I contributed the Interim show 2017 with the surrealisticgenerator app which I developed with my colleague Stig.
Jonathan and London based students arranged the 1. year showroom, they found a computer and install the app. Visitors only had to press spacebar and get new images from the generator.
I was pleased to see the entire show, it gave overview and inspiration for next year.
Last week I went to CC in order to see the video and sound installation “Invented Birth” by Bill Viola, 2014. The installation shows five transformations in the human life cycle – from life to death.
More about Bill Viola:
Located in Bella Centre Copenhagen, Code Art Fair presented leading as well as emerging galleries from all over the world.
I went there in the end of August. I had only an hour and a half to check out a huge amount of galleries. Because of the short time and the influence of a book I am reading, which is about aesthetic, I decided to go through the whole exhibition and only stop if anything sprang to my eyes, well knowing that I might miss something. Fortunately, there was something. On my way out I realised that I had passed by an interesting art project on my way in. I deliberately avoided reading the signs about the work or gallery in an attempt to get a pure experience of the object.
A snapshot of a red phone on a bed in a hotel room and another frame under with an embroidered text on a black cloth and more text on a white background. This setup was repeated three times, only the story (text) changed to be told in a shorter and shorter form.
Of course, it’s probably a machine that has embroidered the text, but because it was embroidered, it attracted my curiosity; what is so important that it has to be embroidered and how does it emphasise to the “story”?
The text referred to a woman’s experience of being abandoned by her boyfriend. Same story three times, shorter and shorter.
It was an artwork of French artist Sophie Calle. I just read about her in a book from Whitechapel: Chance. Sophia Calle is using life-experiences as inspiration source.
Galerie Raum Mit Licht from Vienna showed some awesome interesting collages. After a conversation with the responsible woman from the collection, I found out that gallery was specialized in art made with collage technique.
Klaus Pamminger, The Birds 2007
John Hilliard, Rise and Fall, 2011
Eva Stenram, Drape (Cavalcade lll)
Karin Fisslthaler, Exhausted Hands 2017
Ted Larsen‘s wall sculptures captured my attention.
Ouroboros Ali Hussaini (US/UK) and Keir Vine (UK)
Ouroboros is a 3D visual collage of vibrating mandalas, exploding galaxies, astronauts and corporate logos, among much more, on six screens, all in the service of reconnecting consciousness and the cosmos.
Ouroboros treats the history of the universe as an animated visual poem. It contains an hour of looping animations, and it uses Chromodepth technology to create strongly holographic images that remain sharp without glasses.
This exhibition presents a series of work by the German artist Julian Rosefeldt produced over the past 15 years.
Deep Gold is based on the Spanish filmmaker Louis Buñuel’s 1930 film L’Âge d’Or. Louis Buñuels wrote the story by following the surrealistic method of automatic writing. It caused quite a scandal in its day.
The Swap seems like a cliche of a gangster film. A scene describes a meeting between two groups of gangsters in a container terminal changing suitcases. The actors are performing a precise choreography without saying a single word. Some movements are repeated which strengthen the connection to a dance, mostly modern dance because of the use of contraction and release. The combination of modern dance and gangsters is quite funny but it also creates a focus on how we move around each other in a given situation as human.
This work expand my understanding of video installation, I was pleased and surprised by the life and presence the installation expressed.
From the catalog:
Sarah Sze’s installation Timekeeper (2016) explores the origin of the moving image, and mirrors the endless flow of information that overwhelms us every day. Screens flicker and fade, and projected images race cyclically around the room. A whirring, clicking world of objects is arranged in accordance with a specific logic: that of a working desk, a site of the studio. Formed in part from the remnants of the actual editing desk where the work was made, Timekeeper is simultaneously a sculptural installation and a functional tool: a projector itself.
Sze’s sprawling sculptures are not definitively delineated in space, a contrast to the traditional concept of sculpture where the work is distinct and can be isolated from its surroundings. For this reason, many of Sze’s sculptures appear like works in progress: when you encounter the work it feels as if the artist has only just stepped out of the room for a minute, making us wonder whether the work is still under construction or perhaps being dismantled.
One of the recurring traits of Sze’s work is her interest in time. However, Sze does not work with the usual chronological and mechanical concept of time as something that can be measured and recorded; rather, she explores time as something that arises out of the unpredictable ways in which the images and experiences of everyday life affect our sense of time passing.
Science seeks to define time by measuring it down to the smallest nanosecond, and we live our lives in accordance with this approach. Timekeeper challenges such an objective view, creating instead a perception of time in which experiences and frames of reference are brought into play upon encountering the work. Taking the form of a three-dimensional collage, Timekeeper holds and hides moments and memories that can be re-experienced across time and place by each individual who visits.
About Sarah Sze
Sarah Sze (b. 1969) lives and works in New York, USA. She represented the USA at the 2013 Venice Biennial, and was a 2003 MacArthur Fellow. Sze has exhibited her work at museums throughout the world, and her work is held in the collections of prominent institutions such as the Museum of Modern Art in New York, Guggenheim Museum in New York, Fondation Cartier in Paris, Museum of Contemporary Art in Chicago, San Francisco Museum of Modern Art and Museum of Modern Art in Los Angeles.
SMK, National Gallery of Denmark
Yesterday I went to SMK, just to see if there were any artworks of Wilhelm Freddie (the surrealistic artist which suitcase I found).
The museum was under renovation, so the artworks of WF was moved to a small room with the headline ” Un-realities.”
One of the paintings was new to me; “The Dancer,” from 1943. It was little and, was rougher made than the others. It reminds me of David Lynch’s painting style in its motive, composition, and texture.
“The Dancer” was the painting I liked most. When WF’s painting is very detailed and accurate painted it makes me feel uncomfortable (which is probably the intention).
At home I googled the painting, to get further information. I read that the SMK’s conservators had struggled with the little masterpiece, when they got it in 2011, because of its bad condition.