Fabeldyr på badet by Stian Gabrielsen
9th SEPT – 8th OCT EXTENDED / PV 8th SEPT. 6-9PM
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
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.
MORE INFO: http://goodworkgallery.com/
“WEIRD VILLE, AKERSHUS.
Wrong move / Heaven and earth / Super States.
Tore Lyngseth / Unni Svaboe / Alex Bunn.
Transformer Art Hall, Asker.
Stands to 18 December.
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.