RHIZOM relation 1
25.09.2019 – 06.10.2019
OPENING: WEDNESDAY 25.09.2019 at 18:30
OPENING HOURS: THURSDAY-SUNDAY at 14:00 – 18:00
ADRESS: KUNSTKOLLEKTIVET 8B
SØLVAGERVEJ 8B, 4500 NYKØBING SJ, DK
RHIZOM relation 1 shows the ceramic works of three artists in two rooms, placed directly above each other. In reference to Deleuze & Guattari, multiple plateaus are included without losing sight of an horizontal outlook. At the same time, the experience of time is challenged.
The relation between the three artists emerges in the repetition – in the reproduction of time and space with a manifestation of changeability. The solid, polyrhythmic repetition reflects changeability in the upper room, while the fleeting, vibrating repetition reflects it in the room below. The vertical positioning of the rooms is neutralised by the juxtappostion of slow and fast repetitions.
relation 1 refers to this being the first of a series of exhibitions. In a Deleuzian perspective the exposition could just as well have been number 17 or 93. The number 1 relates to the sensory interpretation of the exhibiting artists’ work.
The exhibition is arranged by the artist collective 8B. The people in charge of planning is Pia Heike Johansen, associate professor, ph.d, in sociology with research qualifications in the sociology of senses and everyday life, and Trine Hylander Friis, MA in Fine Arts from the Bergen Academy of Art and Design.
ANNA SAMSØE & ANDREAS STOUBYE JOHANSEN have collaborated to create a sound installation for the exhibitions lower room.
The collaboration is based on an interest in establishing both sculptural and performative connections in the work with acoustics. The earthly and enduring qualities of ceramics are set up against the volatile but pervasive values of sound, reminding us that sound can only be described with reference to an object.
The works for the exhibition consist of a series of ceramic sound sculptures produced in 8B. The sculptures are designed to house electrical and magnetic installations and produce sound. For example, one sculpture consists of a large ceramic bell with an iron ball installed inside. The iron ball is activated by an externally rotating magnet and produces sound in its movement across the surface of the ceramic. Each sculpture has its own voice and they interact in a synchronized soundscape based on specific sounds.
The artist duo experience sound as a material that helps shape people. Many theories of sound have over the years been categorized as something that does not belong to the physically founded world. Now science has begun to research the potential of sound and they have a keen interest in fostering conversation and awareness of the sounds that surround us.
Anna Samsøe & Andreas Stoubye Johansen live and work in Copenhagen and both graduated from the Funen Academy of Fine Arts. In addition to exhibitions at Kunstforeningen Gl. Strand, Nikolaj Kunsthal and Charlottenborg in DK they have exhibited several times internationally in Tokyo, Istanbul and Vienna. In recent years, they have been awarded grants from the Erna Hamilton Foundation of Arts and Sciences, the Beckett Foundation and Statens Kunstfond.
CAT FENWICK exhibits in the upper room. Her installation ‘se mélanger sans se fondre’ (to mix without melting) was inspired by the forms created by natural erosion of sea water on limestone. The installation is composed of around 150 unique ceramic sculptures all cast from the same mould, however remaining individuel in their own form. The sculptures are placed in the exhibition space in a way which reminds us of a sea of stones covering the floor, the ensemble of shapes evoking a beach. The mass of white, unglazed, ceramic creates an intruiging uniformity however as we approach we notice the singularity of each object. At closer inspection we can see that the the original structure was in fact a vase; an everyday object. The artist had come across the vase mould from a dissused ceramic factory. These moulds are usually used to create industriel quantities of the same identical object however here she reverses the process creating industriel quantites of distinct shapes. She deformed each vase with the most natural movement possible, erroding the materiel to the point of creation of its own individuality. The trace of the original vase is no longer present in any of the objects, and yet the multiple possibilities of shapes seems infinate. Perhaps a reflection on the constant change of the nature of ‘things’, a questioning of the sea of objects created in this era or the simple desire that the everyday be like a walk on the beach.
Cat Fenwick born and studied in Manchester, U.K. now lives and works in Nantes France. She exhibits both locally and internationally and takes part in artist residencies throughout Europe. In 2018 she won the Visual arts prize for the city of Nantes and has been awarded various grants from the D.R.A.C. (regional direction for cultural affaires) to create her studio and from the Loire-Atlantique for the creation of installations.