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David Risley Gallery

Bispevej 29, 2400 København NV

Onsdag - fredag kl. 12-17, lørdag kl. 12-15


Orientalism

Dexter Dalwood

12.05.2012 - 23.06.2012
FACEBOOKEVENT


Dexter Dalwood: Orientalism, 2012. Installation view Courtesy: Davis Risley Gallery.

Dexter Dalwood: Orientalism, 2012. Installation view Courtesy: David Risley Gallery.

Dexter Dalwood: Orientalism, 2012. Installation view Courtesy: David Risley Gallery.

Dexter Dalwood: Orientalism, 2012. Installation view Courtesy: David Risley Gallery.

Dexter Dalwood: Orientalism, 2012. Installation view Courtesy: David Risley Gallery.

Dexter Dalwood: Morning, 2012, 62 x 74 cm, Oil on canvas. Courtesy: David Risley Gallery.

Dexter Dalwood: Midday, 2012, 62 x 74 cm, Oil on canvas 2012 . Courtesy: David Risley Gallery.

Dexter Dalwood: Next Day, 2012, 200 x 250 cm, Oil on canvas. Courtesy: David Risley Gallery.

Dexter Dalwood: Night, 2012, 62 x 74 cm , Oil on canvas. Courtesy: David Risley Gallery.

Dexter Dalwood: Night Mirror , 2012, 92 x 100 cm, Oil on canvas. Courtesy: David Risley Gallery.

Dexter Dalwood: Snake Charmer, 2012, 92 x 100 cm, Oil on canvas. Courtesy: David Risley Gallery.

PRESSEMEDDELELSE

When Dexter Dalwood looks in the mirror, he sees white noise rendered from the details of a 17th century etching. As an artist he holds up a mirror to the audience that attempts to be conversely subjective as concept and objective as painting.

Further, Dalwood takes up the challenge: how to make paintings that maintain pleasure whilst also being of contemporary significance. That is, how to continue a tradition that is linked with privilege and leisure whilst upholding the ambition to make us think. The challenge is self-explanatory; painting offers many ornamental pleasures, but the reality of human struggle 'significance' is far from ornamental. Artists have always resisted the role of entertainer, jester or ornament maker, but to attempt to inject significance is to risk biting the proverbial hand.

'...the key notion of Orientalism cannot be confronted without a critical analysis of the particular power structure in which these works came into being. For instance, the degreeof realism (or lack of it) in individual Orientalist images can hardly be discussed without some attempt to clarify whose reality we are talking about.'
Linda Nochlin, The Politics of Vision. 1989

Be it in the studio, at home or out, 'reality' seems to happen elsewhere. An overarching motif of these paintings is the white noise, which Dalwood calls an 'expanded space for occupation', TV without a signal. By day the painter is alone (working) in the studio. At a certain moment 'reality' filters through via the news. 'Reality' is an image conjured over white noise, as the painted image is conjured over blank canvas. Does any of it exist? Another motif is the reflected hence, still further mediated-image of a mosque that could signify a middle-eastern country, perhaps Libya or Iraq. Dalwood avoids specificity but our recognition, schooled by media images, is immediate. The subject signified is outside the frame of the image painted. It is literally not there, only reflected. If the unconscious is structured like a language then Dalwood demonstrates that good painting is structured likewise.

Dexter Dalwood (Bristol, UK 1960). Dalwood studied at St. Martins School of Art and at the Royal College of Art, London. His work has been shown in many important exhibitions including show of new British art, Die Young Stay Pretty, ICA, London, 1998, Neurotic Realism, 1999, Saatchi Gallery London. 2002 Sydney Biennial, Days Like These (Tate Triennial), 2003. "Dexter Dalwood", a major survey show, Tate St Ives, 2010. (FRAC Champagne Ardenne, Reims, France and CAC Malaga, Spain). Dalwood was short listed for the 2010 Turner Prize. A major solo show will be held at Centre Pasquart, Biel, Switzerland in 2013.

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