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Noplace, Oslo proudly presents:
ALEX BUNN

Nervous Wrecks

05.01.18 – 21.01.18

Opening:
Friday 05.01.18, 20:00–23:00

Opening hours: 
Saturdays and Sundays 14:00–17:00

As I sat down to write this earlier today, I instantly reached for quotes to kick-start my demon engine – that little thing that makes me do the magic that I do. Because I needed a quote. Some funky words of wisdom that would set the tone for what this is all about. I knew it was probably a wrong turn to take but, I didn´t want it to be. Now, 14 hours later, I´ve got like 468 quotes written down. It took all day and most of the night. And there´s absolutely none of them that´ll do the trick I want them to do. I´ve effectively spent the day reading instead of writing. And probably the reading list itself makes more sense than any single quote ever will. These were my sources; Lord Byron, Adam & the Ants, William Butler Yeats, Jean Baudrillard, Slavoj Zizék, David Foster Wallace, Lady Gaga, JG Ballard, Camille Paglia, Marcel Duchamp, Philip K Dick, Lydia Lunch, Emil Cioran, The Shangri-Las, Carlos Castaneda, and that very special place I always end up on these research binges; The Sex Pistols live at Winterland, San Fransisco, January 14, 1978.

Better: Nervous Wreck by the Radio Stars, released on 7” in 1977 has been playing in the back of my memory all the way through this, and no; you can’t quote one Nervous Wreck to make sense of other Nervous Wrecks. It won’t do. Why am I telling you this? Because the reading list actually does make sense — if you read everything backwards at the same time.

Because the works of Alex Bunn are a fundamentally fractured business — a combination of materials, ideas and discourses that never ever come close to any sense of balance and harmony. They´re utterly dysfunctional, yet more often than not, stunningly attractive, as if at least half of it is made of candy. Never mind the other half – the thing is that nothing is what it seems, and everything is a representation gone wrong. The pieces in this particular puzzle weren´t made to fit, and your first impression will collapse instantly as you´re drawn in by the confusing maze of details. Because it doesn´t look quite right. And given enough exposure, ones associative patterns of thinking will be completely re-wired, molested, and left crying for help. The visual language draws on the dynamics of recognition and total alienation; what is known is translated into the unknown. What you see is never clear, because in pretty much the same way I´ve been grasping in vain for quotes to navigate by, the visual memory goes into overdrive – you´ve seen it before, but you´ve never seen anything like it. Really, you´ve never seen anything like it. It is to contemporary art what artificial intelligence is when applied to social media – not as random as it seems, yet unlike everything else, and potentially dangerous.

In the here and now – nervous I´m not, but wrecked I´ve been for a very long time – I want these scenarios to be a bathroom because that´s what everything I know tells me. Except I know too much; everything is dislocated and fragmented, colours and patterns are always a camouflage – i.e. it is anything but what it seems. It transforms as you watch. Actually, it transforms you as you watch, and it will never stop. Should one crack all the codes the real trouble would begin and all the fuses would blow, the stars in the sky would switch off. There would be a sharp knock on the door etc. etc.

More than anything, it points to that age-old secret knowledge; that the main difference between the art world and the rest of the world, lies in the fact that the art world is for real.

9th SEPT – 8th OCT EXTENDED /  PV 8th SEPT. 6-9PM

LoopPromo test

 

LOOP @ LUBOMIROV / ANGUS-HUGHES 26 Lower Clapton Rd, London, E5 0PD UK

There is a chasm between what abstraction means in reference to modern art and it’s usage in most other forms of thought. To logicians and mathematicians abstraction has a similar meaning to extraction; a step taken outside of linear problem-solving in order to reach a more potent generality. To scientists abstraction can mean the same or otherwise describe the activity of thinking purely conceptually. Bertrand Russell explained that “…ordinary language is totally unsuited for expressing what physics really asserts, since the words of everyday life are not sufficiently abstract.” In art, abstraction broadly means “non-representational” but where are the processes in art that deploy abstract thought in the former sense; akin to maths, science or philosophy?

The abstract intellectual tools of logicians, scientists and philosophers obviously provide rich, penetrative insights and technological power. Can similar profundity be achieved through analogous art endeavours? One could argue that there have been movements that have attempted to do just that such as conceptual art or research-based art. What differentiates these movements from Russell’s idea of abstraction, however, is the absence of a complete conceptual loop where thought is extracted from a task but, crucially, is then related back to it. To apply the jargon of logic: The theorem is a step toward a proof. Art has generally neglected to close that loop.

Each of the artists selected for Loop derive at least some of their compelling power from making bold, passionate forays outside of art, but -importantly- maintain the focus and artistic drives to resolve the abstract loops that bring their work to fruition.

4 WORKS FEATURED IN THIS SHOW:

CHARLOTTENBORG SPRING EXHIBITION 2017

COPENHAGEN

February 3 to March 11 2017                                 Opening: February 2, 2017 19:00

Charlottenborg Spring Exhibition is one of the most important open juried exhibitions in Europe and has been held annually at Charlottenborg since 1857.

Selected by Alex da Corte (artist, US) Torben Ribe (artist, DK) Stig L. Andersson (architect, DK), Byggstudio (designer, SE) and Line Clausen (curator, DK).

In addition to selecting the exhibited artworks jury also nominates a final list of five finalists for this year’s Solo price. With Solo award follows an invitation to exhibit at Charlottenborg Spring Exhibition 2018.

Charlottenborg Forårsudstilling 2017

Klasskampen

Klasskampen

“WEIRD VILLE, AKERSHUS.
Wrong move / Heaven and earth / Super States.
Tore Lyngseth / Unni Svaboe / Alex Bunn.
Transformer Art Hall, Asker.
Stands to 18 December.

REVIEW
A comfortable acceptance of his own oddity.

May I repeat what I have already repeated when I now seize what binds these three artists together to such an extent that I become directly uncomfortable to think of them as separate entities. For I have an annoying feeling that I noted the same phenomenon last time I was on Transformer art hall, and the question is whether it is a prediction this. Because if it is, it will be an interesting experience to see whether all the work ends up being colored by the institution as they come across the threshold, or whether the venue per se manages to generate a continuous undercurrent of poetic abundance by dividing up the premises in Artist a, b and c.
Thus, I do not know how it works, although I have spent most of my time to brood over it, but the lowest common denominator in this case seems to lie in a reclining and comfortable acceptance of that one simply is incredibly weird.

Tore Lyngseths severed finger the size of a femur, Unni Svabø’s obsession with mechanical toys and airships, and the extremely strange things of Alex Bunn (I’ve never seen anything like this, and neither have you) have this one commonality: a kind non-offensive, bordering psychotic integrity. It’s easy to like, while providing some distinct manifestations of discomfort. In the latter case, it is about huge photographs of material compositions that sets the conceptual framework deadlocked. Shapes and colors that are recognized, but nevertheless cannot be placed. Organic materials combined with silikonavstøpninger of – I’m guessing – inside the foam packaging around your newly purchased cassette player, or what’s left after you poked out parts for model airplane. That kind of thing.

Sometimes resembling the final score a slice of cake you would consider not eat, other times an undefined part of something much bigger, you have no idea what is. Nestled between Svabø intensely personal paintings and Lyngseths even more personalized pop art gone wrong, it also helps to reinforce what is already impossible to protect against. There are seriously weird stuff, that is.

Tommy Olsson
kunst@klassekampen.no ”

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