VIDEO (Martin Asbæk Gallery)

VIDEO (Martin Asbæk Gallery)

the house inside her

The House Inside Her, 2011

Preis auf Anfrage

Donnerstag, 7. Februar 2013Samstag, 9. März 2013


Copenhagen, Denmark

(Please scroll down for English version)

VIDEO
07.02.13 - 09.03.13
Opening Thursday 7 February 2013, 5 - 7 pm

Niels Bonde, Elina Brotherus, Jesper Carlsen, Astrid Kruse Jensen / Pernille Rose Grønkjær, Eva Koch, Søren Martinsen, Matt Saunders, Lisa Strömbeck, Ebbe Stub Wittrup

Martin Asbæk Gallery viser for første gang i galleriets historie en ren VIDEO udstilling med værker fra galleriets kunstnere. Det er alle kunstnere, som udover at arbejde med video også beskæftiger sig med andre kunstneriske genrer. Video er i dag en udbredt og accepteret kunstnerisk medie og accepteret af kunstinstitutionerne. Sideløbende præsenterer Nikolaj Kunsthal for tredje år i træk videokunst festivalen FOCUS – det er blevet til en markant platform for videokunst med et fyldigt program af værker fra ind- og udland.

Videokunstens historie
Videokunst kan dateres tilbage til 1960ernes USA, hvor kunstnerne for alvor kastede sig over den nye teknik og begyndte at udforske dens mange visuelle og narrative muligheder. Et generelt træk ved de tidlige videopionerer som Nam June Paik, Bruce Nauman og Vito Acconci er undersøgelsen af forholdet mellem krop, de rumlige omgivelser samt af mediets muligheder for at eksperimentere med tidsoplevelsen, loops, freeze frames og slow motions. En stor del kvindelige kunstnere kastede sig også over mediet, da de oplevede den som historieløs og befriet for den mandsdominerede kunsthistories regler og traditioner. Op gennem 70’erne og 80’erne var det vigtigt at operer med begrebet videokunst som isoleret genre, mens video i dag sidestilles med fotografi, maleri i samtidens gruppeudstillinger.

Kunstnernes værker
EVA KOCH’s
dobbeltprojektion AUGUST, 2008 møder beskueren ved indgangen til galleriet. Projektionerne er placeret overfor hinanden, hvor på den grønlandske ældre kvinde August står på en bakketop på den ene projektion og på den anden går Augustas familie hende i møde. Videoinstallationen er en visualisering af et møde mellem Augusta i Danmark og hendes familie på Grønland. Det er et levende portræt, et moderne familiebillede i al sin mangfoldighed, der udspiller sig i Augustas erindring. På sin egen underspillede måde sætter installationen fokus på det at befinde sig væk fra ens familie og understreger den længsel og savn, der kan opstå.

The Black Bay Sequence, 2010 af den finske anerkendte kunstner Elina Brotherus var i efteråret præsenteret på udstillingen New Nordic på LOUISIANA. I værket bevæger kunstneren sig langsomt, graciøst og nøgen ud i en iskold sø i Finland. Det er som en klassisk romantisk scene; dyster, fascinerende og æstetisk med en delvis mørk himmel, der brydes af et rosa skær. Værket fremstår mere som et maleri end en film – en omhyggelig konstrueret vision af det sublime, snarere end en simpel handling.

Filminstruktør Pernille Rose Grønkjær og kunstner Astrid Kruse Jensen er gået sammen og skabt kunstfilmen The House inside her i 2011. Værket har ingen egentlig narrativ handling, men overgiver sig til et poetisk billeddigt, hvor beskueren selv skaber sammenhænge og betydning. Resultatet bliver et sanseligt og forførende tableau, der svæver mellem drøm og virkelighed. Et andet værk, der lader billedsproget dominere er den amerikanske kunstner Matt Saunders, der viser en ny animation skabt ud fra utallige blæk på mylar tegninger og redigeret i hypnotiske levende billeder. Værket har netop været præsenteret på TATE Museum of Modern Art i Liverpool.

Virkeligheden er ligeledes suspenderet i filminstallationen Mary Rose – A Play in Tree Acts, 2011 af Ebbe Stub Wittrup. De tre 16 mm film præsenteres på en gammel projektor, og skildrer hver især fysiske steder og konkrete ojekter, der gennem på gådefulde historier. Ebbe Stub Wittrup arbejder ofte i et filosofisk spænd og udforsker tilværelsens gådefulde lag. Jesper Carlsen udforsker ligeledes vores bevidsthed i hans værk Mirro Box, 2013, der er en optagelse af et spejl og en hånd, der udfører forskellige øvelser. Spejlbilledet snyder en ubevidst del af hjernen til at tro, at den anden hånd er tilstede. I sin enkelthed er værket en skildring af en behandlingsform, der bruges mod fantom smerter.

Fra det ubevidste og gådefulde bevæger vi os videre over i en fornyelse af traditionen. Værket Danskeren, 2013 af Søren Martinsen, der er udstillingsaktuel på TRAPHOLT, referer motivisk og kompositorisk til kanoniserede værker fra guldalderen og den senere symbolisme. Filmen skydes i gang med PH’s Danmark fra 1935 – men det er værd at bemærke, at Martinsen bruger de traditionelle greb for at sætte fokus på, hvad der skaber vores identitet. Niels Bonde har skabt specifikt til udstillingen en stor pixelvæg, hvorpå der projekteres brudstykker af forskellige offentlige film såsom Paris Hiltons porno film, Cho’s tilståelse af den voldsomme massakre på en high school i USA samt andre brudstykker fra offentlige you tube film. Filmene kræser om temaet billeder som valuta og skriver sig ind i historien af massemedierede værker.

Sidst skal nævnes den svenske video-kunstner Lisa Strömbeck’s højaktuelle værk Animals do it : RECYCLE, 2012 der vises på en to meter bred projektion. På en skovsti ligger en stor bunke affald af dåser, mælkekartoner og plastbeholdere. Ind kommer en hund, der nænsomt begynder at sortere affaldet. Værket er skabt for at inspirere til recycling.

Udstillingen VIDEO vises i Martin Asbæk Gallery og Galerie Asbæk’s lokaler i Bredgade 23. Velkommen til fernisering i torsdag den 7. februar 2013 kl. 17 – 22. De nominerede film til årets videofestival FOCUS vises samtidig i Nikolaj Kunsthal kl. 17 – 22.

------------------------------------------------------------------------------------------------------------------------------------------VIDEO
07.02.13 - 09.03.13
Opening Thursday 7 February 2013, 5 - 7 pm

Niels Bonde, Elina Brotherus, Jesper Carlsen, Astrid Kruse Jensen / Pernille Rose Grønkjær, Eva Koch, Søren Martinsen, Matt Saunders, Lisa Strömbeck, Ebbe Stub Wittrup

For the first time in the gallery’s history Martin Asbæk Gallery is showing an all-VIDEO exhibition with works from the gallery’s artists. They are all artists who, besides video art, also work with other artistic genres. Today video is a widely recognized artistic medium accepted by the art institutions. Alongside this, for the third year running, Nikolaj Kunsthal is presenting the video art festival FOCUS – which has become a conspicuous platform for video art with a generous programme of works from Denmark and abroad.

The history of video art
Video art can be dated back to the USA of the 1960s, where artists embarked in earnest on the new technology and began exploring its many visual and narrative possibilities. A general feature of the early video pioneers such as Nam June Paik, Bruce Nauman and Vito Acconci is the investigation of the relationship between the body, the spatial surroundings and the potential of the medium for expe¬rimenting with the experience of time, loops, freeze frames and slow motion. Many women artists also took up the medium, since they saw it as unburdened by history and free of the rules and tradi¬tions of male-dominated art history. Through the 1970s and 1980s it was important to operate with the concept of video art as an isolated genre, while video today appears on an equal footing with photography and painting in contemporary group exhibitions.

The works of the artists
EVA KOCH’s
double projection August, 2008 meets the viewer at the entrance to the gallery. The pro¬jections are placed opposite each other; an elderly Greenlandic woman, Augusta, stands on a hilltop in one projection, and in the other Augusta’s family walks towards her. The video installation is a visualiza¬tion of an encounter between Augusta in Denmark and her family in Greenland. It is a living portrait, a modern family picture in all its diversity, which is played out in Augusta’s memory. In its own under¬stated way the installation turns the focus on being away from one’s family and underscores the longing and sense of loss that can arise.

The Black Bay Sequence, 2010 by the widely known Finnish artist Elina Brotherus was presented this autumn in the exhibition New Nordic at the LOUISIANA MUSEUM OF MODERN ART. In the work the artist steps naked, slowly and gracefully, into an ice-cold lake in Finland. It is like a classic Romantic scene: gloomy, fascinating and aesthetic, with a partly dark sky that is broken up by a pink glow. The work has the look of a painting more than a film – a carefully constructed vision of the sublime, rather than a simple action.

The film director Pernille Rose Grønkjær and the artist Astrid Kruse Jensen joined forces and created the art film The House Inside Her in 2011. The work has no real narrative action, but abandons itself to visual poetry where the viewer creates his or her own connections and meanings. The result is a sensual, seductive tableau that hovers between dream and reality.

Another work that allows the visual imagery to predominate is by the American artist Matt Saunders, who is showing a new animation, created from innumerable ink-on-Mylar drawings and edited into hypnotic moving pictures. The work has just been presented at the TATE Museum of Modern Art in Liverpool.

Reality is similarly suspended in the film installation Mary Rose – A Play in Three Acts, 2011 by Ebbe Stub Wittrup. The three 16 mm films are presented on an old projector, and each describes physical places and specific objects that have mysterious histories. Ebbe Stub Wittrup often works in a philo¬sophical vein and explores the enigmatic layers of existence. Jesper Carlsen similarly explores our con¬sciousness in his work Mirror Box, 2013, which is a recording of a mirror and a hand performing various actions. The mirror reflection cheats an unconscious part of the brain into believing that the other hand is present. In all its simplicity the work is an account of a form of treatment that is used for phantom pains.

From the unconscious and mysterious we move further into a renewal of the tradition. The work The Dane, 2013 by Søren Martinsen, who is currently exhibiting at TRAPHOLT, refers motivically and compositionally to canonical works from the Golden Age and later Symbolism. The film starts off with the ‘Denmark’ of the designer and polemicist Poul Henningsen (‘PH’) from 1935 – but it is worth noting that Martinsen uses the traditional devices to turn the focus on the things that create our identity.

Niels Bonde has created a large pixel wall specifically for the exhibition. On it fragments of various well publicized films are projected – such as Paris Hilton’s porno film, Cho’s confession to the violent mass¬acre at a high school in the USA, and other snippets from Youtube films accessible to the public. The films revolve around the theme ‘images as currency’ and form part of the history of mass-mediated works.

The last work to be mentioned is the Swedish video artist Lisa Strömbeck’s highly topical work Animals do it : RECYCLE, 2012, which is shown in a two-metre wide projection. On a forest path lies a large heap of garbage – tin cans, milk cartons and plastic containers. In comes a dog which carefully begins to sort the waste. The work has been created to inspire recycling.

The exhibition VIDEO is being shown on the premises of Martin Asbæk Gallery and Galerie Asbæk at Bred¬gade 23. Welcome to the opening on Thursday 7 February 2013, 17:00 – 22:00. The films nomi¬nated for this year’s FOCUS video festival are being shown at the same time at Nikolaj Kunsthal 17:00 – 22.00.