3/9 – 8/10 2011

Mathieu Mercier sætter billeder fra kunsthistorien, arkitektur, design og hverdagen i rotation og pirker til den måde, vi betragter enkeltelementerne på. Om Mercier kan det siges, at han bryder sine billeder ned i atomer, for herigennem at udpege deres substans, deres ‘tegnsætning’. På den måde fritager han dem for oplagte referencer og traditionelle hierarkier og lader dem udtrykke deres ‘partikularitet’.

The works by Matthieu Mercier (FR) set different images from art history, architecture, design and everyday life in rotation and takes a poke at the way we regard the individual elements. Mercier breaks his images down into atoms so as to identify, by this means, their substance, their “punctuation”. He absolves them of their obvious references and releases them from traditional hierarchies and thus gets them to express their “particularity”.

25/8 - 27/8 2011

I sensommeren danner SKULPTURI rammen om tre aftenarrangementer med situationer på grænsen til området skulptur. De skulpturelle handlinger præsenteres på mindre scener i udstillingslokalet.

In the late summer, SKULPTURI fashions the frame around three evening arrangements, with situations that are perched on the boundary of area belonging to sculpture. The sculptural actions are presented on small stages in the showroom.

29/7 - 14/8 2011

Otte studerende fra billedhuggerskolen på Det Kongelige Danske Kunstakademi er rykket ind i SKULPTURI’s lokale og har gjort det til deres, mens deres skole skærer ned og bruger kræfter på politik og alt muligt andet end kunst. Udstillingen giver et helt aktuelt blik på skulpturmediets mange muligheder og fremtrædelsesformer.

Eight students who are studying at the School of Sculpture at the Royal Danish Academy of Fine Arts have moved into SKULPTURI’s premises and have turned the room into their own, at a moment in time when their art school is busy making cutbacks and spending its energies on politics and everything else but art. The exhibition provides a totally up-todate look at the sculpture medium’s many possibilities and forms of manifestation.

4/5 - 2/6 2011

På udstillingen ‘genskriver’ Anders Bojen og Kristoffer Ørum deres selvbiografier ud fra et matematisk system i en bevægelig, fragmenteret videoinstallation, der skaber en rumlig fortolkning af en ny og ustabil hybrid identitet.

At the exhibition, Anders Bojen and Kristoffer Ørum “rewrite” their autobiographies on the basis of a mathematical system in a movable and fragmented video installation, which establishes a spatial interpretation of a new and unstable hybrid identity.

30/4 - 28/5 2011

Johan Röings (S)  skulpturer — møbler og figurer — opleves i udgangspunktet som utrolig svenske. De fleste er i træ og udformet med motorsav og mejsel, hvilket giver dem en på én gang en brutal og naiv virkning. Her mødes primitivisme og klassicisme, totempæl og Brancusi-søjle, det vilde, udstrakte landskab og det hvide, kubiske rum, rå materialitet og pæne, glatte vægge, lethed og tyngde.

Johan Röing’s (S) sculptures — articles of furniture and figures — are experienced, basically, as being incredibly Swedish. Most of them are made in wood and elaborated with a chain saw and chisel, which imparts to them an effect that is all at once brutal and naïve. Here, primitivism meets classicism, the totem pole meets Brancusi’s column, the wild sprawling landscape meets the white cubic room, raw materiality meets the tidy, smooth walls, and lightness meets heaviness.

19/3 – 16/4 2011

Udstillingstitlen er inspireret af psykoanalysens arbejde med det umiddelbart meningsløse og oversete. Claire Barclay (UK) er interesseret i, hvordan objekter formår at afsløre viden om menneskets natur gennem den måde, hvorpå de bruges eller gemmes væk. Hun undersøger i sine altid stedsspecifikke værker vores relation til tingene, når ornamentik og begær tager over fra funktion og rationalitet.

The exhibition’s title has been inspired by psychoanalysis’s work with the immediately meaningless and neglected. Claire Barclay (UK) is interested in how objects manage to disclose knowledge about human nature through the way in which they are utilized or stored away. She is examining, in her always sitespecific works, our relation to things, right there where ornamentation and desire take over from function and rationality.

12/2 - 12/3 2011

Med udgangspunkt i SKULPTURI’s "kælder-karakter" har Jørgen Carlo Larsen opført fire kælderinstallationsrum. Kælderen er et sted for opmagasinering og arkivering, men hos Larsen bliver den også et kropsligt værerum, et sted man kan trække sig tilbage til og slappe af i. Kælderen er det private, introverte lokale, i hvis dunkle hjørner der er plads til hemmelige historier og pludselige erindringer. Kunstnerens opvækst i 1950’ernes modernistiske miljø med husgerning, gør det selv-arbejde og samlermani fornægter sig ikke.

Taking its point of departure in SKULPTURI’s “basement-character”, Jørgen Carlo Larsen has erected four basement-installation spaces. The basement is a place for storing things and keeping archives but in Larsen’s work, it also becomes a physical space for being, a place where you can retreat to and relax in. The basement is the private, introverted room, in whose dark corners there are places for secret stories and unexpected memories. The artist’s upbringing in the 1950s’ modernist surroundings, with housework, do-it-yourself activities and collector’s mania is evident throughout.

8/1 – 5/2 2011

Rosemaria Rex har kurateret en udstilling med fokus på værker, der placerer sig i spændingsfeltet mellem skulptur og fotografi, 2D og 3D, et immaterielt og et konkret rum. Begge medier tager del i tiden — det sker dog på meget forskellig vis. Sammenstillingen af objekt og flade åbner for et tredje,imaginært rum, hvor både billede og fysisk genstand antager nye betydninger — og en ‘tredje tid’, hvori lineære, ‘rationelle’ forløb er erstattet af overlappende eller accelererede tidsafsnit.

Rosemaria Rex has curated an exhibition that focuses on artworks which situate themselves in the field of potential lying between sculpture and photography, between 2D and 3D, between an immaterial and a concrete space. Both mediums take an active part in time — this transpires, though, in very different ways. The juxtaposition of object and surface opens up for a third, imaginary space and a “third time”, in which linear, “rational” progression has been replaced by overlapping or accelerated periods of time.

20/11 – 18/12 2010

Mikael Thejll undersøger, hvordan rum kan blive til mellem farve, materiale, sprog og eksistens. Han har opført fire rum for filmmanuskripter, hvor beskueren kan sætte sig med en brikjuice og et manuskript og fortabe sig i et imaginært univers.

Mikael Thejll examines how space can come into being between color, material, language and existence. He has constructed four rooms for screenplays, where the viewer can sit down with carton of fruit juice and a script and lose himself in an imaginary universe.

16/10 – 13/11 2010

I Carlos Capeláns (UY/S) værker foregår en konstant stedforskydning ikke bare i form af ‘flytninger’ mellem væsensforskellige arbejdsprocesser og kunstbegreber som konceptualisme og håndværkstradition, men også mellem bevidste valg og ubevidste processer. Stedforskydningen som grundpræmis peger på Capeláns egen nomadiske flytninger mellem Sverige, Costa Rica og Spanien. Værkerne gør kur til det betydningskollaps, eksilet har åbnet, og fremviser savn, tab og fravær

In Carlos Capelán’s (UY/S) works, there is a constant shift of place. Not only in the form of “displacements” between essentially different work processes and art concepts like“ conceptualism” and “the craftsmanship tradition” but also between conscious choices and unconscious processes. The shifting of place as basic premise points to Capelán’s own nomadic moves between Sweden, Costa Rica and Spain. The works court the collapse of meaning that the condition of exile has opened and make a show of want, loss and absence.

 

11/9 – 9/10 2010

Rikke Ravn Sørensens hvide pap- og papirskulpturer er ved første øjekast geometriske, abstrakte ting, der fremtræder som enten lukkede, tilknappede voluminer eller åbne, modtagelige skaller. Udover en hilsen til modernismens geometriske formverden refererer værkerne også til arkitekturmodeller, byrum, der bukker, fletter og drejer sig om os og påvirker vores bevægelsesmønstre samt til afrikanske masker.

Rikke Ravn Sørensen’s white cardboard- and papersculptures are, at first glance, geometric, abstract objects that make their appearance as either closed, buttoned-up volumes or open, susceptible shells. In addition to offering a salute to modernism’s geometric world of forms, the works also refer to architectural models; to urban space that bows, entwines and revolves around us and influences our patterns of movement; and to African masks.

7/8 – 4/9 2010

Billedhugger Tommy Støckel har inviteret fem kunstnere med fodfæste i skulptur til at udstille deres eksperimenter med filmmediet. Det tidslige medie bruges f.eks. til at dokumentere en opbyggende proces. Hos Henriette Heise, der tilsyneladende samler et fjernsyn, men i virkeligheden skiller apparatet ad og blot afspiller filmen baglæns. Filmene er enkle, med én kamerasætning og uden brug af musik eller tale.

The sculptor, Tommy Støckel, has invited five artists who all have a firm foothold in sculpture to exhibit their experiments with the medium of film. This time-bound medium is used, for example, to document a constructive process. We have the work of Henriette Heise, who is apparently assembling a television set,  but is actually taking the apparatus apart and simply playing back the film in reverse. The films are plain and unpretentious, with a single camera setting and without any use of music or speech.