The exhibition ’A Womans touch’ is a collaboration between the art group Bank & Rau and the
textile designer Stine Skytte Østergaard.
Bank & Rau see people as figures under a constant transformation. The art group is fascinated
by the signals of the object. How the life of modern people reflects in the objects that they are
surrounded by. How the objects reflects themselves in modern people. The art works of Stine
Skytte Østergaard are playful and ironic, and the story telling is the main factor. Her artwork
always has a sharp comment to society.
In the exhibition the textiles of Østergaard are united with the pictures of Bank & Rau in a total installation. It tells the story of the female nature and the disappearing of the home. The title is picked up from the musical ”Calamity Jane” from 1953, where Doris Day plays the role of the strong woman Calamity. In the scene ”A Woman’s Touch” she learns of the woman’s magic
ability to transform a trashed home into a warm and loving environment.
The collaboration between Stine Skytte Østergaard and Bank & Rau started, when they met in
the summer 2007, where Stine Skytte Østergaard was contributing to the outdoor furniture at
Karriere Bar in Copenhagen. Together they made a blanket that became part of the expression
of the tables and benches.
The art group Bank & Rau has worked together since 1999 and contains of Lone Bank and
Tanja Rau, who both are educated from The Royal Danish Art Academy. Stine Skytte
Østergaard is educated textile designer from the design school in Kolding in 1999.
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2. October we open an exhibition, featuring new works by the Finnish artist Elina Merenmies (born 1967). At the show, which will be Merenmies’ first in the gallery, the audience will have the opportunity to become acquainted with the artists’ characteristic sombre and yet indeed fascinating imagery, shown through painting and drawing.
Back in 2003 Merenmies participated in the exhibition “Stop for a moment – Painting as Presence” at Arken – Museum of Modern Art in Ishøj, which also have a number of her works in their permanent collection. Moreover she has participated in several shows in Stockholm, Paris and New York.
In relation to the show, the gallery is publishing a catalogue, featuring an essay by artis and former art professor Erik Steffensen. He writes:
“A Merenmies drawing is a silent prayer to devote as much attention to things as they deserve. She approaches the motif on a broad front and often it is the deep inner picture that surfaces, visions which materialize as the process progresses and life unfolds in all its horror and splendour. These pictures are symbolical, they are not just a communication between hand, eye, and paper; the spirit is needed, too, to appreciate these images of the mind. You can paint your dreams, but you can also paint as in a dream. It is the latter that is true about Merenmies’ work. The pictures emerge in the transitional space between physical and mental states.”
The exhibition “Elina Merenmies” will be shown through 22. November. The artist will be present at the opening, which will take place on Thursday 2. October, from 4 pm. – 6 pm.
Secretary General for the Secretariat to the Nordic Council in Copenhagen, Jan-Erik Enestam, will open the exhibition at 5 pm. Please join us!
I’ve got a machine for seeing, called eyes
To hear, I’ve got ears
To talk, a mouth
But they feel like separate machines
there’s no unity
A person ought to feel unified
I feel like I’m divided
Jean-Luc Godard, Pierrot Le Fou, 1965
Vilma Gold is pleased to present an exhibition of new work by Felix Gmelin.
In “I Feel so Divided” Felix Gmelin uses painting, photography, film, and sound to create a spatial montage that explores the abilities of cinema and the visual arts to organize and disorganize the senses. The different found, copied, interpreted and quoted elements – excerpts from a 1926 German documentary about a school for blind children, fragments from Vsevolod Pudovkin’s “Asynchronism as a principle for sound film” and Diderot’s “Letter on the Blind”, and more – are combined with a new series of paintings which depict children judged “good” or “bad” by the Nazi regime. Together the parts of the exhibition form an open constellation of historical and iconographic associations, continuities and ruptures. If the traditions of cinema and the visual arts have today entered into a state of profound uncertainty, then perhaps, Gmelin seems to suggest, their pieces can be disassembled and reassembled to create forms that think.
Felix Gmelin was born in Heidelberg in 1962 but lives and works in Stockholm. Gmelin has participated twice in the Venice Biennale, 2007 and 2003; in the October Salon 2006, Belgrade, and also in the Berlin Biennial 2006. He has had solo shows at institutions including Portikus, Frankfurt, Gasworks, London and Malmö Konstmuseum, Malmö. Currently his work can be seen in a group show at Statens Museum for Kunst, Copenhagen.
Galleri Christoffer Egelund is proud to present Anders Brinch’s solo exhibition, Rumble in the Jungle. Anders Brinch (b. 1971) graduated from The Royal Danish Academy of Fine Arts in 2007. Working with painting in an installational context where he mixes a variety of media and materials to create a three-dimensional painterly surface, Anders Brinch expands the traditional definition of painting. In a number of paintings, sculptural installations and a video artwork featured in the exhibition, Anders Brinch explores and pins down the relationship between an “original” nature and the man-made “civilised” culture. The visitor is led into Anders Brinch’s offbeat and fascinating universe, where he addresses icons of western history in an expressive and humorous manner, and where ties hang like lianas in the capitalist jungle. Rumble in the Jungle is an outburst of artistic energy sending small vibrations into an even larger energy field – the art scene, the surrounding society and the movements happening there.
Concurrently, in the gallery’s project room, we present the exhibition Master of Hunt by Cuban artist Odey Curbelo Urquijo (b. 1976). Odey Curbelo Urquijo explores traditional painting and its narrative potential. By juxtaposing contrasts on the picture surface Odey Curbelo Urquijo exposes painting’s illusory qualities, which have traditionally played a conspicuous part in western art history, and at the same time his own fascination and explicit love for this shine through.
The paintings in the exhibition are all sequences of a fictive story, in which fantastic events unfold and intertwine in interaction with the imagination of the viewer. Thus it is both about hunting and about being hunted by the paintings and the stories they tell.
The Jack Hanley Gallery, San Francisco, is pleased to present a solo exhibition of the work of Spencer Sweeney. By assuming the roles of artist, club owner, and musician, Sweeney “builds a unique practice that falls intentionally between the cracks of any qualifiable genre. His explosively colorful collaged paintings and cartoonish drawings constitute one part of a larger body of work based on his persona. This places him within a tradition of artists, such as Martin Kippenberger, who, in cultivating outrageous personalities and shifting rapidly between artistic styles, sought an expanded room to maneuver, not otherwise afforded by the gallery system.” For his upcoming show, Spencer will exhibit a projected video along with recent paintings that resemble New York City’s heavily graffitied surfaces. With sections of the canvas blocked out by brightly saturated colors that transform into tangled images of popular culture, Sweeney conveys an intense sense of energy that coincides with his explosive persona.
Spencer Sweeney was born in 1973 in Philadelphia, Pennsylvania. His work has been exhibited both nationally and internationally, with recent shows at Gavin Brown’s Enterprise, New York, PS1 Contemporary Art Center, New York, and The Modern Institute in Glasgow, UK. In 2006 Sweeney was included in The Whitney Biennial, Whitney Museum of American Art, New York. He currently lives and works in New York City.