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04.05.2017 FOKUS
Amalie Jakobsen

Amalie Jakobsen: WRONGDOERS (installationview), 2017. Foto: David Stjernholm.

3 møder med Amalie Jakobsen

Amalie Jakobsen (1989 DK) er BA i Fine Art fra Goldsmiths, London 2014 og har de sidste ca. 5 år udstillet flittigt, især i Danmark og England. [ Amalie Jakobsens cv ] . Hun blev i 2015 valgt som en af 8 danske repræsentanter til Jeune Création Européenne Biennale, og siden har både udviklingen af hendes stringente rum-indgreb og den opmærksomhed de bliver tildelt steget herhjemme og internationalt. Amalie Jakobsen er repræsenteret af Gether Contemporary i København, der i øvrigt debuterer på 2017-udgaven af CHART Art Fair.

I det følgende har kunstneren Christian Camacho, skribent og kritiker Amanda Roscoe Mayo og hendes tidligere professor på Goldsmiths Michael Archer beskrevet deres møde med et af Amalie Jakobsens værker.

AF Torben Zenth

Amalie Jakobsen
Amalie Jakobsen. Foto Sachin Kaeley
 

Michael Archer
Writer, professor in Art at Goldsmiths University of London, UK

We talked a lot about space and light. We talked about colour, about how colour can shape our experience of space. We talked about how it is not that space exists as a receptacle for colour, it is that colour makes space.
Later, Amalie would use strips of latex, but in those early stages she was using thin gauze, not fastened, but held in place by magnets, metal rods and plates. Gravity and magnetism: invisible forces with visible consequences.

The impulse - to draw a line in space - was simple. It was not to be a line that could carry colour, a line to which colour could be applied, but a line that was itself colour, a line that was both present and immaterial. The line was straightforward; it was a rectilinear infinity sign that established a vertical plane in the centre of the room. It marked a square area whose corners were joined by diagonals.
This X was not a block, a denial or a cancellation, it was a recognition of dimension, it was Vitruvian, a body in space, a body of space, and a space of and from the body. It was to be approached circled and negotiated with. The air was ultra-violet, beyond visible. What was visible was the gesture, in the space and in the air with you.

 

Amalie Jakobsen, Gether Contemporary
Amalie Jakobsen: Untitled #3, 2014. Foto Oskar Jakobsen


Amalie JakobsenAmalie Jakobsen: Untitled #7, 2014. Foto Oskar Jakobsen

 

Amalie Jakobsen
Amalie Jakobsen: Untitled #7, 2014. Foto Oskar Jakobsen


Amalie Jakobsen
Amalie Jakobsen: Untitled #8, 2014. Foto Oskar Jakobsen

Christian Camacho
Artist, Education and Public Programing at Fundación Jumex Arte Contemporáneo, Mexico City, MX.

An exchange between Mexican Art Group Neter and Danish artist-run space Green is Gold first brought Amalie’s work to Mexico and into my knowledge.
The show took place in Neter’s former project space: a fusion between a parking lot and an open warehouse where the artists installed the work themselves. 

This context made for a sort of generous gravitas to pieces that in one way or another existed through the show in a kind of take-off sequence: a hangar like sensation that gave everything the simultaneous momentum of a sculpture and a piece of gear for the specialized maintenance of unknown aircraft.
It is under this light that I first found Amalie’s piece, in this particular air of practical or impractical anti-mineral metal that even today still feels like a familiar component in her ongoing practice.


Amalie Jakobsen
Amalie Jakobsen: Untitled #10, 2014. Foto Ditte Knus


Amalie Jakobsen
Amalie Jakobsen: Untitled #10, 2014. Foto Ditte Knus

Amanda Roscoe Mayo
Writer, curator of contemporary culture, based in Chicago, US.

Recursive Demarcation was part of a program called IN/SITU: A Break in Code, curated by Diana Nawi at 2016 EXPO Chicago Art Fair. I saw this performance nearly one year ago, yet my memories of it are still very vivid.
I remember how the performers acted as guardians of time and space, providing the beginning and end of the music through movement without the aid of sound to signify a meter of time.

I remember the architecture and various archetypes it references. I remember the feeling of being in a trance as I sat in a crowded corner of the hectic fair. I remember not knowing how much time had passed.
I interpret Recursive Demarcation as a work that dips its toes into contemplative meditation, being lost in one’s own thoughts despite the surrounding chaos, the culture of silent clubbing, the individual in the group, and the oppression of society on certain freedoms.

Amalie Jakobsen
Amalie Jakobsen: Recursive Demarcation, 2016. Performative installation. Foto Heather A Halbert


Amalie Jakobsen
Amalie Jakobsen: Recursive Demarcation, 2016. Performative installation. Foto Heather A Halbert

Amalie Jakobsen
Amalie Jakobsen: Recursive Demarcation, 2016. Performative installation. Foto Heather A Halbert


MORE:
 
ARTGUIDE
GETHER CONTEMPORARY
Inside Out
Vinyl Terror & Horror, Amalie Jakobsen
14.11.2015 - 19.12.2015

Amalie Jakobsen, PROOON, Efrain Lopez Gallery
SHOWPICS
EFRAIN LOPEZ GALLERY
PROOON
Amalie Jakobsen
09.09. - 09.10.2016

Amalie Jakobsen, Wrongdoers, Gether Contemporary
ARTGUIDE
GETHER CONTEMPORARY
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01.04.2017 - 13.05.2017

Amalie Jakobsen, Gether Contemporary

Amalie Jakobsen: WRONGDOERS (installationview), 2017. Foto: David Stjernholm.

Amaile Jakobsen, Gether Contemporary

Amalie Jakobsen: Untitled, 2017. Foto: David Stjernholm.

Amalie Jakobsen, Gether Contemporary

Foto: David Stjernholm.

Amalie Jakobsen, Gether Contemporary

Amalie Jakobsen: Untitled, 2017. Foto: David Stjernholm.

Amalie Jakobsen, Gether Contemporary

Amalie Jakobsen: Untitled, 2017. Foto: David Stjernholm.

Amalie Jakobsen, Gether Contemporary

Amalie Jakobsen: Untitled, 2017. Foto: David Stjernholm.

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