Jakob Hunosøe


Jakob Hunosøe
FULL MOON MIRROR
September 13 – October 13

Please join us on Thursday, September 13, from 17 to 20, for the opening reception.

  • PL Gallery
  • FIVE ARTISTS AND CERAMIC


    FIVE ARTISTS AND CERAMIC
    Participating artists:
    Mette Vangsgaard, Camille Rishøj Nielsen,
    Sophus Ejler Jepsen, Kaspar Bonnén, Per Ahlmann

    The exhibition is curated by the visual artist Marika Seidler
    September 13th – October 13th, 2007

    OPENING RECEPTION
    Thursday September 13th, 5-8 p.m.

    Bendixen contemporary art have the pleasure of inviting the visual artist Marika Seidler to curate the second exhibition this fall.
    Marika Seidler has, as the ”open” title implies, invited five, very different, artists from the Danish art scene and asked them exclusively to focus on ceramic works.
    With the choice of artists she signals an openness toward the groupings and borders that gradually are becoming more and more fluently in the ceramic field.

  • Bendixen Art
  • SUSAN GRAHAM


    SUSAN GRAHAM
    Disaster Followed Fast and Followed Faster

    September 6 – October 13, 2007
    **Opening Reception: Thursday, September 6, 6-8pm**

    Schroeder Romero is pleased to announce a solo exhibition of new photographs, sculpture, video and drawings by Susan Graham. This is her third solo exhibition at Schroeder Romero.

    Graham’s new body of work portrays a woman’s attempt to live in a situation of relative safety and comfort as she tries to prepare for a disastrous event such as a natural disaster, war or an out-of-control government. Graham’s extended family were charismatic, fundamentalist Christians whose endless talk of the second coming, holy wars and the apocalypse seared into her young mind. Springing from a particularly American mix of fear, optimism and overactive imagination, Graham is both fascinated and skeptical of this apocalyptic outlook.

    In preparing for disastrous events many survivalists methodically and repeatedly practice their preparations for the ultimate event although paranoid musings infiltrate their existence. Susan Graham’s exhibition explores the fear of an end in some way to “life as we know it”. This fear is countered by an optimistic belief that one can prepare for this eventuality.

    Graham’s disturbingly arresting black and white photographs in which ominous skies dominate catastrophic landscapes suggest colorless worlds in the midst of disaster. Grahams photographic fictions are comprised of her small porcelain and sugar sculptures as props – tanks, buildings, airplanes – all under a looming sky. Her choice of materials imbues her work with a familiarity, a feeling of home or sweetness, though the subjects may be frightening or foreign.

    Graham’s three-channel video, Survivalist, depicts a foreboding threat, paranoia and survivalist ideology; a woman alone in her apartment trying to hide from the disastrous skies looming outside, reciting a detailed list of things needed to survive post-apocalypse and the frustration of the survivalist with those unprepared.

    The Cloud Practice drawings are meticulously drawn meditations on the mysterious individuality of clouds. A cloud is usually associated with beauty and serenity but Graham’s clouds are ominous, nuclear and cataclysmic.

    Susan Graham has been included in numerous exhibitions in the United States and Europe including recent shows at the John Michael Kohler Arts Center in Sheboygan, Michigan; the Hudson River Museum in Yonkers, the Sherman Gallery at Boston University, Hunter College Leubsdorf Gallery, New York; the Musee d’art et d’industrie de Saint-Etienne, and the Musee International des Arts Modestes, Sete, France.

    The gallery is open Tuesday through Saturday from 11-6 and also by appointment. Please contact the gallery for further information.

  • Schroeder Romero
  • Annette Kelm


    Annette Kelm
    Four Seasons
    8th September – 13th October 2007
    Opening: 7 September, 6 – 9 p.m.

    ‘Four Seasons’ is Annette Kelm’s first solo show at Johann König, Berlin.

    This recent series of photographs shows arrangements of objects, from unusual musical instruments to patterned textiles and an eccentric-looking bag. In inviting us to contemplate the objects depicted and the various possibilities of presenting and arranging them, the pictures quietly lead us to reflect on fine art photography as a whole and its origins in the classical visual media.

    Objects and genres frequently switch roles in Annette Kelm’s work. A trash-design, 80s-style watch case is presented with the slick panache of an advertising shot, but still has an echo of the baroque memento mori. In a clear continuation of the traditional still life with a musical instrument, we see the first electric guitar in history against a backdrop of cheap cloth produced in Holland for sub-Saharan markets. The large-format photographs of textile patterns, of green leaves or exotic abstractions, on the other hand, are examples of archived and near-forgotten luxury material designs in the style of Dorothy Draper, the designer whose blend of neo-baroque, surrealism and modernism has been a driving force in US interior design since the 1920s.

    This kind of information on the cultural and historic relevance of the photographed objects is not easily fathomed from the photographs themselves: Annette Kelm prefers to give her pictures poetic titles like “Stars Look Back,” and the surprising combinations of objects within a single work thwart simple interpretations and categorizations. For instance, the controlling device of the Wurlitzer organ, the “sound-machine” of early silent cinema, is seamed by a Miró print, a combination that might even be read as a comment on bourgeois tastes in interior design. Which object is presented in what way, and for what purpose? What combinations of objects are imaginable or have so far not been imagined? The cowboy with a fan in his hand and the mustachioed woman peering out of a slanted Renaissance house seem somehow familiar. As Vanessa Joan Müller has indicated in an essay, the real meaning of these photographs would appear to lie precisely in this interplay of differences and repetitions.

    Born in 1975, Annette Kelm studied art in Hamburg before moving to Berlin, where she now lives and works. This September, she will take part in the Lyon Biennale of Contemporary Art. A solo exhibition at the Wattis Institute in San Francisco is planned for 2008. Samples of her work are currently on show at the Pump House Gallery in London and the Shedhalle in Zurich. The catalogue Errors in English, with texts by Sabeth Buchmann, Jessica Morgan and Michaela Meise, was published in 2006.

  • J. Koenig