Month: August 2009
JONATHAN DELACHAUX
ISOE Toys Crew
Daniel Lergon: 3K
Daniel Lergon: 3K
BONUS: two recent works by Simon Dybbroe Møller
It is a great pleasure to announce a new exhibition at Andersen’s Contemporary in the period August 28th – September 25th 2009. For the second time in Denmark the gallery presents a solo exhibition with german painter Daniel Lergon (b. 1978). Moreover, in the same period, the gallery shows two recent works by Simon Dybbroe Møller (b. 1976), whom will be represented by the gallery henceforward.
DANIELS LERGON’S 3K continues Lergon’s original painterly studies of the interaction between light and surface, and as in the case of his past practice, the paintings are created with lacquer, without pigment, on fabric.
About 14 billion years after the Big Bang, Lergon’s visual universe oscillates around that very moment, when matter separated from radiation and the universe began its still ongoing expansion. The separation of matter and radiation implicated, that for the first time the universe became transparent, and electromagnetic radiation with wavelengths
ranging from the infrared with the lowest energy to the ultraviolet with the highest energy, created light and colour.
Lergon has previously worked with the ultraviolet, however in this exhibition, it is the infrared part of the visible spectrum that is painterly investigated. Lergon is visualizing that the spectrum has been cooled down to invisible heat; to the lowest energetic boundary in the spectrum: a dark red colour reiminiscent of glowing iron being cooled down. Thus
with this investigation of temperature loss and low energetic boundaries Lergon also touches upon the fact, that when meassuring cosmic background radiation today – the radiation released with the Big Bang – it has been cooled down, due to the expansion of the universe, to a temperature of about 3 Kelvin, 3K.
Five dark red paintings are presented on one wall in the exhibition room. They all are 2 meters in height, while their width gradually expands from 60 to 340 cm. The paintings are materialized by the opposing wall, where Lergon has created large drawings, by applying metallic grain pigment directly onto the wall.
SIMON DYBBROE MØLLER’S two works are in different ways inspired by the mathematician Sophus Tromholt’s (1851-1896) unsuccessful attempts to photograph the northern lights in the late 19th century. The dias work Dance of Light (2009), is based on eyewittness desciptions of northern light, collected and recorded by Tromholt. In Dybbroe Møller’s work these records have been translated into ballet, which in turn has been photographed.
The photographs are here displayed as a slide show with images rhythmically fading in and out of each other, so that the movement of both northern ligh and dance light seems recreated.
Dybbroe Møller’s also shows the photographic collage, Only Particles, Some Fast Some Slow (two Sophus Tromholt)
(2006-2009). Tromholt for technical reasons could not photograph the northern light and, therefore, drew his impressions, photographed his drawings and then published the results as photographs of the northern light. Dybbroe Møller has coloured Tromholt’s “photograph”of the northern light, cut it into a tangram-like puzzle, and then reassembled it
in a new and different way. The work on one hand refers to the cubist concept, but simoultanously points out the fact, that Tromholt is today mainly known for his tangram-derived mathematical games.
Everything that Happens
Gala Honoring Dan Graham
Copenhagen Graffiti
LIVE EVIL * DORTE NAOMI
Zilla Leutenegger
New York, August 17, 2009 — Perry Rubenstein Gallery is pleased to announce its representation in the U.S. of Swiss artist Zilla Leutenegger. Leutenegger has been exhibiting her multi-media work internationally since graduating from the School of Visual Arts in Zurich in 1995. Leutenegger’s first large-scale solo exhibition with Perry Rubenstein Gallery will be in March 2010; it will mark her first solo show in New York since 2003.
Drawing is the root of Zilla Leutenegger’s practice, whether it manifests itself in a wall drawing, a projection, or a traditional work on paper. Leutenegger incorporates drawing into various media; oftentimes video and/or animation are combined in installations that may span an entire room or building or may be confined to a small swatch of the wall. Playing with notions of space and time, the two-dimensional aspect of her drawing (be it on the wall, on paper, or animated on video) is often combined with three-dimensional objects to create a stage of sorts for the imagination. Exploring scenes or moments that have a poetic simplicity, her drawings and videos are images of ideas, more sketches than precise renderings, line drawings produced freehand.
Focusing on universal themes — architecture, domesticity, fantasy, and childhood — Leutenegger is not concerned with imposing an overarching plan or concept but rather wants the viewer to bring their own thoughts to the image or environment she creates. Leutenegger herself (or her silhouette or shadow) is most often the lone figure in the work, which points to a “solitariness” but also an exchange. Leutenegger expects the viewer to play a participatory role; as viewer, you feel as if you’ve been let in on a secret. The subtle ambiguity of the work allows it to float between playfulness and melancholy with exquisite sincerity; Leutenegger draws where she wants to stay and where you want to go.
Zilla Leutenegger was born in Switzerland and lives and works in Zurich. Past solo institutional exhibitions include Kunstmuseum des Kantons Thurgau, Warth (2008); CCA Center for Contemporary Art, Tel-Aviv (2007); Kunsthalle Wien, Vienna (2006), Fundació “La Caixa”, Sala Montcada, Barcelona (2004). Recent group exhibitions include Sprengel Museum Hannover, Hannover (2008), Parasol Unit, London (2007); Haus der Kunst, Munich (2007); Sammlung Goetz, Munich (2006); Tate Modern, London (2005); Museo de Arte Contemporaneo de Castilla y León, León (2005) Yokohama Museum of Art, Yokohama (2005), Museum of Modern Art, Shanghai (2005), Schaulager, Basel (2004), Museo de Arte Moderno de Buenos Aires, Buenos Aires (2003), Palais de Tokyo, Paris (2003), Kunst-Werke Berlin (2003).
Ceal Floyer: show"
Ceal Floyer show
Seemingly the two scenes are identical in every detail, the mirroring of two vigorous pensioners dancing expressively in their middle-class living room. With lilting steps they are cutting up the floor on the Persian carpet. Surrounded by a paneled dresser and bureau, the domesticity is cheerfully converted into a dancing pleasure. Yet something ruptures the sweet idyll; changes, skips and additions have sneaked into the doubling of events. In search of these differences the keen eye takes in scenes and magazines, and is finally satisfied to find them. The doubling of images with mistakes; in the present case the art historical device of the comparative look is activated within American weekend entertainment.
Ceal Floyer’s (born 1968) works typically require an attentive and engaged viewing. The precision and evocativeness Floyer applies to her minimal installations, objects and films challenge our perception. Analytically she lays open the structural character of things. Upon their inversion her objects of interest reveal their quiet poetics.