen is over.


All best,
Kåre and Magnus





Løbende Kontakt


Løbende Kontakt

Marie Lund
Jesper List Thomsen

27.07. - 31.08.2019
Kunstscenen.xyz

A sculpture follows the edge of the gallery wall, whilst being held against a stack of paper and the wall itself. When looking directly from the side, onto the end of the wall, it is much as if we are looking at the spine of a book. An unstable book. A book that is perhaps in the process of being bound, or unbound. The content of the book is a grouping of sculptures that are located in the Villa Giulia, East of Palermo’s historical centre. These sculptures were captured first by the eye and then in writing. AVOIDING THE GENIUS is the title of this text by Jesper List Thomsen. Arranged in a half circle and made up of eight bodies, the sculptures are all facing a shared centre point, one which is inhabited by the Genius. The Genius is male, has long curly hair and caries several attributes. The eight bodies surrounding the Genius, each holding a pose of avoidance, are of varying genders, some with human sounding names, some celestial. Copper, rubber, cast iron, anti-rust paint and bolts are the other components and contents of this book. These materials belong to Marie Lund. Much like a cover, and the tools required to mount a cover, Lund’s sculpture Slip is an active circumstance. A calibrated disposition that produces a discreet aesthetic situation, whilst holding the space, holding a piece of writing, and holding its own weight. This amplified prosthetic, this body aid as sculpture, becomes a body itself, one inhabiting the perimeters of this self-proclaimed stage of cultural dissemination.

A reading of AVOIDING THE GENIUS can be listened to via your phone using a link made available in the space.

Marie Lund’s sculptural work and Jesper List Thomsen’s text AVOIDING THE GENIUS was in 2017 brought together in the publication SCOUT published by MIDI/Mousse. This exhibition at Kunstscenen is a continuum of that meeting.


https://www.facebook.com/events/426475158283937/






Løbende Kontakt 
(Redux)

A sculpture follows the edge of the gallery wall, whilst being held against a stack of paper (the paper faded from salmon to light peach) and the wall itself. When looking directly from the side, onto the end of the wall, it is much as if we are looking at the spine of a book. An unstable book (swelling of the paper provoked the copper to bend at the edges of the bracket). A book that is perhaps in the process of being bound, or unbound. The content of the book is a grouping of sculptures that are located in the Villa Giulia, East of Palermo’s historical centre. These sculptures were captured first by the eye and then in writing. AVOIDING THE GENIUS is the title of this text by Jesper List Thomsen. Arranged in a half circle and made up of eight bodies, the sculptures are all facing a shared centre point, one which is inhabited by the Genius. The Genius is male, has long curly hair and caries several attributes. The eight bodies surrounding the Genius, each holding a pose of avoidance, are of varying genders, some with human sounding names, some celestial. Copper, rubber, cast iron, anti-rust paint and bolts are the other components and contents of this book (the copper darkened where it wasn’t preserved by the paper leaning, the rubber abided by its elasticity, the cast iron oxidised and turned deep orange, which spilled onto the paper and onto the wall, the anti-rust paint got shat on by a bird, the bolts remained unaffected). These materials belong to Marie Lund. Much like a cover, and the tools required to mount a cover, Lund’s sculpture Slip is an active circumstance. A calibrated disposition that produces a discreet aesthetic situation, whilst holding the space, holding a piece of writing (the paper on which it was printed caved from rain and leaned against the copper), and holding its own weight. This amplified prosthetic, this body aid as sculpture, becomes a body itself, one inhabiting the perimeters of this self-proclaimed stage of cultural dissemination. 

   


A reading of AVOIDING THE GENIUS can be listened to via your phone using the link: www.lespritdelescalier.fi/188 - key: ATG1

Marie Lund’s sculptural work and Jesper List Thomsen’s text AVOIDING THE GENIUS was in 2017 brought together in the publication SCOUT published by MIDI/Mousse. This exhibition at Kunstscenen is an continuum of that meeting. 


** changes that happened to the works as a consequence of weather and environmental circumstances. 























Emil Rønn Andersen



PARTERRE

Amalie Smith, Astrid Myntekær, Cecilie Skov,
Jan S . Hansen, Lulu Refn, Morten Skrøder Lund,
Sebastian Hedevang & Andreas Rønholt Schmidt,
Sandra Vaka, Torben Ribe, Tove Storch

31.05. - 14.07.2019 Opening Friday 31.05. from 17 - 20
Kunstscenen.xyz

The word Parterre comes from the French and literally translated means "on the ground". Since the 16th century the word was used to refer to a formal, ornamental garden. By the mid-17th century and onwards it also refers to the inexpensive ground level of a theatre.

The first parterre gardens originated in the gardens of the French Renaissance and often had the form of knot gardens. Later, in the 17th century Baroque garden, they gradually became more elaborate and stylised. The French parterre reached its greatest development at the Palace of Versailles. A typical parterre garden consists of plant beds and hedges in symmetrical patterns, which are separated and connected by paths. The patterns require a level substrate and are designed to be viewed from a raised vantage point, as for example from a terrace or balcony. During the 18th century parterre gardens lost favour and were gradually superceded by English landscape gardens. However they have since been revived in new styles. In the victorian era they reappear in flower beds fashioned as emblems.

In the theater system the word parterre is used interchangeably to refer to the ground level (also known as "the pit") and to designate the audience of that space. The cheap parterre tickets drew a high number of lower-level professionals and commercial labourers such as artists, students, journalists, lawyers, prostitutes and petty criminals. The parterre was a noisy, often boisterous place, where talking, whistling, drunken brawls, hissing, even dancing and singing was common behaviour and where people reacted on the stage performance with applause or booing or by pelting the stage with oranges. Some historians see in the parterre an early form of the public sphere as we know it today. A forum where power and authority could be openly criticized. Where the gap between representation and common people had disappeared.

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PARTERRE

Amalie Smith, Astrid Myntekær, Cecilie Skov,
Jan S . Hansen, Lulu Refn, Morten Skrøder Lund,
Sebastian Hedevang & Andreas Rønholt Schmidt,
Sandra Vaka, Torben Ribe, Tove Storch

31.05. - 14.07.2019
Fernisering fredag d. 31.05. fra 17 - 20
Kunstscenen.xyz

Ordet Parterre stammer fra fransk og betyder bogstaveligt "på jorden". Siden det 16. århundrede har det været brugt som betegnelse for en formel, ornamental have. Fra midten af det 17. århundrede og frem betegner det også de billige gulv-pladser i et teater.

Indenfor havearkitektur går de første parterre-haver tilbage til den fransk renæssance i form af såkaldte knudehaver. I barokken udvikler de sig og bliver stadig mere elaborerede og stiliserede. Det nok berømteste eksempel på fransk parterre er haven ved slottet i Versailles. Den typiske parterre-have består af lave hække, blomsterbede og stier, som er inddelt i symmetriske mønstre. Havemønstrene kræver et fladt underlag og er designet til at ses oppefra, for eksempel fra en terrasse eller balkon. I løbet af det 18. århundrede går parterre-haverne efterhånden af mode til fordel for de engelske landskabshaver. Men de er sidenhen genoptaget i nye former. I victoriansk tid genopstår de i blomsterbede anlagt som emblemer.

I teaterverdenen betegner parterre både en rumlig sektion og en publikumstype: Parterre-publikummet var historisk en uhomogen forsamling af forskellige klasser, køn og interesser: håndværkere, kunstnere, studerende, journalister, advokater, ludere og lommetyve. Parterret var et temmelig løssluppent sted, hvor der blev snakket højlydt, sunget og piftet, hvor der udbrød slåskampe eller spontan dans, og hvor folk reagerede med klapsalver, buh-råb eller appelsin-kast mod, hvad der foregik på scenen. Nogle historikere ser parterret i teateret som en prototype på det, vi idag kender som den offentlige sfære. Et forum, hvor kritik af magt og autoriteter kunne komme til orde. Hvor forskellen mellem repræsentationen og folket var forsvundet.



https://www.facebook.com/events/606140279873549/


https://www.ofluxo.net/parterre-curated-by-magnus-thoro-clausen-and-kare-frang-at-kunstscenen-xyz/

https://artviewer.org/parterre-at-kunstscenen-xyz/

https://kunstkritikk.dk/oprab-fra-de-billige-raekker/

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

Emil Rønn Andersen

Emil Rønn Andersen
Cube
26.04 - 26.05.2019
Opening Friday 26.04 from 17 - 19


Cube shows the intersection between materiality and simulation viewed through the format of photography. It is comprised of approximately 50.000 photographs of several works that were exhibited at Kunstscenen in the past as well as discarded objects found in the area around the scene. Emil Rønn Andersen has rephotographed the previous exhibited works adopting the same perspective as the original documentation. Using a collection of simulated light conditions, each photograph imitates a specific environment or atmosphere: an early morning in autumn, a dark rainy night, the backlights of a car etc.

By compiling series of photographs of each object into a fast paced slideshow, Emil Rønn Andersen places the objects in a continuously transforming state. Two fragmented walls mimicking Kunstscenens architecture are placed directly within the space. The various photographs are presented as serial prints composing the wall surface. The slideshow will be displayed in the format of video at the opening. After the opening the video will be accessible at Kunstscenen's site http://kunstscenen.xyz/ .

All of the components in the show are the result of automated processes. Rønn Andersen acts as a creator and organiser of several systems which are set into motion. His role is therefore reduced to a kind of systems-manager comparable to developments within industrial production where manual work is rapidly being replaced by the management of complex systems.

As a title Cube is referring to a well known work by Sol LeWitt from 1988 in which a cube was photographed using nine light sources in all their combinations. But it also refers to Kunstscenen as a physical cube that is distributing itself in the digital space. One of the questions raised is how we consume art via image-documentation in a digital age where the border between being there and elsewhere is blurred and practically non-existent.

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Emil Rønn Andersen
Cube
26.04 - 26.05.2019
Fernisering Fredag d. 26.04 fra 17 - 19

Udstillingen Cube handler om overgangen mellem materialitet og simulation set gennem fotografiets optik. Den er bygget op af cirka 50.000 fotografier af værker, der tidligere har været udstillet på Kunstscenen samt af enkelte hverdagsobjekter fundet i området omkring scenen. Alle motiverne er blevet refotograferet af Emil Rønn Andersen fra samme perspektiv som i den oprindelige dokumentation af udstillingerne, men gennem et mangesporet register af simulerede lys forhold, således at hvert foto kommer til at imitere et særligt miljø eller stemning: en tidlig efterårsmorgen, kl. 2 om natten i regnvejr, en eftermiddag i lysskæret af lygterne fra en bil...

Refotograferingen forvandler enkeltmotiverne til tilstande i kontinuerlig forvandling. Disse tilstande er udstillet i form af serielle prints - som en slags billeddatabaser af overinformation - bygget ud til vægge, som man kan bevæge sig rundt om, og som en video, der tager form af et slideshow med en tydelig kronologi der udfolder sig i et slør af varierende hastigheder. Videoen vil efter åbningen også være tilgængelig på Kunstscenens hjemmeside http://kunstscenen.xyz/ .

Alt materialet i udstillingen er resultat af automatiserede processer, som er blevet til uden kunstnerens direkte indblanding udover som afsender af en forestilling, modtaget og realiseret af et system af selvkørende produktionsværktøjer. Kunstnerens rolle er således reduceret til en art system-manager, der kan sammenlignes med udviklingen inden for industriel produktion, hvor manuel fremstilling er erstattet af forvaltning af komplekse systemer.

Titlen Cube er en hilsen til et berømt værk af Sol LeWitt fra 1988 med samme navn, hvor en kube blev fotograferet med ni lysindstillinger i alle kombinationer. Men den henviser også til Kunstscenen som en kube, der både er fysisk og som distribuerer sig selv digitalt på nettet. Udstillingen rejser spørgsmål om, hvordan vi forbruger kunst i form af billed-dokumentation i en digital virkelighed, hvor grænsen mellem realisme og fiktion er mere flydende end nogensinde og måske slet ikke findes længere.

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https://www.facebook.com/events/426362001461203/













Ken Sortais & Rebekka Deubner

Ken Sortais & Rebekka Deubner
LE FRUIT DE NOS ENTRAILLES
09.03. - 06.04.2019
Opening Saturday the 9th of March 15 - 17


The remains of a feast, congealed in wax. Shrimp heads are emerging from the whitish surface confining them.

Entangled in the carcass of a chicken are peels of oranges in place of entrails, overflowing in streamers among the nacreous shells of the disemboweled oysters.

A gluttonous mouth in an aspiring, dripping dance, is nourishing itself with the future dead bodies left to rot, a feast of sparrows and ants who invite themselves to dinner.

Reddening bunches of grapes are spurting out of Silene's wounds, so many juicy excrescences, fruits of the child Dionysus whom he is rocking against his fluid torso. The chimera, half human - half beast, is resting here, decapitated after having led a furious dance, guiding the Bacchantes towards other mysteries.

http://www.facebook.com/events/1181467235350036/


Photos available here:
https://artviewer.org/ken-sortais-rebekka-deubner-at-kunstscenen-xyz/

http://tzvetnik.online/portfolio_page/ken-sortais-rebekka-deubner-at-kunstscenen/




Rum#356 by Lone Haugaard Madsen at Kunstscenen

Lone Haugaard Madsen
Rum#356
09.02. - 02.03. 2019


INT.
For this exhibition Lone Haugaard Madsen has cast a small section of the lawn in front of Kunstscenen and transferred the resulting space-fragment to the open white cube. It is a seemingly simple and direct gesture, where the work's form is determined by the process more than by the artists' hand. But the simplicity of the action is relating to a complexity of questions about what a public art space is and how meaning is produced. The combination of materials act and conceptual questions is characteristic of all of LHM's works. Somehow the questioning is here pushed to the extremes because the art frame is less defined in advance and the line between art and nonart is constantly moving.


But what is the meaning of casting a hole in the ground? To begin with it brings something normally neglected or inconsequential into focus, as something to think about and look at from a new perspective? It is also a way of turning an uneven topographical surface that changes day by day into a kind of monument - a fixation of chance and time? Soil in itself is fundamental for all life and for the atmosphere: as a medium for plant growth, as a container for water, micro-organisms and minerals. At the same time nothing and everything? More pragmatically it is a basis for Kunstscenen's construction, that here - as a negative space - is placed within the architecture, and heaven and earth is turned upside down.


DK.
Lone Haugaard Madsen har til denne udstilling støbt et lille stykke af græsplænen foran Kunstscenen og flyttet rum-fragmentet over i den åbne hvide kube, som Kunstscenen forestiller. Det er en tilsyneladende simpel og direkte mikro-gestus, hvor der for eksempel er brugt meget lidt tid på at modellere eller forme værket, som dannes af sin egen tilblivelse. Men netop derfor indeholder det også en række spørgsmål om, hvad et kunstrum er og hvordan betydning bliver til. Kombinationen af materiel handling og konceptuelle spørgsmål kendetegner alle Lones værker gennem årene. Men det er måske sat på spidsen her, hvor kunstrammen er mindre defineret på forhånd og grænsen mellem kunst og ikkekunst er ret flydende.


Men hvad vil det egentlig sige at støbe et hul i jorden? Først og fremmest er det måske en måde at gøre noget umiddelbart overset synligt som noget at tænke over og se fra et andet perspektiv? Det er også en billedgørelse eller forvandling af en bulet topografi, som ellers ændrer sig dag for dag, til et slags monument - en fiksering af tilfældighed og tid? Jord i sig selv er jo fundamental for alt liv og atmosfære: som medie for plantevækst, beholder for vand og et væld af organismer og mineraler. På den måde både ingenting og alt? Det er også et konkret grundlag for Kunstscenens arkitektur, som her placeres inde i arkitekturen, og himmel og jord vendes om.












The Leaf by Kåre Frang at Kunstscenen

Fredrik Tydén
Eleva il tuo potenziale (Piazza Navona)
12.01. - 01.02. 2019


The exhibition Eleva il tuo potenziale is inspired by the aesthetics of the baroque and the presence of historical baroque monuments in our contemporary urban space. Fredrik Tydén's point of departure is the allegorical fountain at Piazza Navona in Rome, made by Giacomo della Porta in collaboration with Bernini which has been reconstructed around Kunstscenen's structural facade so that the architecture of Kunstscenen functions as supporting image for the work. The structure of the fountain resembles a line that is infinitely folded in convex and concave folds around itself. In Deleuze's book The Fold on the philosophy of Leibniz the fold is described as a central motif in the baroque period for thinking about matter and soul. It is an operation that contains and organizes clarity and obscurity, inside and outside, actuality and potentiality. Our monadic soul is infinitely folded, thus not only does it have a clear zone of expression but also obscure folds implying virtual becomings. And every monad contains the whole world.

The aesthetics of the baroque provide the object with a new status by realizing it as a modulation in time that is continually in variation, where the form is continually progressing. In contrast to a static mold Leibniz talks about a consecutive time-based mold constantly changing. The object is no longer a static essence but becomes an event always implicating other potential inclinations. According to Deleuze the baroque is a psychotic episode, where human Reason is falling apart in a broken down world and where everything trembles. Leibniz' solution is to multiply the principles, to constantly pull out new principles from his sleeve and thus transform their use.

In the exhibition della Porta's fountain has been translated into a double-sided hovering sculptural ornament resonating with the baroque ideas of modulation and harmony, where the folds of matter and soul are infinitely enveloping each other. But the concept of the Baroque House with heavy matter down below and light souls above is shifted to a transversal flickering facade, based on a another kind of mathematics, materiality and relation to the city. There is also another folding concept in use here, built of polygonal digital structures more resembling those we come across in Ucello's paintings.


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Med udstillingen Eleva il tuo potenziale (Piazza Navona) har Fredrik Tydén ladet sig inspirere af barokkens æstetik og tilstedeværelsen af historiske barokke monumenter i nutidens byrum. Helt specifikt er det pladsen Piazza Navona i Rom med det allegoriske springvand af Giacomo della Porta og med tilføjelser af Bernini, som udgør afsættet for en skulpturel omformulering omkring Kunstscenens bærende konstruktion. Kunstscenens arkitektur bliver billedet, som værket modellerer videre på. Springvandets struktur udgøres af en linje, der folder sig uendeligt i konvekse og konkave folder omkring sig selv. I Deleuzes bog om Folden - anskuet gennem Leibniz' filosofi - beskrives folden som et centralt motiv i barokkens tænkning af både stoffet og sjælen. Det er en operation, der indeholder og organiserer klarhed og dunkelhed, inderlighed og ydelighed, aktualitet og potentiale. Vores monadiske sjæl er for eksempel uendeligt foldet sådan, at den både har et klart udtryksområde, men også dunkle folder, som indebærer virtuelle tilblivelser. Og alle monader indeholder hele verden.

Barokkens æstetik giver også genstanden en ny status ved at virkeliggøre den som tidslig modulation, der kontinuerligt varierer i tid, hvor formen er i kontinuerlig udvikling. I stedet for en statisk støbeform taler Leibniz om en fortløbende, tidslig støbeform som ændrer sig øjeblik for øjeblik. Genstanden er ikke mere en stillestående ting, men bliver til en begivenhed, som altid indebærer andre mulige bøjninger. Deleuze beskriver barokken som en episode lige før et sammenbrud, hvor den menneskelige fornuft går til grunde i en opbrudt verden og alting skælver. Leibniz' løsning er at mangfolddigøre principperne, konstant at hive et nyt princip ud af ærmet og dermed ændre deres brug.

I udstillingen er della Portas barokke springvand oversat og eleveret til et 2-sidet svævende skulpturornament, som resonnerer med disse ideer om modulation og harmoni, hvor stof og sjæl er foldet om hinanden i evig vibration. Men barokkens hus med det tunge stof forneden og de lette sjæle øverst er forskudt til en tværgående blafrende facade, lavet ud fra en anden matematik, materialitet og relation til byen og et andet foldebegreb bygget op af polygonale, digitale strukturer i slægtskab med dem, man kan finde i Ucellos malerier.


https://www.facebook.com/events/713497375710624/











The Leaf by Kåre Frang at Kunstscenen

 

Kåre Frang
The Leaf
November 30 - December 21, 2018
Extended until January 6, 2019

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.

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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.


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







Den Blå Kat
Inkjet ink, plaster, aluminum, paint (RAL 5011)
118,5 x 175 cm (Abribus/Adshel)
2018

View all photos



Outdoor is inevitable
Inkjet ink, plaster, aluminum, paint (RAL 5011)
118,5 x 175 cm (Abribus/Adshel)
2018




Well, daddy
Bronze, acrylic paint, patina fluid, anti-theft box,
advertising bundle
2018










Jeg falder i vandet
Parking sign, aluminum, watercolour
2018












Thin air river
Flatscreen tv, 540 fps slow motion,
clothing alarm tags









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.

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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.

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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




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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.

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

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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.


















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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.


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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.xyz



Please note:
Kunstscenen.xyz is currently closed


Kunstscenen is an 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, Statens Kunstfond, Københavns Billedkunstudvalg og Det Obelske Familiefond.




            




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