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25.03.2014 STATEMENT

David Stjernholm. Foto: Albin Werle.

(Embrace everything with an) Appropriate sense of space

Albin Werle has emptied his room to give space to Cream Cube, a temporary space within which David Stjernholm presents his show Accommodations. During the exhibition, Albin will continue to live, sleep and rest in his room turned gallery.

AF Line Ebert

CREAM CUBE
Gothersgade 139 3. floor, contact: albin.werle@kunstakademiet.dk
Accommodations
David Stjernholm

It seems fitting to begin with an allegory: The snake lies fifteen metres in front of you as you walk down the road. Head protected by its tail, all parts together, alive, a snake. Your foot reaches out to touch the skin, it is not skin, but rubber, no longer a snake but a tyre. In another scenario you stopped before touching it and it would still have been a snake. What you see is something you should recognise in the form of already knowing, even before you empirically prove or disprove it. Most of the time anyway, when you look away, the core of objects changes, not quite loyal to what you have seen.

The impetus of the exhibition is the notion of accommodation which etymologically derives from Latin, accommodare. It means to fit one thing into another. The term's daily function refers to a housing, or a place where one lives, residential (Albin) or temporarily (David's objects). It is also used to describe a convenient arrangement and interestingly enough, the notion has a bodily connection through the eye, alluding to the automatic adjustment of our vision when placing objects according to each other. Concisely, accommodation is a process of subsuming something (language, sight, body, object) under the conventions of another something. Thus, given the manifold dimensions of the term, one should notice the plural form of the exhibition's title.

On Albin's mattress the bed sheets have been given a geometrical black/white pattern, not really revealing, if it is a black pattern on white background or vice versa. One, as well as the object itself, continuously fluctuates between these two decisions of what it is. Factually, the pattern is made for calibrating the cameras as Google use for their street view scenarios, collaging the pictures taken into a cohesive street/world-image as well as organising the objects according to depth and width. This is what produces the street view sentiment of being there vor Ort. Though, as it lies there, on the bed, the pattern as a duvet cover could have been anything you would have seen in a normal, homely environment. Still messy too, not even made for the occasion.

Witness the 18th century apartment with an iron ornamented stove in one corner. An epiphyte is floating on a Levitron, standing on a marble plate on top of the stove. Contrasting the instability of the bed, the calmness of this magnetic construction and the plant in its ideal stage of growth is a pleasure and a kind of perfection. There is an internal play between first nature, the organic and magnetism, and second nature, the stove and Levitron. It is a room with a view: across the street lies the Botanical garden, from where the epiphyte, a plant living on light and air, has been collected, again recalling the specific context of Accommodations.

No home is without a screen: along the wall but perhaps to high up to complete the comfiness of television screens, hangs a flat screen displaying a stock photo close up of chameleon skin. The hue of the skin is slowly changing. Making a seamless loop in 8 minutes all around the colour circle, it discretely emits a coloured light, deciding thereby slightly unconsciously the optic of the room with its continuous change – one senses a constant shift, but cannot place it. Perhaps it also has something to do with the uncanny creamy wall colour?There's a small altered color chart, in its own illusion of being a handy grey scale card, suggesting the same thing. The possibility of actually adjusting the perpetual white to a light egg shell colour, permanently or temporarily, is not unthinkable within the scheme of accommodations. 

Not to put Baby in a corner, but in one end of the room stands a shelf of Albin's, still inhabited by his clothes. The shelf is out of balance – one leg is resting on a Feng Shui plate, a tool to create harmony and, although technically shifting the shelf, the experience of this corner is balanced, it has an appropriate sense of the space it is situated in. It is easy to be accommodated, it is only difficult to appear so.

Thank you.

David Stjernholm (b. 1986) studied at the The Royal Danish Academy of Fine Arts, School of Architecture and the Jutland Art Academy, Denmark. David Stjernholm has exhibited, among other places, at Kunsthal Charlottenborg, Den Frie Udstillingsbygning, Fotomuseum Wintherthur, SL, &Model, UK.

David Stjernholm: Installation view.

David Stjernholm: Installation view.

David Stjernholm: Installation view.

David Stjernholm: Bedclothes, 2014, Pattern used to calibrate Google Street View cameras.

David Stjernholm: Bedclothes, 2014, Pattern used to calibrate Google Street View cameras.

David Stjernholm: Bedclothes (close up), 2014, Pattern used to calibrate Google Street View cameras.

David Stjernholm: Installation view.

David Stjernholm: Epiphyte, 2014, Tillandsia (air plant), Levitron.

David Stjernholm: Chameleon, 2014, 8 min. HD-video, looped chameleon skin in 360° hue displacement.

David Stjernholm: Chameleon, 2014, 8. min HD-video, looped chameleon skin in 360° hue displacement.

David Stjernholm: Levels (close up), 2014, Feng Shui compass, bookshelf.

David Stjernholm: Levels, 2014, Feng Shui compass, bookshelf.

David Stjernholm: Levels (image horizon accommodated to shelf level), 2014, Feng Shui compass, bookshelf.

David Stjernholm: White balance, 2014, Kodak gray scale adapted to wall color.

David Stjernholm: White balance, 2014, Kodak gray scale adapted to wall color.

David Stjernholm: White balance (image adapted to wall color), 2014, Kodak gray scale adapted to wall color.

David Stjernholm: Dung beetle carrying scale cube, 2014.

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