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Martin Asbæk Gallery

Bredgade 23, 1260 København K

MAIL: gallery@martinasbaek.com

TLF: +45 3315 4045

FAX: +45 3313 1610

WEB: martinasbaek.com

Mandag-fredag 11-18 Lørdag 11-16


Bluebottle Coffee

Graham Collins, Maximillian Schubert, Peter Demos, Robert Davis

Kurator: Julie Quottrup Silbermann, Jens-Peter Brask

30.11.2013 - 04.01.2014


Installation view, 2013.

Installation view, 2013.

Installation view, 2013.

Installation view, 2013.

Installation view, 2013.

Installation view, 2013.

Installation view, 2013.

Installation view, 2013.

Installation view, 2013.

Installation view, 2013.

PRESSEMEDDELELSE

The exhibition Bluebottle Coffee presents four energetic, dynamically progressive and extremely talented New York artists whose works are being shown for the first time at the gallery. The artists were selected over a good cup of coffee at the tradition-­‐rich coffee bar Bluebottle Coffee in Brooklyn, New York, after an inspiring day full of studio visits.

Graham Collins works with a monochrome idiom. The canvas is spray-­‐painted in a simple tone, partly hidden behind DYI film on glass and encased in a frame made from driftwood. Collins works with painting in an expanded field. This is not traditional, two-­‐dimensional painting, it is work with painting as something more object-­‐based. The result becomes a displacement of painting as sculpture and a challenge to the format of the canvas, a consistent negation of the systemic and structural construction of the picture.

The same can be said of Maximilian Schubert's works. Here a new imagery and structure are being created so that the works appear as one thing, but turn out to be quite different from your first assumptions. At first glance you get the impression of a rough canvas folded, cut and mounted on a stretcher. But when you study the works closely, you discover that the canvas is constructed and created from a kind of plasma that imitates the structure of a canvas. Through his works Maximilian Schubert investigates and questions the concept of representation. Not only the canvases, but also the elegantly hovering brass frames move in the borderland between sculpture, object and surface. The works are reduced to pure form, neither involving direct reference nor attempting to activate particular predetermined associations. The viewer has nothing but the pure surface or frame to relate to specifically in the search for the true conception of the work.

Peter Demos, too, makes use of an abstract formal idiom but in a different, even more sharply demar-­‐ cated and geometrical way. Demos only works with black, white and neon yellow. The black is the all-­‐ dominating colour and the one Demos has tried to explore for the past few years; in terms of its potentials, its limitations and its effect on optics and perception. The works appear simple, but behind them lies a complex and difficult technique that requires meticulousness and absorption. Slender geometrical forms flow from the top to the bottom edge of the canvas. Blank geometric forms alternate against a matte background in either black, white or neon yellow.

Coffee, red wine, bourbon, cigarettes and bleach are some of the enigmatic materials that Robert Davis uses in the execution of his works. The result is a painting without paint and thus questions our perception of a painting. The motifs are organic, fluid and abstract. Robert Davis works with references to the movement Arte Informale, a kind of abstraction with a focus on the exploration of alternative materials.

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