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Years

Tagensvej 58 st. th., 2200 København N

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Der Ursprung der Zukunft - Er en organisk allegorisk modernisme mulig

Bjørn Nørgaard

14.12.2014 - 27.01.2015
FACEBOOKEVENT


Bjørn Nørgaard & Nico Anklam: Der Ursprung Der Zukunft. Er en allegorisk modernisme mulig, (installation view). Foto: Stine Heger.

Bjørn Nørgaard & Nico Anklam: Der Ursprung Der Zukunft. Er en allegorisk modernisme mulig, (installation view). Foto: Stine Heger.

Bjørn Nørgaard & Nico Anklam: Der Ursprung Der Zukunft. Er en allegorisk modernisme mulig, (installation view). Foto: Stine Heger.

Bjørn Nørgaard & Nico Anklam: Der Ursprung Der Zukunft. Er en allegorisk modernisme mulig, (installation view). Foto: Stine Heger.

Bjørn Nørgaard & Nico Anklam: Der Ursprung Der Zukunft. Er en allegorisk modernisme mulig, (installation view). Foto: Stine Heger.

Bjørn Nørgaard & Nico Anklam: Der Ursprung Der Zukunft. Er en allegorisk modernisme mulig. Foto: Stine Heger.

Bjørn Nørgaard & Nico Anklam: Der Ursprung Der Zukunft. Er en allegorisk modernisme mulig, (installation view). Foto: Stine Heger.

Bjørn Nørgaard & Nico Anklam: Der Ursprung Der Zukunft. Er en allegorisk modernisme mulig, (installation view). Foto: Stine Heger.

Bjørn Nørgaard & Nico Anklam: Der Ursprung Der Zukunft. Er en allegorisk modernisme mulig, (installation view). Foto: Stine Heger.

PRESSEMEDDELELSE

When we read in Ovid's Metamorphoses of the sculptor Pygmalion then it is one of a profound desire to make his sculptures become alive. And as it was Venus who attended her own feast, she let him be and thus, Pygmalion's copy of woman, so well made, beyond its materiality's Künstlichkeit, became alive.
When Aby Warburg looked at sculpture in his Mnemosyne Atlas, it was about finding a greater narrative beyond the individuals ways to work on material embedded within specific Zeitgeist, but to see and find the connections across, beyond, or maybe even outside time. And when Joseph Beuys spoke about Soziale Plastik, it was about a sculptural act to physically sculpt back, form, shape and bend the spatial, sociological and mental pressure around the human being, that is, take society's conditions, energies and constrains, politically and psychologically as the sculptor's material, literally, and start work on it as if it was clay.Somewhere between those three, and probably many more fix points one finds a field of interdependencies of sculptural thoughts and structures which Bjørn Nørgaard connects through many lines. With him, we move from the origins right away to the future, vom Ursprung zur Zukunft and ask, if at all, we could consider the organic as one side of a project called modernity. An organic modernity from the future that rejects the alienation of the one we know now and revolves around a manifold potentiality of complex and conflicted nature that Walter Benjamin had worked upon endlessly: allegory.

The exhibition of Bjørn Nørgaard DER URSPRUNG DER ZUKUNFT. Er en organisk, alegorisk modernisme mulig at YEARS was conceived with the Berlin based art historian Nico Anklam.

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