CRISTIAN ANDERSEN

CRISTIAN ANDERSEN I say hallo to goodbye



Larm Galleri

Andreas Johansson

In his paper-collages Andreas Johansson exposes his imaginary and nihilistic project and invites the spectator behind the constructed perspective of his landscape sceneries.
It is with great pleasure that we welcome you to our second solo show with the Swedish artists Andreas Johansson. At the exhibition 'Studies of an imaginary place' Andreas Johansson will be showing seven large paper collages, made out of photography’s he has taken of areas from his close environment.

At first glance Andreas Johansson’s 2-D paper-collages appears to be photography’s of deserted and demolished places, where al human civilization seems to have left the dilapidated concrete- and iron-constructions to the mercy of mother nature. Wild bushes and weed perforate the asphalt in front of the towering – almost roman-like – concrete columns. The graffiti-painters have long since decorated all vertical surfaces of the ruins and a (very) clear blue sky lies on top of an ever-seductive horizon. Although a closer inspection reveal that these landscapes – on one hand quite and on the other hand grand sceneries – are meant to be just as illusory, just as full of poetry and pent-up feelings, as the landscape paintings of the Romanticism. Andreas Johansson’s paper-collages are not only a deconstruction of the real existing places in his environment. They are also a re-construction of new imaginary places. A kind of 'non-places'. Places that without a pre-existing history are left open to an almost nihilistic kind of perspective.

In Johansson's sculptural paper-collages it becomes even more evident, that landscape sceneries are always (more or less) a construction of the artists mind and the spectators point of view. In his sculptural paper-collages his illusory way of playing with surfaces and depths becomes evident in the simplest way imaginable. The third dimension of the sculptural collages reveals that only from one angle, and one angle only, are things perceived in the right perspective. If the spectator takes one little step to the left or right, the illusion is broken and the reality of the distorted perspective becomes evident. In the sculptural collages Johansson exposes his imaginary and nihilistic project and invites the spectator behind the constructed perspective of his landscape sceneries.

Andreas Johansson (1977) live and work in Malmö, Sweden. He is a graduate from the Art school Idun Lovén and The Art Academy in Malmö (2006). He has previously been exhibiting at Kunstverine Hannover, I.A.S.P.I.S. in Stockholm and the Photo Festival in Arles, France. He is also represented at Malmö Art Museum and several other public institutions.


Bendixen

Tova Mozard og Miriam Bäckström

PL Gallery

Olafur Eliasson

Det er must at kigge forbi Claus Andersen i aften & Se Olafur nye kæmpe mester værk, der er solgt::::

Andersen-s

BENANDSEBASTIAN ’MADE IN RUINS’

BENANDSEBASTIAN

’MADE IN RUINS’



EXHIBITION PERIODE: FEBRUARY 26th – MARCH 28th, 2009
bendixen contemporary art is pleased to announce the opening of the solo exhibition Made in Ruins by ‘benandsebastian’.
The artists / architects behind the inter-disciplinary group ‘benandsebastian’ are Ben Clement (GB) and Sebastian de la Cour (DK). At their first solo exhibition at bendixen contemporary art they'll be showing a new architectonic sculpture that once again invites the spectator to explore benandsebastian's characteristic and complex universe.
benandsebastian's fascination with urban and architectural subjects is evident in the exhibition Made in Ruins, where they examine the fragmented qualities of a deconstructed ruin.
'benandsebastian' have created a beautiful and well-crafted spindle staircase, which doesn't seem to lead anywhere; on the contrary, it seems to fall apart. Underneath the stair's functional steps there exist complex, underlying constructions with their own extensive urban structures. In this very spatially-orientated sculpture, the inner, complex constructions appear in a wonderful and yet disturbing contrast to the solid and coherent baluster, casing and skirting boards.
As the title Made in Ruins reveals, the subject of time is of great importance. Even though the the broken spindle staircase stands as if frozen in time, the exposed parts of the sculpture leads the imagination past the frozen present and towards unknown tales of a past and a future.
In many ways Made in Ruins seems to trifle deal with questions about the power struggle between the inner and outer constructions, between construction and deconstruction, and finally between beauty and decay.
The inter-disciplinary artist group 'benandsebastian' are able to embrace the boundaries between art and architecture in a very characteristic way. This is not only due to the fact that they can excite the curiosity and fascination of the spectator in a superior manner; 'benandsebastian's works of art become architectonical and sculpturally interesting because they can play so brilliantly with different scales, materials and have a high standard of craftsmanship. There works of art also become artistically interesting because they not only focus on aesthetics, but are also able to incorporate political, ethical and cultural motives in their sculptural works.
Ben Clement (1981) and Sebastian de la Cour (1980) live and work in Copenhagen and are both graduates from The Bartlett School of Architecture, University College in London. They have been working together for the past three years as the artist duo 'benandsebastian' and in 2008 received several national prizes and awards for their artworks. 'benandsebastian' were the exhibition designers for the recent Fifty/Fifty SE exhibition and will be participating at several other exhibitions this year, for example at the Museum of Modern Art (Roskilde), Kunsthal Charlottenborg and Riot Pilot (Copenhagen). Just recently they have also contributed to the artists' paper Internationalistisk Ideale #2, which was released in connection to the exhibition Utopia, at Arken – Museum of Modern Art.

Bendixen Art


It’s Raining Men...!

It’s Raining Men...!
Jesper Just, Martin Erik Andersen, Alexander Tovborg, Ferdinand Krag, Simon Dybbroe Møller (Maria Loboda), Ulrik Heltoft, Ulrik Møller, Ulrik Weck, Peter Holst Henckel, Kaspar Bonnén, Troels Sandegård.

Christina Wilson

KRISTLEIFUR BJÔRNSSON SLOPES

KRISTLEIFUR BJÔRNSSON
SLOPES
20.02.09-13.03.09

Stalke Up North i Gothersgade præsenterer Kristleifur Björnssons første solo show i Danmark med den fotografiske serie SLOPES. Kristleifur Björnsson kommer oprindeligt fra Island, men bor og arbejder i dag i Berlin. Han deltog i 2008 på Tate Moderns meget store udstilling, Street & Studio, om fotografiets historie igennem de sidste 100 år.

SLOPES

Igennem næsten 10 år har Kristleifur Björnsson taget billeder i det bjergrige Nordøstlige Island. Men billederne taget igennem disse mange år undersøger ikke forskellighederne i de geologiske formationer og forvandler heller ikke naturen til et stykke jomfrueligt vildnis, som man kunne forvente. I stedet er Kristleifur Björnssons fokus koncentreret på detaljen: billederne viser ˆ simpelthen ˆ bakker!

Nogle gange, når billederne er taget fra en lidt ophøjet vinkel, bliver bakkerne vist i et underbelyst og tåget lys. Billederne er uden drama, de bliver ikke belyst af solen eller dramatisk skildret imod himlen. Kristleifur Björnssons fotografier er ikke en fortælling om den ensomme vandrers heroiske opfattelse af naturen, de er snarere strukturerede af en non-hierakisk opfattelse af landskabet.

Fotografierne er et meget præcist billede af et stykke landskab. Bakkernes rolige nedadgående glidning forvandles til rytmiske bevægelser via fladheden i Kristleifur Björnssons billeder. Græsklædte områder varierer med stenområder og sprækker der skærer igennem billedet, og det føles som om Kristleifur Björnsson tager landskabet ud af landskabet.

Billedernes fragmentariske karakter viser den åbenlyse fotografiske kvalitet i værkerne, men på samme tid giver de begrænsede farver og den taktiske struktur billederne en moderne klang.

Udflugterne til bjerglandskabet som Kristleifur Björnsson har foretaget igennem så mange år, beriger serien med nye variationer over billedplanets fladhed. Men det er ligeledes med personlige og meditative aspekter, til trods for at Kristleifur Björnsson ikke repræsenterer Land Art, hvor processen ofte er det virkelige værk. Han har snarere ledt efter billeder som han allerede havde i sit sind, og som han kun kunne finde der. Det er jagten på en helt bestemt forms kvalitet, som kommer fra ens oprindelse.

Stalke

Nicolai Howalt - Car Crash Studies

Martin Asbæk

"SPHEROLOGY"

Kære Alle

Kom til fernisering  i Galleri Veggerby, Ny Østergade 34, Kbh K, på "SPHEROLOGY" med værker af:

Nils Erik Gjerdevik
Jesper Christiansen
Morten Ernlund Jørgensen
Jonas Pihl

Kurateret af Jonas Pihl

Fredag d. 20. februar kl 16-19

Udstillingen kører frem til d. 14. marts

Åbent tirs.-fre. kl 11:30-17:30, lør. kl 11-15
Lukket søn., man.

Galleri Veggerby

Graffiti live fra 1991

Graffiti fra 1991

Graffiti fra Sydhavnen

Nyt lækkert graffiti fra 2 af 80 ere kongerne, Dozo & Toys crew:::
Toys Crew
Dozo

Morten Schelde

Vane

Christian Vind

Christian Vind has run 225 sheets of white paper through a printing press along with a plate of cobber in order to obtain a simple depression in the paper caused by the pressure and the plate. The multiple sheets of paper are reworked to unique works of art, which are exhibited at Ekstrakt (Extract), Christian Vind’s solo exhibition at Galleri Tom Christoffersen.

The many works on paper are gathered into five frames: Ekstrakt 1-5. Collage, gouache, drawing, stamp, Letraset and reproductions such as photography is used. The 225 works has been given titles such as: Stroke, Kejtright, Voldby, Artist Talk, Ay Caramba!, Traces of Origin, Hvid Psykose, Last Call and Image dublicator.

This diversity in choice of materials and these multifaceted titles point at Ekstrakt as yet another labyrinthine exhibition by Christian Vind, which is elaborately thought through. A space where the artist - as in the previous artists’ books and comprehensive solo exhibitions – reorganises his ever accumulating archive of found objects, texts, works of arts, images, beach stones etc. Translated into new art works and a new structure of presentation the archive is brought to comment on both art history, history, a contemporary political situation and to Christian Vind and his artistic production in general. The presentation offers temporarily exchanges appearing between the works primarily by association, and new layers of meaning are continuously put into play.

Ekstrakt is the controlled juxtaposition of all and nothing, presented to all and for none – or to whom it may concern. The exhibition is simply a fantastic gesture.

*From Karen Friis Hansens catalogue text Tegn og Underlige Gerninger, published during Christian Vind’s solo exhibition at Silkeborg Kunstmuseum, 2008. Silkeborg Kunstmuseum purchased the artwork 117 Hvidpapirfeber boxsæt containing 117 reworked sheets of paper with depression.

Christian Vind (1969) graduated from the Royal Academy of Fine Arts in 2003. Previous solo exhibitions are among others: Tegn og Underlige Gerninger – En Silkeborgfortolkning Silkeborg Kunstmuseum (awarded honorarium by the Danish Arts Foundation) and Gl. Holtegaard (2008). Tryktanken Galleri Tom Christoffersen (2006). Group exhibitions counts for example: The Map is Not the Territory Esbjerg Kunstmuseum (2008/09), Match Race – modernistic remixes between now and then Nordjyllands Kunstmuseum (2007), Exportable Goods A Krinzinger Projekte by Krinzinger Gallery Wien (2006). Of book projects especially vol. 1 and 2 in the trilogy Hvidpapirfeber - Hvidpapirfeber (2004) og Bøf er Stegt (2005) – have gained attention. On February 20. 2009, the newest book project En rejse til Trieste will be released (a collaborative work with Claus Carstensen). Christian Vind is represented at Silkeborg Kunstmuseum and has done engravings for Den Danske Radeerforening.

EKSTRAKT

Christian Vind

Press Release in Danish (PDF)

Duration
13.02. - 21.03.2009

Opening
13.02.2009 at 5-8 pm


Cube
Anna Fro Vodder


Book release
20.02.2009 3-5 pm

On behalf of Claus Carstensen and Christian Vind, Galleri Tom Christoffersen cordially invites you to the release of ”En rejse til Trieste”. The book project evolves around the walk from Copenhagen to Trieste, which the artists performed in 2006.
(Please note: we don’t accept credit card)


The publication “En rejse til Trieste” is supported by the Danish Arts Council's Committee for Visual Art

The publication “The Best of Anna Fro Vodder” is supported by the Danish Arts Council's Committee for Visual Art

Tom Christoffersen

PETER BESTE: TRUE NORWEGIAN BLACK METAL JOHANNES ATLI HINRIKSSON: ST. CLAUDE

PETER BESTE: TRUE NORWEGIAN BLACK METAL
JOHANNES ATLI HINRIKSSON: ST. CLAUDE
Opening reception: February 13th 2009 from 5pm to 10 pm
Exhibition period: February 13th to March 7th 2009

In the name of Scandinavia and cult V1 Gallery opens two exhibitions Friday the 13th: the first exhibition, True Norwegian Black Metal, is the celebrated American photographer Peter Beste’s reflections of the darker side of Norway. The exhibition, St. Claude (whose title refers to the patron saint of sculpture), by the notorious Icelandic artist Johannes Atli Hinriksson’s is a ghost ride through the strange symbolic world of fantasy and reality.

PETER BESTE: TRUE NORWEGIAN BLACK METAL
Peter Beste is one of the most celebrated documentary photographers on the international contemporary art scene today. In particular Beste is famous for his precise and poetic portraits of subcultures. His seven year long portrayal of the gloomy worshippers of Norwegian black metal can be experienced from the mythical date Friday the 13th at V1 Gallery.

Beste’s documentary dives into the intense devotion of ’chaos and evil’. It depicts an existence, where darkness consumes light and where death is life. An obscure mix of Satanism, Nordic mythology, horror movies and extreme heavy metal forms the frame around this Norwegian subculture that aggressively forsakes Christianity and mainstream society in favour of Nordic heathen gods and self afflicted isolation. This violent subculture attracted international attention in the early 90s with a string of murders, suicides, church incinerations and grave desecrations, but in Beste’s pictures it is especially the bizarre and theatrical mannerism that fascinates. The men’s misanthropic scowl is complimented with a wardrobe rich in detail and a time consuming make-up that stands in stark contrast with Norway’s naked nature. In the spirit of Nietzsche the black metal culture fuses the Apollonian and Dionysian – an antagonistic harmony that beautifully enters the very silent monumental surroundings. Pentagrams, torture instruments, theatre blood, white face paint and black clothes are all essential elements in the almost teenage-like renunciation of normality. And even though it is difficult not to feel amused by the men’s vain postures the smile is wept of the face when met with their grim glare.

JOHANNES ATLI HINRIKSSON: ST.CLAUDE
The Norwegian self announced heathens are confronted with Johannes Atli Hinriksson’s occult obsessions. He traverses a universe consisting of symbols, totems, arch types, shamans and signs. Even though his art looks like a rejection of reality, Hinriksson’s works actually reflect and document contemporary Western life. Using mythology, religion, pirate fables, industry and tabloid media, he morbidly simulates the Western world where consumption is existence and flight from reality is habitual. The juvenile destruction contains – as in Beste’s photographs – a passage to a dark gravity where truths, lies, reality, fiction, destruction and creation are hurled together into one gritty human maelstrom. The furious sin flood – red like blood and black like death – covers his sculptures, collage, video and installation with grimy irony, white anger and a fluorescent societal critique much like Paul McCarthy’s mad and marvellous feverish mind trips.

THE BLACK THREAD
Like a stereoscopy the two exhibitions project a third dimension in the shape of question signs: where do you draw the line between firm conviction and blind superstition, morale and double standard, conception of reality and distortion of the truth? Beste’s and Hinriksson’s tales are by closer inspection not further from the stories we are told and tell ourselves. Their fables remind us to stay equally critical towards the adult truths and lies in the everyday as we are towards seemingly unknown universes.

V1 Gallery

Husk Mit Navn

Husk Mit Navn

Eddie Martinez in Korea

Seomituus

Gallerier flytter fra Amager og Valby

Islands Brygge og Valby er ikke længere så sikre kort. Nu går turen tilbage til Bredgade.

Mogadishni, der oprindeligt lå nær Njalsgade, og derfra som de første flyttede til Valby, rykker nu til fashionable Bredgade.

Christina Wilson er flyttet fra Bryggen til Esplanaden, og selv Nicolai Wallner, der grundlagde gallerieventyret på Amager, ligger i flytteplaner.

***