Out-of-Focus: The Painting in a Digital Reality
How does the world look like? The artists in Out-of-focus the painter, so you can see what it is! In different ways, the exhibition portrays nine artists home, residential area and floor construction. Also the country with fields and woods, roads and houses painted, as if you were there yourself. But looking closely, are the motives 'out of focus'. The flicker is twisted or distorted. What is really the head of a size now where we are constantly bombarded by images, all of which will affect us and form our conception of the world? The exhibition displays works by Allan Otte, Anette Harboe Flensburg, Christian Schmidt-Rasmussen, Christian Skeel, Christina Malbek Ivan Andersen, Kaspar Bonnen, Maria Torp, and S酶ren Martinsen.
Photo sharing, file transfers, smart phones, YouTube and Twitter. The reality we find ourselves in today is dramatically changed in the past. We live in a world where we are daily bombarded with images from television, the Internet and displays in public spaces. Where images are shared between humans and where nobody has a patent on the visual expression. The exhibition Out of Focus examines how the painting's role is in our time, where reality is characterized by an accelerated distribution of images, thus leaving no time and space for contemplation and reflection . exhibition's artists relate differently to this exposure. Some embrace and include image flow in the painting, so the image space is characterized by a chaotic, splintering and destabilizing expression.
Other artists in the exhibition are inspired in the past landscape traditions. Like the romantic landscape painters, where the paintings were an expression of an inner reality, they use landscape painting to depict existential issues that modern man's encounter with globalization, demographic change, the mind etc.. The idea of the idealized landscape, and that there is an immaculate, pure soul of the people out there, here are greeted by a nature dominated by machines and death. Allan Otte and Anette Harboe Flensburg pictures look as if they are produced digitally. At Anette Harboe Flensburg is the pictorial space umilddelbart recognizable and inviting compared to the viewer. But if you look after, show this order to be an illusion, and instead spreads an emptiness itself. Allan Otte's paintings are in the same manner characterized by an exchange between the abstract and the realistic. The paintings look realistic, but with a slightly shimmering effect that makes one think of a monitor. Moving closer, one sees that the painting is built up of abstract fields that lies between us and the image. Also here arises emptiness and loss. At Christina Malbek meet the recognizable reality with a violent abstraction. On the surface, similar to the images intimate, private photos turned into painting. But looking more closely after an eerie sensation that the postulated intimacy of private life can no longer penetrate. The meeting between the figurative and the abstract loses the figurative elements of their representation power and comes instead to appear as chaotic fragments.
Christian Schmidt-Rasmussen's motives are taken from our shared image storage. He throws himself over the houses, sports halls, landscapes and hot dog carts, but distorts the otherwise recognizable reality, so we can not recognize it. In this way the painting ourselves to reflect and to rediscover the most recognizable parts of our reality. Maria Torp images are complex orchestrated by a multitude of reflections and details. Just as the 1960 superrealister, she starts with the recognizable. But the recognizable reality is undermined - or expand - in the clash between the many realities that clash and mix in the specular surfaces.
Soren Martin's landscape paintings relate to the ambiguous reality. Immediately we recognize his work as lifelike landskabsafbildninger. Their photographic cutting, coupled with their realistic idiom creates a clear expectation on us that we are dealing with a slice of reality. But at the same time felt a stealthy and quite alternate reality. Ivan Andersen takes, in spite of the images, violent and almost explosive bursts based on the recognizable. The motifs are almost trivial in their photographic accuracy. But motives are not allowed to stand for very long as recognizable elements. They challenged and bursting with quirky elements and abstract, distorted structures. Kasper 叠辞苍苍茅苍 paintings are complex and dynamic. Here dissolve central perspective in a variety of perspectives. The images reflect in this way a multimedia, visual reality where language also plays a considerable role. In Christian Skeel images creates new spatial constructions. Anonymous user not only painting motif as a motif. He builds a perspectival space within the picture space, because the motive all form surfaces in space.
Motif folded into boxes or dissolved in a framework that continues into the picture and brings disorder in what is close and distant, and what's up and down. Out of focus is the second of two exhibitions where Holstebro Art Museum focuses on contemporary art. Several of the artists in the exhibition has received production support from National Arts Council for works included in the exhibition. Moreover, Holstebro Kunstmuseum received support from National Arts Council for the exhibition itself.
How does the world look like? The artists in Out-of-focus the painter, so you can see what it is! In different ways, the exhibition portrays nine artists home, residential area and floor construction. Also the country with fields and woods, roads and houses painted, as if you were there yourself. But looking closely, are the motives 'out of focus'. The flicker is twisted or distorted. What is really the head of a size now where we are constantly bombarded by images, all of which will affect us and form our conception of the world? The exhibition displays works by Allan Otte, Anette Harboe Flensburg, Christian Schmidt-Rasmussen, Christian Skeel, Christina Malbek Ivan Andersen, Kaspar Bonnen, Maria Torp, and S酶ren Martinsen.
Photo sharing, file transfers, smart phones, YouTube and Twitter. The reality we find ourselves in today is dramatically changed in the past. We live in a world where we are daily bombarded with images from television, the Internet and displays in public spaces. Where images are shared between humans and where nobody has a patent on the visual expression. The exhibition Out of Focus examines how the painting's role is in our time, where reality is characterized by an accelerated distribution of images, thus leaving no time and space for contemplation and reflection . exhibition's artists relate differently to this exposure. Some embrace and include image flow in the painting, so the image space is characterized by a chaotic, splintering and destabilizing expression.
Other artists in the exhibition are inspired in the past landscape traditions. Like the romantic landscape painters, where the paintings were an expression of an inner reality, they use landscape painting to depict existential issues that modern man's encounter with globalization, demographic change, the mind etc.. The idea of the idealized landscape, and that there is an immaculate, pure soul of the people out there, here are greeted by a nature dominated by machines and death. Allan Otte and Anette Harboe Flensburg pictures look as if they are produced digitally. At Anette Harboe Flensburg is the pictorial space umilddelbart recognizable and inviting compared to the viewer. But if you look after, show this order to be an illusion, and instead spreads an emptiness itself. Allan Otte's paintings are in the same manner characterized by an exchange between the abstract and the realistic. The paintings look realistic, but with a slightly shimmering effect that makes one think of a monitor. Moving closer, one sees that the painting is built up of abstract fields that lies between us and the image. Also here arises emptiness and loss. At Christina Malbek meet the recognizable reality with a violent abstraction. On the surface, similar to the images intimate, private photos turned into painting. But looking more closely after an eerie sensation that the postulated intimacy of private life can no longer penetrate. The meeting between the figurative and the abstract loses the figurative elements of their representation power and comes instead to appear as chaotic fragments.
Christian Schmidt-Rasmussen's motives are taken from our shared image storage. He throws himself over the houses, sports halls, landscapes and hot dog carts, but distorts the otherwise recognizable reality, so we can not recognize it. In this way the painting ourselves to reflect and to rediscover the most recognizable parts of our reality. Maria Torp images are complex orchestrated by a multitude of reflections and details. Just as the 1960 superrealister, she starts with the recognizable. But the recognizable reality is undermined - or expand - in the clash between the many realities that clash and mix in the specular surfaces.
Soren Martin's landscape paintings relate to the ambiguous reality. Immediately we recognize his work as lifelike landskabsafbildninger. Their photographic cutting, coupled with their realistic idiom creates a clear expectation on us that we are dealing with a slice of reality. But at the same time felt a stealthy and quite alternate reality. Ivan Andersen takes, in spite of the images, violent and almost explosive bursts based on the recognizable. The motifs are almost trivial in their photographic accuracy. But motives are not allowed to stand for very long as recognizable elements. They challenged and bursting with quirky elements and abstract, distorted structures. Kasper 叠辞苍苍茅苍 paintings are complex and dynamic. Here dissolve central perspective in a variety of perspectives. The images reflect in this way a multimedia, visual reality where language also plays a considerable role. In Christian Skeel images creates new spatial constructions. Anonymous user not only painting motif as a motif. He builds a perspectival space within the picture space, because the motive all form surfaces in space.
Motif folded into boxes or dissolved in a framework that continues into the picture and brings disorder in what is close and distant, and what's up and down. Out of focus is the second of two exhibitions where Holstebro Art Museum focuses on contemporary art. Several of the artists in the exhibition has received production support from National Arts Council for works included in the exhibition. Moreover, Holstebro Kunstmuseum received support from National Arts Council for the exhibition itself.
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