While
Anja Schwörer in her seemingly esoteric paintings, made by
bleaching and dyeing black canvas, thematicises spiritualist
levels of meaning in abstract art and mathematics, Simon
Dybbroe Møller, in the three photographs still
untitled,
stages an improvised appropriation of aesthetic principles
from a photographic documentation of a work situation in
his studio. In her text works that are reminiscent of visual
poetry and the experimental design of early conceptual art,
Pernille Kapper Williams deals with different typographies
and forms of presentation. On one of the 16 pages making
up the work Untitled, for example, the corresponding pair
of words ‘inside’ and ‘outside’ are positioned so that ‘inside’
is written in the o of ‘outside.’ Thus the result is a formal
spatial composition that all but makes a visual double to
the linguistic content. Her mirror work Untitled
Picture is a re-make of the work Untitled
Painting by Art & Language,
which she has altered so that the size of the mirror relates
exactly to her body size. Lasse Schmidt
Hansen will be represented
by works on paper and the sculpture Notes
on Site-Specificity,
which consists of Barcelona stools designed by Mies van der
Rohe placed at an angle to each other in the exhibition space.
The apparently arbitrary placement of the stools thwarts
the strictly geometrical positioning along the wall that
was originally intended by Mies van der Rohe for his Barcelona
Pavilion. The large format ink jet prints by Kerstin
Stoll oscillate between northern light and rayonism;
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