__________

Jennifer Tee: Occult Geometry

Signal - Center for Contemporary Art i Malmø har i dette efterår lånt 2 sale i Kunsthal Charlottenborgs sydfløj. Her præsenterer de udstillingen Occult Geometry med kunstneren Jennifer Tee (f.1973)

Indviklede og næsten umulige keramiske genstande, håndvævede krystallignende gulvværker, hvirvlende og afbalanceret træbuer, der minder om knogler, elektromagnetiske bølger og andre usynlige strømme.

Jennifer Tees praksis omfatter skulptur, installation, performance, fotografi og collage. Hun udforsker dialogen mellem fysiske eksperimenter og filosofisk fordybelse. I udstillingen Occult Geometry opfanger og re-aktiverer Tee strømninger inden for den vestlige kunsthistorie gennemsyret af østens filosofi. Kompositionen og den geometriske disposition af objektet er et udtryk for Tees dybe interesse for et skulpturbegreb, der åbner op for undersøgelser af en mulig flydende tilstand i en struktur. Samt for gennemsigtigheden i en fast overflade og dens evne til parallelt at skjule materie. Tvetydigheden i en skulptur kan dermed blive skueplads for en fremtidig koreografi. Disse undersøgelser er på éngang formelle og intellektuelle, i et forsøg på at visualisere det skrøbelige forhold mellem intellekt, krop og sjæl.

Udstillingen er kurateret og produceret af Signal - Center for Contemporary Art, Malmø.

Biografi
Jennifer Tee (f. 1973, Arnhem) bor og arbejder i Amsterdam og har en alsidig praksis, der inkluderer skulptur, installation, performance, collage. I de seneste år har Jennifer Tee lavet soloudstillinger år på Project Arts Centre, Dublin (2013), Eastside Projects, Birmingham (2010), Galerie Fons Welters, Amsterdam (2014, 2009), Artspace, Sydney (2005), Van Abbemuseum, Eindhoven, Museum voor Moderne Kunst, Arnhem (2003), Art Foundation Xiamen, Frankfurter Kunstverein (begge 2002).

Et udvalg af gruppeudstillinger omfatter The Peacock Grazer Kunstverein (2014),Six Possibilities for a Sculpture La Loge, Bruxelles (2013), Beyond ImaginationStedelijk Museum (2012), Secret Societies, Schirn Kunsthalle The Dutch Identity?Museum de Paviljoens, Almere (begge 2011), The Knight’s Tour, Museum de Hallen, Haarlem (2009). Jennifer Tee har også deltaget i Prag Triennale (2008), Auckland Triennale (2007), Gwangju Biennalen (2006) og Sao Paulo Biennalen (2004).

Udstillingen er støttet af Mondriaan fonden, svenske Kunstråd (Kulturrådet), KulturAdministration af Region Skåne (Kultur Skåne) og Kultur Department of Malmö (Malmö Kulturstöd).


__________

Rose English: The Eros of Understanding

Den britiske kunstner Rose English (f. 1950) indledte sin kunstneriske praksis i en tid, hvor krydspodninger af forskellige kunstneriske discipliner ikke var almindeligt udbredt endsige tilskyndet. Som studerende oplevede hun at blive bortvist fra to kunstakademier, fordi hun beskæftigede sig med performance, der blev betragtet som en kunstnerisk arbejdsform, som hørte til i teaterverdenen. Opløsningen af kategorier var imidlertid i bevægelse, og i 1973 tog English afgang Leeds Polytechnic, hvis progressive kunstlinje gav hende mulighed for at skabe performative værker og arbejde på tværs af kunstneriske kategorier.

Med udgangspunkt i den konceptuelle kunst og dans brød Rose English igennem på den skelsættende feministiske kunstscene i 1970’ernes London. Hun udforsker metafysiske spørgsmål og debatterer temaer som identitet, kønspolitik og selve kunstnerrollen. English befinder sig i et kunstnerisk krydsfelt og optræder i sammenhænge og forklædninger, der forbinder performance, installation, teater, dans og film. Hun optræder som lige dele værtinde, entertainer og filosof i sine performances, og hun gør derigennem scenen til et rum, hvor der tænkes.

I 1970'erne og 1980'erne var English en vigtig stemme i Londons feministiske bevægelse og undergrundsscene. I samarbejde med filminstruktøren Sally Potter og komponisten Lindsay Cooper skabte English den banebrydende feministiske spillefilm The Gold Diggers (1983), hvor alle der arbejdede på filmen var kvinder, og alle blev betalt samme løn. I 1990'erne arbejdede hun tæt sammen med en række legendariske modedesignere, heriblandt Mr. Pearl, som især er kendt for sine korsetter, og som har ekviperet berømtheder som popstjernen Kylie Minogue, burlesquekunstneren Dita von Teese og topmodellen Jerry Hall. English har tilllige selv optrådt som skuespiller i både eksperimentelle og mainstream film.

The Eros of Understanding præsenterer et bredt udvalg af Rose English’ arbejde gennem de sidste 40 år og kombinerer billedkunst, teater, cirkus, opera og poesi. En gennemgående figur i English’ sammensatte kunstneriske praksis er hesten. Kulturen omkring ridning og hestesport har fascineret English gennem årtier, og hesten optræder som en figur, hovedperson og performer i mange af hendes værker. Denne udstilling aktiverer kunstnerens eget arkiv, og følger hende dekonstruere ikoniske rekvisitter og objekter fra tidligere performances. Samtidig ser hun flygtigheden, der uundgåeligt kendetegner den performative praksis, i øjnene, og leger med forskellige manifestationer af nærvær og fravær af kunstneren og hesten igennem de tre udstillingssale.

Det er første gang nogensinde, at English’ ekstremt forskelligartede og omfattende arbejde samles og udstilles på en kunstinstitution. Udstillingen er formet af Rose English’ refleksioner over scenen, performeren, publikum og forestillingen om ”det store show”. The Eros of Understanding samler en række centrale værker i form af videoer, fotografier og rekvisitter såvel som vignetter, ephemera, kostumer, notesbøger og storyboards.

Udstillingen er kurateret af Stine Hebert.

Udstillingen er støttet af Statens Kunstfond, Aage og Johanne Louis-Hansens Fond og Richard Saltoun & Karsten Schubert, London.

Biografi
Rose English blev født i Hereford i 1950. Efter først at være blevet bortvist fra én kunstskole for at arbejde med performance blev hun i 1973 uddannet fra Art Institut of Leeds Polytechnic. English var en vigtig stemme i Londons feministiske bevægelse og undergrundsscene i 1970


__________

Keren Cytter (f. 1977 i Tel Aviv, bor i New York) er en flittig historiefortæller. Hun arbejder primært med video og film og har i løbet af det seneste årti skabt over 65 manuskripter. I 2008 grundlagde hun danse- og teaterkompagniet D.I.E. NOW, og i 2010 var hun blandt grundlæggerne af APE – Art Projects Era, der har til formål at realisere kunstprojekter udenfor traditionelle udstillingssammenhænge.
På sin omfattende soloudstilling på Kunsthal Charlottenborg viser Keren Cytter to serier af nye tegninger, et udvalg på otte film, der omfatter nogle af hendes bedst kendte værker samt helt nye arbejder, såvel som et to-delt tekstværk, der relaterer værkerne til hinanden og til de rum, de befinder sig i.

Keren Cytter benytter sig af mange forskellige filmiske referencer alt imens hun ignorerer, overskrider og afslører mange af filmkunstens uskrevne regler. Simple redigeringstricks, visuelle effekter, og hastigt udførte, billige produktioner er centrale elementer i Cytters værktøjskasse; hun citerer og blander stilarter og genrer. Her mødes hjemmeoptagede gyserfilm med soap opera, og kitschet Hollywood glamour støder sammen med fransk film noir og mockumentary-genren. Skuespillerne spiller ofte flere forskellige roller og mestrer forskellige sprog inden for samme film; kvinder optræder nogle gange som mænd og omvendt. Cytter benytter sig desuden i stor stil af musik for at skabe en særlig stemning i fortællingen. Historiernes forløb, som ofte er fragmenterede, beskæftiger sig med emner såsom kærlighed, had, sex, jalousi, hævn og vold.

Udstillingen præsenteres på Kunsthal Charlottenborg i samarbejde med CPH:DOX og Statens Scenekunstskole
Udstillingen er produceret af Kunsthal Charlottenborg og vises efterfølgende på Museum of Contemporary Art, Chicago

Udstillingen er støttet af Aage og Johanne Louis-Hansens Fond, Statens Kunstfond og Israels Ambassade


__________

Kunsthal Charlottenborg er et af de største og smukkeste udstillingssteder for samtidskunst i Europa, hvor der præsenteres et ambitiøst udstillingsprogram suppleret med aktiviteter som artist talks, performances, koncerter og videovisninger. De mange forskellige aktiviteter retter sig mod et bredt publikum både i og omkring København, og gør Charlottenborg til dét centrale samlingspunkt for samtidskunst i byen.

Kunsthal Charlottenborg og Det Kongelige Danske Kunstakademis Billedkunstskoler er med virkning fra 1. september 2012 fusioneret til en samlet organisation på initiativ af Kulturministeriet.
Kunsthal Charlottenborg er derfor nu en del af Det Kongelige Danske Kunstakademis Billedkunstskoler.

__________

Jennifer Tee: Occult Geometry

Signal - Center for Contemporary Art from Malmö will occupy two galleries in Kunsthal Charlottenborg's South wing. Here they present the exhibiton Occult Geometry by artist Jennifer Tee (b. 1973).

Intricate and almost impossible ceramics, hand-knitted crystalline floor pieces, swirling and balancing wooden bows reminiscent of bones, electromagnetic waves or other invisible currents. The work of Jennifer Tee, comprised of sculpture, installation, performance, photography and collages, is the exploration of a continuous dialogue between material experimentation and philosophical contemplation.

In Occult Geometry Tee's visual and sculptural language captures and re-activates occurring themes within western art history imbued with eastern philosophy. The composition and geometrical arrangement of objects conveys a deep interest in the notion of sculpture exploring the possible fluidity of a structure, the transparency of a solid surface paired with the possibility of concealing matter inside it, and the transitional quality of shifting function and becoming a stage for a choreography of future actions and movements. These are simultaneously formal and intellectual concerns that amalgamate in an attempt to visualise the fragile relationship between mind, body, and spirit.

The exhibition is curated and produced by Signal – Center for Contemporary Art.

Biography
Jennifer Tee (b. 1973, Arnhem) lives and works in Amsterdam and has a diverse practice that includes sculpture, installation, performance, collage and public sculpture. Jennifer Tee has made solo exhibitions in recent years at Project Arts Centre, Dublin (2013), Eastside Projects, Birmingham (2010), Galerie Fons Welters, Amsterdam (2014, 2009), Artspace, Sydney (2005), Van Abbemuseum, Eindhoven, Museum voor Moderne Kunst, Arnhem (2003), Art Foundation Xiamen, Frankfurter Kunstverein (both 2002). A selection of group exhibitions include ‘The Peacock’ Grazer Kunstverein (2014),‘Six Possibilities for a Sculp


__________

Rose English: The Eros of Understanding

The British artist Rose English (b. 1950) began her work as an artist in an age where cross-pollination between different artistic disciplines was neither widely known nor encouraged. As a student she found herself expelled from two art academies for working with performance art, which was regarded as the specific province of theatre. However, a general blurring of categories had already been set in motion, and in 1973 English graduated from the rather more progressive Fine Art Department of Leeds Polytechnic, which gave her the opportunity to create performance art and to cut across established artistic categories.

Drawing on conceptual art and dance, Rose English’ practice emerged in the feminist and performance art scenes in 1970s London. She explores metaphysical issues and discusses themes such as identity, gender politics, and the role of the artist. English operates in a field where many different art forms intersect, appearing in contexts and disguises that combine performance and installation art, theatre, dance, and film. She acts as hostess, entertainer, and philosopher in her performances, thereby transforming the stage into a space for thought and reflection.

During the 1970s and 1980s English was a prominent voice within London’s feminist movement and underground scene. Together with film director Sally Potter and composer Lindsay Cooper she created the groundbreaking feminist feature film The Gold Diggers (1983); all the crew working on the film were women, and all were paid the same salary. In the 1990s she collaborated with a range of legendary fashion designers, including Mr. Pearl, who is particularly famous for his corsets and has dressed celebrities such as pop star Kylie Minogue, burlesque artist Dita von Teese, and top model Jerry Hall. English herself has appeared as an actor in experimental and mainstream film alike.

The Eros of Understanding presents a wide selection of Rose English’s work from the last 40 years, combining visual art with theatre, circus, opera, and poetry. One of the recurring figures in English’s composite oeuvre is the horse. The culture surrounding riding and equestrian sports has fascinated English for decades, and the horse appears as a figure, main character, and performer in many of her works. This exhibition activates the artist’s own archives and sees her deconstructing iconic props and objects from previous performances. She also directly addresses the fleeting, ephemeral qualities inherent in performance art, playing with a range of different manifestations of presence and absence – of artist and horse – through the three exhibition rooms.

This is the first time ever that English’s extremely eclectic and extensive range of work is brought together and exhibited at an art institution. The exhibition is shaped by Rose English’s reflections on the stage, the performer, the audience, and the notion of ‘the big show’. The Eros of Understanding brings together a range of central works in the form of videos, photographs, and props as well as vignettes, ephemera, costumes, notebooks, and storyboards.

The exhibition is curated by Stine Hebert.

The exhibition is supported by the Danish Arts Foundation, Aage and Johanne Louis-Hansens Foundation and Richard Saltoun & Karsten Schubert, London.

Biography
Rose English was born in Hereford in 1950. She graduated from the Fine Art Department of Leeds Polytechnic in 1973, subsequently to being expelled from another art school for working with performance. English was an important voice in London’s feminist movement and underground scene in the 1970s and during the 1980's and 1990's worked with designers including Simon Vincenzi and haute couture corsetier Mr Pearl. She collaborated with film maker Sally Potter and composer Lindsay Cooper creating the seminal feature length film The Gold Diggers (1983) and has appeared in both experimental and mainstream films. She was included in the influential exhibition WACK! Art and the Feminist Revolution (2009) at MOCA in Los Angeles, and has exhibited in venues as various as Tate Britain, Royal Court, Queen Elizabeth Hall, the Adelaide Festival and Lincoln Center off Broadway in New York. Her performances have featured a diversity of co-performers including musicians, dancers, circus performers, magicians and horses.


__________

Keren Cytter (b. 1977 in Tel Aviv, lives in New York) is a prolific storyteller. She works mainly with video and film and has made more than 65 scripts and films within the last decade. In 2008 she founded the dance and theatre company D.I.E. NOW (Dance International Europe Now) and in 2010 she co-founded APE – Art Projects Era, a foundation working from New York and Rotterdam with the aim to realise art projects outside of traditional institutional structures.

For her comprehensive solo exhibition at Kunsthal Charlottenborg Keren Cytter presents two series of new drawings, a selection of eight films that includes signature pieces and new works, as well as a two-part text piece relating the works to each other and to the galleries where they are situated.

Keren Cytter uses numerous cinematic references in her film works as she ignores, violates and reveals the unwritten rules of filmmaking. Simple editing tricks, visual effects and fast and cheap production are central elements in Cytter’s toolbox, and she is not afraid of quoting, mixing and making styles and genres clash: Home-movie horror meets soap opera and kitsch, lo-fi Hollywood glamour is mashed up with French film noir and the mockumentary genre. The actors often have multiple roles and speak several languages within the same film; sometimes women are acting as men and vice versa. Besides the visual material Cytter also draws heavily on music to create a certain drama and atmosphere within her films. The narratives are often broken up and touch on themes of love, hate, sex, jealousy, revenge and violence.

The exhibition presented in collaboration with CPH:DOX.

The exhibition is produced by Kunsthal Charlottenborg and will travel to Museum of Contemporary Art, Chicago

The exhibition is supported by Aage og Johanne Louis-Johansen's Foundation, The Danish Art Foundation and Embassy of Israel in Copenhagen


__________

Kunsthal Charlottenborg is one of the largest and most beautiful spaces for contemporary art in Europe, presenting an ambitious program of exhibitions and events including talks, performances, concerts and screenings. This spread of activities is designed to speak to a wide range of audiences in Copenhagen and beyond, making Charlottenborg the main cross-roads for contemporary art in the city.

Kunsthal Charlottenborg and The Royal Danish Academy of Fine Arts' Schools of Visual Arts have with effect from 1 September 2012 merged into a single organization on the initiative of The Ministry of Culture. Kunsthal charlottenborg has thereby become a part of The Royal Danish Academy of Fine Arts' Schools of Visual Arts.