Kasper Akhøj Saturday 16 January 5 -7 pm
Kasper Akhøj – Welcome (To The Teknival)
Ellen de Bruijne PROJECTS proudly presents Kasper Akhøj‘s second solo exhibition at the gallery. For this show Akhøj will present the concluded chapter of Welcome (To The Teknival), a work in progress since 2008.
Welcome (To The Teknival) consists of photographs taken by Akhøj during four visits made throughout the different stages of the restoration of E.1027, Maison en Bord de Mer. They are based on a series of photographs by Eileen Gray and Jean Badovici, first published in a special issue of the journal L’Architecture Vivante from 1929, the year their villa in Roquebrune-Cap-Martin on the Côte d’Azur first stood finished.
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The classical approach to restoring a historical monument is to bring it back to its state when it first stood finished. In this case however, the early modernist villa also contains five of the nine murals that Gray’s friend and peer, Le Corbusier, painted there in the late 1930s without her permission. These much disputed murals play an important role as reference to the convoluted history of this site, and without their presence the house might not still exist.
The title of the work is a citation from another kind of graffiti from the 1990s, when squatters occupied the house, the wording of which mimics Grays own stenciled remarks originally set on the walls. As a first step in the restoration this graffiti was half erased by a layer of black paint. E.1027 was opened to the public in the summer of 2015.
Next to Welcome (To The Teknival) Ellen de Bruijne PROJECTS will present The Parrot’s Tail by Kasper Akhøj and Tamar Guimarães.
The Parrot’s Tail (2015) is a mixed media installation commissioned for the Belgian pavilion at the 56th Venice Biennale. It is a fable in five parts, populated by fabulous creatures, allegorically treating the meeting between Western avant-gardes and non-Western cultures.
Kasper Akhøj (Copenhagen, 1976) lives and works in Copenhagen, Denmark and Trancoso, Brazil. He studied at Städelschule (Frankfurt) and at The Royal Danish Academy of Fine Arts (Copenhagen). In 2009 he was a studio fellow at the Whitney Program and in 2010 he was artist in residence at the 29th São Paulo Biennial and Platform Garanti Contemporary Art Center (Istanbul). In 2011 he was Artist in Residence at ISCP (New York). In 2015 Akhøj’s work was part of the exhibition at the Belgian Pavilion at the 56th Venice Biennale.
Recently exhibitions include MAR – Museum of Art of Rio de Janeiro (2014), the 31st Sao Paulo Biennial (2014) and the 55th Venice Biennale (2013) – the last two in collaboration with Tamar Guimarães, and together they also exhibited at Jeu de Paume Satellite (Paris) in 2012. In 2010 Akhøj had solo shows at Wiels Center for Contemporary Art (Brussels), Künstlerhaus Stuttgart, and Overgaden Center for Contemporary Art (Copenhagen).
Opening: 16 January 2016
Exhibition: 16 January – 19 March 2016
Performance practices in a gallery context
Image: Kerstin Cmelka (with Nicolas Coster),”Song and Dance Exercise (cowboy shots)”, 2015, photo series, courtesy: Kerstin Cmelka
Performance receives increasingly (renewed) attention from museums and art institutions, the all year round show by Tino Seghal at Stedelijk Museum Amsterdam as an obvious example.
For some years also art fairs are embedding performance programmes as a substantial part of their fair concept. One could think of Artissima, Frieze, FIAC and Art Basel. The latter hosted in 2014 the show 14 Rooms curated by Klaus Biesenbach and Hans Ulrich Obrist, featuring 14 ongoing performances by Bruce Nauman, Allora & Calzadilla, Laura Lima, Joan Jonas, Marina Abramovic and Ed Atkins amongst others.
Performance moved from a black box to a white cube. The one time event became an ongoing exhibition or permanent installation, as Claire Bishop recently pointed out in her lecture White Cube, Black Box: Fifty shades of Grey? at the Stedelijk Museum Amsterdam.
The discussion on how to collect, document and archive performance is currently a hot topic among (collecting) institutions. While contemporary performance artists are still not much represented by galleries, it’s not only the question on how to deal with the actual performance in case of selling, but also to think of what the performance consists of and how the artist relates to its performance. It also raises questions regarding the possible documentation; is it considered a separate work which functions on its own, a supportive part of the performance or mere documentation?
The two previous editions of the performance programme organised at Dolores focused on offering artists a platform for performance within a gallery context. Within this programme artists from different backgrounds where invited to present their work or to experiment or improvise with it. Next to offering a platform, the performance programme in a gallery context was part of the empowerment of this specific discipline within this context.
The third edition of the performance programme will focus on how a performance remains after it has been performed. This small presentation deals with the different forms of performance residues and ways of documenting. Artists included in this show are Kerstin Cmelka, Dina Danish, Jeremiah Day, Dora Garcia and Zhana Ivanova.
In addition to the gallery presentation, a small series of “in gallery conversations” will be organised. The conversations will focus on the practices of performance in a gallery context. Invited artists and gallerists will talk about the challenges of working with performances from the views of both professions.
Please visit the gallery website and Facebook to stay updated on the programme.
Performance practices in a gallery context
Opening: Saturday 6 February 2016, 5–7 PM
Exhibition: 6 February – 19 March 2016
Curator: Dorothé Orczyk