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Friisgatan 15, 214 30 Malmö

Tuesday - Sunday 13- 17


David Nilson

23.02.2013 - 10.03.2013


The lamp shines in a way that pulls us closer. It is both materiality, with its shell and its cables, and immaterial enlightenment, a flow in the air showing the way, elucidating, simultaneously seducing and blinding. Water is both cleansing and dissolving.

In his exhibition 1:1 David Nilson uses both water and light to create chimaeras that, at a closer look, through their concretion, willingly let themselves be revealed. Illusions that we like to hold on to, in a kind of temporary and willing suspension of disbelief when confronted with art (2). Nilson wants us to move among these physical illusions. They are highly spatial, warm, cooling, rippling, solid as stone, soft like water.

The garden is in its most essential form stone and water. Stone offers the firm surface upon which water can potentially let greenery grow. The fountain is a sort of summary of the garden. In all of its million appearances it remains the focus of a notion of paradise.

In a lecture held in 1967, Michel Foucault introduced the concept of heterotopias, spaces that are both physical and mental, that exist in the world, but at the same time beside it. He searched to define them by talking of six different principles. The third one mentions the garden and its microcosm. It is present to all the senses and in physical space, at the same time it holds layer upon layer of representations of the world. In David Nilson's fountains water seeps out of brick and concrete. It silently brims over, but then disappears. Willingly we leave disbelief behind for a moment.

All is what is seems to be in in David Nilson's room. Light and water flows out of objects that in all their simplicity often contain something of the autoerotic, or of the landscapely, and then, something beyond the seemingly realistic.

Måns Holst-Ekström, art historian and writer 

(2) In his Bioraphia Literaria from 1817, poet Samuel Coleridge first launched the expression "willing suspension of disbelief".

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