Runo Lagomarsino

Lagomarsino applies a similar approach in the work That song is our amulet whose title refers to an actual passage in the story Amulet by the Chilean writer Roberto Bolaño. This literary grounding once again calls to mind the Latin American continent and its political conflicts. This is further supported by the shape, reminiscent of a fist while also tracing the contour of Latin America.

Denmark

Copenhagen

Nils Stærk

Mixed Media

That song is our amulet

In the work series The Geography of Hunger, Runo Lagomarsino uses an electric oven and baking paper where parts of the paper are covered prior to warming it up. Apart from the practical function of this overlooked and everyday material, it harbours an integral political narrative. The oven as something’s in our closest environment; An art form which can be produced at home, in isolation, and at no cost. In The Geography of Hunger – Map, Lagomarsino has cut a stencil shaped like the Latin American continent; a burned drawing, a burned map, highlighting the colonial heritage of contemporary Latin America and the conflicts that are constitutive of colonial borders. In The Geography of Hunger – Map, Lagomarsino continues his interest in paperworks where light, mobility and fragility are at the core of the production of the actual work. Earlier, Lagomarsino was known for his ’sun drawings’ e.g. created during a voyage across the Atlantic. The visual content was transferred to paper via the effect of sunlight and the rigging of the sailing boat. By leaving the medium at the mercy of nature and the elements, Lagomarsino exposes the frailty of the material – but also its resistance to time and chance.

The Geography of Hunger - Map

Carlos Amorales

Celebrity Pet is a series of color pencil on paper. The series shows a female figure drawn in colored lines that mark the simple silhouette – They appear both figurative and abstract in the way they duplicate themselves so several breasts, legs, arms create an abstract universe that draws the viewers curiosity. Amorales is know for his multidisciplinary artistic practice, where he explores the limits of language and translation systems to venture into the field of cultural experimentation. He uses graphic production as a tool to develop linguistic structures and alternative working models that allow new forms of interpretation and foster collectivity. In his projects, Amorales examines identity construction processes, proposes a constant re signification of forms present in his work, and provokes a clash between art and pop culture. 

Drawing

Celebrity Pet 19

Eduardo Terrazas

Eduardo Terrazas’s work is reminiscent of a geographical map. The meticulously drawn lines in coloured pencil form offshoots across the paper like coordinates. Entitled Constellations 16.34, the abstract form of the work is reminiscent of constellations on a clear night sky, at once present and absent. Rather than locating a specific navigation, his drawing tends perhaps to express an intuitive journey into the universe – through one’s inner self. Thus, Terrazas also maps a cosmic order, meditating on nature’s evolution of those micro and macro systems that constitute man’s basis of existence.

Constellations: 16.34

Celebrity Pet 17

In spite of their seemingly non-figurative character, the two drawings by FOS’ has a similar bodily feel to them. As they appear side by side, they could be seen as one - and they are in fact based on a well-known sculptural principle in the artist's practice. FOS’ work is often centred around the idea of the images as ‘a double skin’ - an image that, when repeated, appears to be more physical than surface-orientated.

Untitled

Celebrity Pet 9

Celebrity Pet 18

Celebrity Pet 30

Ingvar Cronhammar

The temporal aspect is represented in Ingvar Cronhammar’s work Seven minutes past four, referencing the time when night becomes day and a new twenty-four-hour period begins. The black monochrome plane of the paper is only broken by two diagonal lines forming a clock face in memory of nature’s cycle.

Print

Seven minutes past four

Gardar Eide Einarsson

Gardar Eide Einarsson’s work series Plague Drawing uses as its indirect point of departure the global COVID-19 situation by referring to Albert Camus’s literary principal work The Plague. Thus, Einarsson’s works on paper are based on the various book covers for the novel, which outlines a battle between humanism and cynicism – between idealism and political pragmatism. The original book covers produced over time are, in Einarsson’s works, reduced to modernist abstractions. By extracting all text and photographic elements from the book covers, Einarsson’s compositions put us in mind of open window sections. The conceptual approach is the pivotal point in Einarsson’s practice, which addresses the tradition of new artistic departures – especially perhaps recalling Robert Rauschenberg’s iconic work Erased de Kooning Drawing (1953). Both artistic approaches create value by erasing something significant, thereby making space for new meaning.

Plague Drawing (IV)

Plague Drawing

Plague Drawing (I)

Plague Drawing (II)

Michael Kvium

The idea of an organic presence is further bolstered by Michael Kvium’s works where anatomical abstractions dangle like innards or curtain cords. The works have a mutual serial rhythm due to the manner in which the wet colour spreads across the paper. In keeping with the works from the exhibition Papirvirus (Paper Virus) from 1988, the message is the force of nature and man’s moral character. In this way, the works create a tension between what we expect from the realm of a picture and what this actually represents to Kvium. 

New Landsscape

New Landscape

The associative links between the works in the exhibition Entangled_Paperworks are legion, but common to them all is a return to the basic – but also fragile – point of departure in terms of material. The works in the exhibition can be appreciated for their processual insight, their intimacy, and direct approach – in drawings, we seek truth rather than power. Paper is at the root of the majority of artistic practices and their development; it is inextricably linked to the development process relative to new artistic departures. Paper is used for both registration and rationalisation. It may constitute a work and be used as currency. Paper is easily disseminated across national borders; it can be mass-produced and penetrate otherwise closed systems. Historically, paper is the very foundation of our information culture – and will survive its collapse. In times of crisis, we revert to essentials, we cut to the bone, and use what is at hand.

Entangled-Paperworks

Take 3D Tour