RHIZOM relation 19
30.05.2020 – 01.06.2020
Social Fermatation, Maj 2020
Fermentation is a metabolic process that produces chemical changes in organic substrates through the invisible action of enzymes.
The exhibition is a social event in which the artist exhibits his works with the aim of sharing his knowledge and work, by observing the exhibit the visitor enters the artist’s process and by sharing his impressions, a transformation between thoughts starts and it helps to ferment the process itself and the final product.
Through his artistic work so far, the artist and graphic designer Adrian Rast examines the concept of social fermentation through the consumption of art. He takes taste and imagination as a starting point for painting work in which he creates a visual interpretation of the food he tastes in the desire for its mental fermentation using the watercolor technique.
By making ceramic pots he creates a physical space for the very, unfortunately neglected technique of fermentation of food products in which the tested flavors are found. He uses the surfaces of the vessels themselves as a link between the visual and sense of taste, painting them with fragments of acquired knowledge.
NEST Cushions, Februar 2020
Fiona Daly is a textile designer maker, handweaver, researcher and author from Ireland. Her practice is craft and research led, focusing on sustainable textiles, circular design, weave and education.
While on residency at 8B, Fiona developed her research and handwove a small batch production of three designs from her NEST collection. This cushion features a design from Fiona’s NEST collection. It is constructed in a double-cloth weave structure, making it reversible, lengthening its life cycle for the consumer. Woven in Shetland wool and other breed specific NEST wools, mainly undyed celebrating the natural colour of the wool. Fiona consciously choose to naturally dye some yarns for colour accents. During her time in Denmark, Fiona also undertook a research visit to a biodiversity focused Spelsau sheep (Norwegian villsau) farm, Lystbaekgaard in western Jutland where she learnt directly from shepherd, Berit Killerich about her role as a Spelsau sheep shepherd. This cushion is stuffed with raw Spelsau wool from a Lystbaek fleece, which Fiona scoured in rainwater for lower environmental impact.
The Gold Divide, Weaving II, Januar 2020
Linen thread and gold crystal organza fabric 76,8 cm tall x 54,6 cm wide (including the oose strip of fabric on the side)
Underød Brugsforening, February 2020
Papir Installation. The installation captures the life and timeline of Kunstkollektivet 8B. Felicia found interest in 8B´s history as a local co-op, after she found boxes of old receipts and transactions in the basement, dating back to the 1800´s. The layers of paper and fabric, naturally dyed with life from the sea, foraged plants, and food from the new local market, represent 8B´s dense history and transformation into what it has become. Through sewing hundreds of paper and fabric swatches together, she meditated and breathed new life into the material, giving it a new purpose.
Post-Industrial Still Life, March 2020
Material Pattern, March 2020
The series is of abstract paper collages transformed into knitted artworks. It plays with different materials creating contrasts and shapes. All the materials are eco-friendly leftovers: local wool, nettle fibers, recycled cotton, mohair and merino. After knitting the samples are naturally dyed with local plants. The materials take on those colours differently which creates a monochromatic vibrant pattern.
Megastrukturer, April 2020
What could be discovered by relating to concrete forms through the softness of cloth? Megastrukturer is a series of draped photos and handwoven textile sculptures, informed by examples of Danish architecture, installed in-situ at 8B.
RHIZOM relation 13
11.05.2020 – 15.06.2020
RHIZOM 13: Megastrukturer is an exhibition of textile and photo sculptures, informed by examples of Danish architecture. Sophia Borowska is a Montréal-based artist and writer working in textiles, photography, and installation. Technically trained as a weaver, her work deconstructs prevailing hierarchies between art and craft through subversive acts of hybridizing textiles and architecture.
The woven textiles of Megastrukturer are based on photographs of local buildings between Odsherred and Copenhagen. They are interpreted and abstracted through processes inherent to weaving, such as repetition, geometry, stripes, and pixelation. Two different weaving styles are present: tapestry and digitally-assisted dobby loom weaving. Tapestry is an ancient technique of woven imagery, which creates a flexible matrix of image and texture. These were the vast architectural coverings of the past, now reworked as fragmented and three-dimensional snapshots. For the larger dobby loom pieces, slices of buildings are repeated across the cloth, creating impossible megastructures with forced perspective. Make sure to discover both sides of each textile.
Thinking about the pluralism and evolution of Danish architecture, the pieces reference traditional brick and wood structures as well as Functionalist, Modernist, and Brutalist designs. How might a proto-Modernist Garden City like Annebergparken psychiatric facility connect to 1970s Assemblist project like Farum Midpunkt? Could the geometry of a 14th century church have influenced the Brutalist Panum wing of Copenhagen University? Using analog photography to capture examples of interesting architecture, Borowska has connected to her surroundings in Denmark. By translating these images into textile structures resembling furniture, she encourages viewers to relate to architecture in more haptic ways.
Both textiles and architecture are media that we live our lives in: one at the intimate scale of the body, and one at the monumental scale of rooms and towers. But we relate to architecture differently from textiles: the former might be intimidating, rational, visual, and the latter might be intimate, personal, tactile. What could be discovered by relating to concrete forms through the softness of cloth? Even the photographs included are not rigidly framed, but draped, drawing attention to their materiality.
Inspired by the Danish firm 3XN, whose projects are recyclable, re-configurable, and re-buildable, the sculptures are made of repurposed wood, and are entirely collapsible and modular.
RHIZOM relation 8
13.01.2020 – 26.01.2020
Clara Leitão’s three-dimensional illustrations reflect upon memory and sense of place. Eight scenes compose a story that is part imagined, part lived experience. Each element
was created using a diverse range of mediums and techniques, from screen-printing and collaging on fabric, to drawing and wood sculpting. The illustrations float in space and
each has its own individuality, coming together in unity as a mural that separates from the wall.
Clara worked from tales and stories of Odsherred, such as one about the Ulkerupfolket, an entire village who had to flee Ulkerup forest, or one about a giant who threw a stone
at Egebjerg’s church. Another local story mentioned a golden chain buried underground. The more one tries to dig it up, the further it gets swallowed by the soil.
Some references came from visits and explorations: a Stone Age grave, a windmill whose miller painted the inside with wildlife motifs, Højby church’s dreamy frescoes. Others
came from everyday life with Unnerud’s community, or from observing animals and plants amidst the quietness of fields, sky and sea.
Inevitably, that local experience got entangled with Clara’s own memories of more distant countries, communities and narratives. Reflected on the fabrics she used, all brought
from her grandmothers’ homes, is her Portuguese heritage.
The illustrations reflect the dreamlike and often subconscious act of processing reality. Combining elements of fantasy and observation, Clara meditates on her travel between
places, the experience of connection, learning and separation. Her illustrations live in different timelines, parallel universes that coexist in her mind.
Clara was born in Lisbon, Portugal, where she studied Costume & Set Design, and graduated in Textile Design from Heriot-Watt University, Scotland. She was recently awarded the Clothworkers’ Company Printed Textile Design Prize, in London, and was nominated through TexSelect to exhibit her textile designs in Paris at Première Vision.
RHIZOM relation 32
In Wales, there is a term called ‘Hiraeth.’ It’s a complicated word that describes a broad sense of yearning for a particular place that is deeply rooted within you. There is no direct English translation, but the closest word in existence is ‘longing’. Feeling ‘Hiraeth’ depends on lived experience. Kelly was raised on the West Coast of Wales in a village called Aberarth. Her upbringing there has had a profound influence on the things she values.
Kelly’s artistic practice is rooted in the genres of Land Art and Eco Art. She uses the land as her studio, and she thrives on installing work in remote locations. By choosing to commit to the land, she challenges what a studio or a gallery can be.
The landscape is the foundation of her artistic practice, and the elemental materials she gathers a are a catalyst for the work she produces. By using native materials from an area, she is marking time in an elemental way. Kelly is enchanted by natural materials. She says “they are close to magic. I don’t wish to destroy or dramatically change the self-contained quality of the materials I find. Instead, I want to preserve their beauty and become part of their journey by displacing or reworking them in some way.”
The sculpture that Kelly has created for the landscape is based on a ladder. The ladder is rich in symbolism and metaphor. Each step, a gradual ascent, where wisdom and knowledge are earnt.
It represents the relationship between Kunstkollektivet 8B and the local community. A reminder of the journey from the bottom of the ladder to the top. The symbol of a collective determination to ensure that Art is a central part of the community.
It is made from a tree that Kelly discovered on the beach the first day she arrived in Unnerud. At first, it was thought to be an Ash tree. However, after some investigation, she discovered that in fact, it was a Populus tree. Allegedly killed with copper nails by a local because it was blocking their view, the tree had been lying dead on the shoreline for nearly a decade. Kelly has rejuvenated the tree by intersecting it’s journey. It now stands on a platform, looking out to the sea as a sculpture in the landscape.
Rebecca Wyn Kelly holds a BA in Arts from Central St Martins i London and a MA in Arts from UWE, University in West England
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.
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.
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.