By showing the group exhibition EUROPALLE m.m (EUR PALLET etc.) Galleri Tom Christoffersen presents a wide variety of very cogent works of art. Ib Geertsen submits new and old mobiles (1953-2008), Bodil Nielsen selects paintings from her series Pacific (2005), Elmer chooses a few of his painted images with a subject matter which departs from licorice allsorts (1982) and Honza brings refined EUR Pallets.
The mobiles by IB GEERTSEN are titled “Drawing in Air” or simply “Movement”. They are pieces of Danish Konkret Kunst – concrete sculptures resembling three dimensional and dynamic drawings, which moves in space in what resembles a long and balanced infinity. For several decades Ib Geertsen has gained respect for his concrete painting and sculpture and the mobiles have been an important part of his production since 1950.
BODIL NIELSEN has a formal approach to painting. The series “Pacific” is from the part of Nielsen’s production, which is pure matter of fact. The series is completely freed from compromising transparency, soft edges or ambiguous layers. Instead “Pacific” comes forth as vertical large scale and narrow formats carrying broad horizontal coloured planes which is juxtaposed on the same surface and stretches uninterrupted from one edge of the canvas to the other.
The pieces by ELMER resemble formal painting but basically represent licorice allsorts in two dimensions. The single abstracted piece of candy is flattened and blown up in order to simply and uncompromisingly fill up a whole board or canvas. In these conceptual works it is the line, the colour, the form – and the recognition, which makes up a meaning. The group of works are from the beginning of the 1980ties a period where Elmer formulated POST-PAINTING as notion and praxis: To repeat – copy the world from mass culture in which the unique was unthinkable.
HONZA departs from an every day object as well: The EUR pallet. A European standardised product, which is reworked by the artist to become a piece of art. The front of the pallet is polished and given lacquer to the point where it carries some of the same features of formal sculpture. They work both mounted on the wall, leaned against the wall and put on the floor, from where they touches reality and plunges into art history’s web of established meanings.
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