UNCANNY TALES – James Jessop


UNCANNY TALES at Galleri Tom Christoffersen is James Jessop’s (UK/1974) first solo exhibition in Denmark. Featuring Jessop’s latest spoof-horror-b-movie/pulp-fiction-disturbing strangeness, Uncanny Tales continues his series of relentless large-scale epic painterly adventures.

The exhibition represents two tracks of the artist’s production. The first deals with power games embodied in femmes fatales depicted in decadent yet glamorous settings, where sex and violent fantasies seems to be the issues. The paintings are simply visual cocktails, which could match any cover on pulp literature such as ‘true crime detective magazines”, so popular from the 1920ties to the 80ties. The other track shown relates to uncensored, dark sided comics putting forth terrifying scenes as vampire fights mummies and zombies rise from death – a track which is just as intriguing and camp as the seducing retro-crimes.

The artist’s trademark “Horrific” style burst onto the London art scene with impact at Charles Saatchi’s infamous ‘New Blood’ exhibition at The Saatchi Gallery London 2004. But long before entering the establishment – already at aged eleven – Jessop bagan his artistic adventures spraying Hip Hop style graffiti, and today is a highly respected and wel-known street tagger in London.

With a strange story to tell and an approach to the media departing both from graffiti and from the Royal College of Art James Jessop’s direct, dense and dynamic works demonstrate an energy seldom found in contemporary painting.

James Jessop (1974) lives and works in London. He graduated from the Royal College of Art London in 1999. On the 24th October 2008 he founded the “Graffatarian”, an approach to life based on 1970’s New York Subway graffiti writing values. Previous solo exhibitions have been shown at Galeria Thomas Cohn Sao Paulo, Sartorial Contemporary Art London, Rockwell London and This Way Up Gallery London. Jessop has featured in group exhibitions in Copenhagen, Berlin, New York, Melbourne, Bratislava and Sweden. In 2008 Jessop curated Burning Candy at Leeds College of Art and Design, which toured to Sartorial Contemporary Art London. The show presented three of England’s finest graffiti writers Cyclops, Sweet Toof and Tek33(Jessop).

Sartorialart
Tom Christoffersen

Swingtime: Freestyle


Swingtime: Freestyle

Tracey Emin (GB), Adrian Piper (US), Assume Vivid Astro Focus (Nomad), Lilibeth Cuenca Rasmussen, Anders Brinch, Jesper Just, Peter Land, Sonja Lillebæk Christensen, Jeannette Ehlers, Jette Ellgaard, Charlotte Bergmann Johansen, Peter Bonde, Morten Nilsson, Marie Plum, , Nikolaj Recke, Camilla Thorup (DK)

Charlotte Bergmann Johansen will do the performance “Karen & Mette” at 18.30 hours

Curated by Jeanette Ehlers og Camilla Thorup.

Charlotte Fogh

Li Wei


Li Wei
On January 15 MOGADISHNI proudly presents the first solo exhibition ever in Denmark by Chinese artist Li Wei (b. 1970). Li Wei will be presenting his famous and intriguing Photographs.

Mogadishni

Ulrik Crone


Ulrik Crone is one of the most important artists to emerge from the influential group ”the wild young ones”, which emerged on the Danish art scene in the late 80s. Throughout his career Ulrik has been fascinated with the strange world surrounding everyday life. Using art as a compass he ventures on an exploration through urban landscapes filled with hooligans, shopping trolleys, punks, concrete blocks, strippers, and sex shops.

Ulrik Crone’s second solo exhibition at V1 Gallery, The means to THE END, submerges into the “experience culture” that has dominated the Western world over the past decade. Sex and diets – superstars’ and mere mortals’ – have become prime time entertainment. Dildos are bought with the same casualness as canned food and pole dancing lessons are taken in the same spirit as tango and ceramics classes.

The carnivalisation of sexuality mixed with grotesque entertainment send mindless and horny human lemmings on a confused quest for the unique life. The title of the exhibition, The means to THE END, refers to this cultural flux that in a misanthropic hour could be perceived as the demise of culture.

With curiosity and passion Ulrik questions the twilight zone of “ordinary” life. Disney bling and roller coaster consumerism take over modern life, while empty night lit streets are occupied by teddy bear machines and sex shops. Newspapers scrap investigative articles in favour of Britney Spears’ private video escapades and corrupt X Factor-judges. And reality seen through Ulrik’s periscope resembles a neon coloured feverish fantasy that exorcises any attempt at mental activity. Moral judgement is left for the viewer to pass.

The means to THE END consists of three large installations as well as paintings, collage and paper works.

V1
Ulrik Crone