BARRY McGEE / ED TEMPLETON / RAYMOND PETTIBON

Circleculture Gallery

Cannibal Minds

Mohs

Yet seemed it Winter Still

The spring exhibition at Faurschou CPH borrows its melancholic title from a line in Shakespeare's beautiful spring sonnet #98. Springtime has come to give rebirth and everything blossoms, yet for the person in the sonnet, it is winter still, and the separation from the beloved is painfully felt.

The sudden awakening from winter's darkness, the celebration of youth and life makes springtime a period of strong emotions. The contrast between death and life, the difference between being alone or together is strongly felt. "April is the cruellest Month" as T.S. Eliot says.

The exhibition displays recent works by artists represented by the gallery. Life and death; beauty and decay, joy and melancholy; existential questioning and black humour are reappearing themes in their art works, often presented in frapping aesthetics.

The exhibition is an opportunity to mention the artist's other current activities.


Michael Bevilacqua
With his two current solo shows in New York (Gering-Lopez), and Milan (The Flat) Michael Bevilacqua is showing a new stylistic phase.
His recent works are as always multilayered, consisting of a combination of different painting techniques including free-hand brushstrokes, collage, masking and stencilling - however more wild, energetic, and rebellious than ever. Sarcasm, heavy metal, punk, and 1980's bands fill his paintings together with skulls, body parts and poisoned apples. These darker elements are subdued by more subtle images.
The most remarkable about Michael Bevilacqua's paintings is that they encompass a visual power that knocks over the viewer. His paintings almost shout at you. His "contemporary still lives" have catching imagery. They are diaries of everyday encounters with the world as well as abstraction and clear colours. The tactile surfaces of the canvases are aesthetically appealing; and most of all Michael Bevilacqua has an extremely intelligent talent for composing colour - all making him a unique and very vital contemporary painter.

Erik A. Frandsen
Upon his recent successful show at ARoS, Aarhus, with more than 60.000 visitors, Erik A. Frandsen will now be showing at Faurschou Beijing from March 21. - May 17. The exhibition title is "Frozen Moment Desert".
The works for this show will be new steel works and selected large paintings.

Erik A. Frandsen will have a solo show at Galerie Hof & Huyser in Amsterdam in May.

Also Erik A. Frandsen has been invited to exhibit at the Guan Shanye Art Museum, Shenzhen as well as MoCA Shanghai in the fall/winter of 2009 and 2010.

Erik A. Frandsen's works are in his own words "frozen moments" something seen and experienced being expressed in a medium that will hold on to the memory of these seen things and moments. With their humorous, unconventional, and astonishing contents, Frandsen's works are thought provoking and his choice of aesthetically beautiful materials such as mosaics in Venetian smalti, large scale paintings, or shiny engraved steel plates makes these existential moments an aesthetically pleasurable experience.

Christian Lemmerz
Christian Lemmerz is busy preparing his solo show "Largo" for Statens Museum for Kunst /The Danish National Gallery.
This will be an exhibition of all new works.

The installation draws on theatrical and ritual performances, connections are drawn between the exhibition space and the ritual space of the church. A major theme in the exhibition is death, not only understood as the physical termination or the end of life, but also philosophically and existentially as absence, emptiness, and silence on the one hand side - and as the origin of culture on the other.
The exhibition will open May 16th 2009 - and run through March 6th 2010.

Coinciding with "Largo" at Statens Museum for Kunst - Faurschou CPH will host a show with new works.

Christian Lemmerz has just been awarded with the Thorvaldsen Medallion, after the Danish sculptor Bertel Thorvaldsen, given to him for his excellent work of art. The medallion is the highest distinction that can be given to an artist by the Danish Royal Academy of Fine Arts.


Michael Kvium
Michael Kvium is currently working on both gallery and museum exhibitions in The Netherlands and China.

Although to a greater extent Kvium chooses to paint landscapes over figuration nowadays, his paintings are as grotesque, thought provoking and painfully beautiful as ever. They are what he calls "tales for the eye" - and death always seems to be lurking in Michael Kvium's works.
We meet just a wintry bog, a Scandinavian Waste Land abandoned for the omnipresent, lurking crows, and the thin naked oak and birch trees, and the continual "dead ends" - leading nowhere.
It is beautiful in an alarming manner. To the viewer these trees almost seem like little human figures, lonely as they stand in the landscape.
The most significant characteristic of Kvium's landscapes is absence, even though we do from time to time meet a lonely naked human figure. And with the traces of human existence, the viewer suddenly becomes conscious of his own presence - and conscious of the painters presence as well.

Erik Parker
Erik Parker is currently showing new paintings at Paul Kasmin Gallery. The show is entitled "Crisis Creation" and runs from February 26th- March 28th.
Parker is well known for his vividly colourful anthropomorphic figure, composed of various shapes. While maintaining his individual sense of space and dynamism, Parker is deeply influenced by a variety of subcultures ranging from underground comics, illustration, graffiti and music. The fluid, intense visuals of Parker's works are informed in part by the patchwork of musical sources he listens to, none more evident than psychedelic rock. Consequently, the obvious shapes and colours, with cartoon-like doodles combine to create a vocabulary of "ordered disorder" - here, Parker's talent continues to blossom in this new collection of work.

Nina Sten-Knudsen
Nina Sten-Knudsen has moved to Berlin working in a spacious studio, necessary for her large formats.

Nina Sten-Knudsen is preparing her upcoming museum show at Nivaagaard Art Museum, Denmark, in the fall of 2010. To be included in this exhibition is four large new works 200 x 400 cm and several smaller works.

Nina Sten-Knudsen is experimenting with perspectives in her recent landscape paintings; changing format from the smallest possible - to the full wall monumental landscapes, where the viewer feels he can actually walk into the scenery.

"Yet seemed it Winter Still" will present new works in a moderate size that show the essence of her painterly skills: the layers upon layers of imagery, from land- to city-scapes, from ancient times to our contemporary, blending dream, reality, art history and film.


FAURSCHOU

Åsa Millholm

Åsa Millholm
GALLERI SIGNE VAD -I skabet

Fernisering d. 21 Marts kl 12 -13
Udstillingen kan ses fra 21 Marts til 16 April 09
24 timer i døgnet
Nansensgade 47, København K

Åsa Millholm född 1973
Lever och verkar i Göteborg, Sverige.
Arbetar med ”mixed media” dvs teckning , skulptur, installation och fotografi.



Signe Vad
Nansensgade 76 4th
DK-1366 København K
tlf: +45 20730567


Galleri Signe Vad







Erik A. Frandsen

Faurschou Beijing is very pleased to present the Danish artist Erik A. Frandsen and his first solo show in China.

Painting in the expanded field
Erik A. Frandsen is a painter who, like many of his contemporary colleagues, does not restrict himself to painting on a canvas. His paintings belong in an expanded field. Throughout his career Erik A. Frandsen has constantly, with great inventiveness and artistic sensitivity, gone beyond classic boundaries of painting. His paintings unfold either as installation or three-dimensional object - or as a reworking of painterly problems.

Different strategies
Erik A. Frandsen's works thus encompass an array of different strategies and materials. In his early paintings he applied a variety of objects: Rockwool, lead, plastic trays, photos, eggs, steel wire, and neon tubes. This was done to avoid mere decoration, and to add a vehicle for meanings - or to block for them. He has become famous for his photo series taken of him and his wife embracing with lights affixed on their hands. The camera's long exposure time transforms their caressing into white painterly strokes in the images. He has made statements in neon tubes; made paintings in the colour palette of photo negatives as well as lustrous exclusive mosaics made in the antique traditional style of Venetian smalti.

The duality
Erik A. Frandsen has always been interested in people and life, and he has an eye for strange stories and distorted views of reality. Thus the figurative is prominent in his art. However for Erik A. Frandsen art is a duality, or a "double space", of figure and structure, positive and negative, physical objects and abstract forms challenging each other, and thus creating tension in his works.

"Frozen Moment Desert"
This duality is maintained in Erik A. Frandsen's installation of his recent works at Faurschou Beijing. "Frozen Moment Desert" is an installation in two rooms.

One room is devoted to his steel works. Large steel plates are engraved with flower motives. They are literally 'cool' paintings done without any colour, canvas or brush, but 'painted with a drill'. And they are truly "frozen moments" as the flowers are captured in a specific state of their short life.
The other room is a visual bombardment of colourful large format paintings. These images could be said to have been 'painted with photographs', as they have their origin in snapshots from the artist’s many travels where something seen or experienced is captured in a "frozen moment" by the camera and later reworked into these large scale paintings.

Memento-mori
Erik A. Frandsen's beautiful stainless steel flowers are though not only decorative. It is easily detected, that they are simple wild flowers, weed, even cannabis, if not memorial wreaths from Sachen-Hausen or withering lilies.
In an art historical context the flower motive has sustained as a symbol of beauty, sensuality, life, death, and vanity, and Erik A. Frandsen has earlier applied the flower motive as an ambiguous symbol in his artistic exploration of intimacy, relationships, and home life.
His images with flowers are classic memento mori-motives - but in a new form. The cool steel reflects the flowers that are projected into the images, thus preventing the viewer from reflecting himself without at the same time seeing the flowers. In this way the works acquire an extra dimension when making the viewer aware of his own role in an art universe - thus connecting art and reality.

Images of a contemporary visual culture
Art and reality are likewise connected in the reworking of the photographic images from our everyday reality into the mediated reality of painting.
Erik A. Frandsen obviously points to a shift in the pictures expression and meaning when an episode of waiters washing out door chairs, are blown up to the format of almost 3 x 4 meter.

Many of Erik A. Frandsens images are of his wife and children and have the character of a personal family album, which they are not. The photographic reality is a constructed reality - which is what Erik A. Frandsen's succeeds in making us pay attention to.
Everywhere in his images one finds symbols and objects from contemporary visual culture: Coca-Cola bottles, Marlboro cigarettes, Mickey Mouse, Spider Man, and the boxing gloves' "Stars and Stripes". It is a way of visual commentating that goes back to Rauschenberg's and Warhol's silk screens. In Erik A. Frandsen's works these motifs are though not isolated, but recirculated as part of the visual reality of today.

With their humorous, unconventional, and astonishing contents, Erik A. Frandsen's works are thought provoking. His choice of aesthetically beautiful materials such as mosaics in Venetian smalti, large scale paintings, or shiny engraved steel plates makes these existential moments both disturbing and an aesthetically pleasurable experience.




FAURSCHOU

SOS - David Svensson

Specta

Skateistan invitation

Julie Nord

Andrew Schoultz

V1 Gallery præsenterer stolt Andrew Schoultz’ anden soloudstilling i Danmark

THE GLACIERS WILL MOVE,
THE TIDE WILL TURN,
AND MIRACLES WILL SURELY BE PERFORMED
Åbningsreception: 13. marts 2009 kl. 17-22
Udstillingsperiode: 13. marts – 8. april 2009

Andrew Schoultz returnerer til Danmark med en yderst ambitiøs udstilling. Omdrejningspunktet er
storslåede strukturer, splintrede drømme, hellige hyklere og et dybtfølt håb. Udstillingens titel While
the Glaciers Move and the Tides Change, Miracles Will Surely be Worked er ligeså paradoksal, som de
temaer, kunstneren udforsker. Begivenhederne der omgav valget af Amerikas nye præsident, er
sammenflettet med global politik, verdensomspændende krige, katastrofale klimaændringer og den
kompleksitet, der helt generelt omgiver vores verden. Schoultz siger selv: “I am filled with hope upon
this dawning Obama Presidency, but I also remain skeptical at the same time. It would be silly to
believe that anyone, person or thing could reverse or fix the global damage that has been done, as a
result of the Bush administration over the past 8 years. In fact it would be a Miracle.”
I While the Glaciers Move and the Tides Change, Miracles Will Surely be Worked udfolder Andrew
Schoultz en mageløst mytologisk kortlægning af kampe imellem håb og frygt, fortid og fremtid,
oplysning og uvidenhed. I beretningerne om tragedier, myter og fortællinger omhandlende fortiden,
minder Schoultz beskueren om virkelighedens mørke sider. Han opfordrer til fokus på realiteter i stedet
for, at man lader sig forføre af sirenernes skønsang.
En svaghed for tegn og symboler er gennemgående i Schoultz’ kunst. Han integrerer middelalderens
landkort, mellemøstens miniature malerier, bibelsk symbolisme samt gentolker folk arten med
nationale monumenter, statuer og gravsteder. Hans rastløse og kaotiske energi er dominerende men
bliver kontrasteret af en stille og afklaret tone, der efterlader beskueren klemt i en dikotomi mellem
Dionysos og Apollon.
While the Glaciers Move and the Tides Change, Miracles Will Surely be Worked udfoldes som en
narrativ installation med utallige individuelle værker. På denne vis er beskueren ikke længere kun
observator men bliver inddraget i udstillingen, og dette flygtige møde understreger vigtigheden af
øjeblikket. Bemalede træpaneler, arbejder på papir, vægmalerier og skulpturelle installationer fortæller
alle historier fungerende som individuelle værker samtidig med, at de skaber et kollektivt hele og en
totaloplevelse for den besøgende. Udstillingen inkluderer både verdens mikro - og makrostrukturer.
Schoultz viser respekt for renæssancens mytologiske og narrative traditioner, mens han reflekterer over
de kræfter såvel individet som de kollektive masser besidder i den civile verden.
Andrew Schoultz har udstillet utallige steder i USA, eksempelvis på Morgan Lehman Gallery i New
York, Roberts and Tilton i Los Angeles og Boston Center for the Arts in Boston. Hans kunst indgår i
den permanente samling på SFMOMA – San Francisco Museum of Modern Art. I år udstiller Andrew
Schoultz yderligere på Havanna Biennalen på Cuba og på Hyde Park Center for the Arts i Chicago.
Andrew Schoultz er anerkendt for sine offentlige kunstprojekter, ikke mindst for dem i San Franciscos
Mission District samt for hans projekter i Indonesien. Gingko Press har for nyligt udgivet en bog om
Andrews kunstneriske karriere med titlen Ulysses – the artwork of Andrew Schoultz.
Andrew Schoultz er i landet i forbindelse med udstillingen.

V1