Mikael Thejll undersøger, hvordan rum kan blive til mellem farve, materiale, sprog og eksistens. Han har opført fire rum for filmmanuskripter, hvor beskueren kan sætte sig med en brikjuice og et manuskript og fortabe sig i et imaginært univers.

Mikael Thejll examines how space can come into being between color, material, language and existence. He has constructed four rooms for screenplays, where the viewer can sit down with carton of fruit juice and a script and lose himself in an imaginary universe.

I Carlos Capeláns (UY/S) værker foregår en konstant stedforskydning ikke bare i form af ‘flytninger’ mellem væsensforskellige arbejdsprocesser og kunstbegreber som konceptualisme og håndværkstradition, men også mellem bevidste valg og ubevidste processer. Stedforskydningen som grundpræmis peger på Capeláns egen nomadiske flytninger mellem Sverige, Costa Rica og Spanien. Værkerne gør kur til det betydningskollaps, eksilet har åbnet, og fremviser savn, tab og fravær

In Carlos Capelán’s (UY/S) works, there is a constant shift of place. Not only in the form of “displacements” between essentially different work processes and art concepts like“ conceptualism” and “the craftsmanship tradition” but also between conscious choices and unconscious processes. The shifting of place as basic premise points to Capelán’s own nomadic moves between Sweden, Costa Rica and Spain. The works court the collapse of meaning that the condition of exile has opened and make a show of want, loss and absence.

Rikke Ravn Sørensens hvide pap- og papirskulpturer er ved første øjekast geometriske, abstrakte ting, der fremtræder som enten lukkede, tilknappede voluminer eller åbne, modtagelige skaller. Udover en hilsen til modernismens geometriske formverden refererer værkerne også til arkitekturmodeller, byrum, der bukker, fletter og drejer sig om os og påvirker vores bevægelsesmønstre samt til afrikanske masker.

Rikke Ravn Sørensen’s white cardboard- and papersculptures are, at first glance, geometric, abstract objects that make their appearance as either closed, buttoned-up volumes or open, susceptible shells. In addition to offering a salute to modernism’s geometric world of forms, the works also refer to architectural models; to urban space that bows, entwines and revolves around us and influences our patterns of movement; and to African masks.

Billedhugger Tommy Støckel har inviteret fem kunstnere med fodfæste i skulptur til at udstille deres eksperimenter med filmmediet. Det tidslige medie bruges f.eks. til at dokumentere en opbyggende proces. Hos Henriette Heise, der tilsyneladende samler et fjernsyn, men i virkeligheden skiller apparatet ad og blot afspiller filmen baglæns. Filmene er enkle, med én kamerasætning og uden brug af musik eller tale.

The sculptor, Tommy Støckel, has invited five artists who all have a firm foothold in sculpture to exhibit their experiments with the medium of film. This time-bound medium is used, for example, to document a constructive process. We have the work of Henriette Heise, who is apparently assembling a television set,  but is actually taking the apparatus apart and simply playing back the film in reverse. The films are plain and unpretentious, with a single camera setting and without any use of music or speech.

Jens Haaning er kendt for sine interventioner i det offentlige rum med fokus på ‘det fremmede’, på relokation og kulturforskelle. ‘Grænser’ er et tilbagevendende motiv i værkerne, der ofte bryder med sociale normer. Grænsemotivet omfatter bl.a. undersøgelsen af de mange problematikker,immigranter står overfor. Dette ses i projektet ‘Albanian Pigeons’ fra 2009. Her frisatte Haaning 30 duer fra Albanien på en central plads i græske Thessaloniki.

Jens Haaning is known for his interventions in the public space with a focus on “the foreign”, on re-location and on cultural differences. “Boundaries” is a recurring motif in his works, which often break with social norms. The boundary motif includes, among other things, the examination of the vast complex of problems that immigrants are compelled to deal with. This can be seen in the “Albanian Pigeons” project from 2009. Here, Haaning liberated 30 pigeons from Albania at a central plaza in the Greek city of Thessaloniki.

Anders Bonnesen er optaget af billedkunstens paradoksale forhold til sproget, og ligesom han gerne hiver sproget fra hinanden for at sætte det sammen på uventede måder, således sætter han også gerne velkendte elementer ind i nye, tankevækkende sammenhænge. F eks i hans bearbejdninger af trafikskilte/advarselstavler, hvis betydning ender med at ligge et sted mellem tegn, fysik og sprog.

Anders Bonnesen is interested in visual art’s paradoxical relation to language. Just as he willingly pulls language apart in order to put it back together in unexpected ways, he is also inclined toward setting familiar elements into new and thought-provoking contexts: for example, in his readaptations of traffic signs/warning signs, the meaning of which winds up lying somewhere between sign, physics and language.

På udstillingen ‘Hun og Hende’kortlægger Elisabeth Toubro og Karin Westerlunds forskellige verdensopfattelser i ét fælles organisk fletværk. Det er værker,der kredser om kønnenes ståsted og stemme i samfundet samt deres indvundne rettigheder. Og publikum får på udstillingen mulighed for at stille Westerlund spørgsmål om alt mellem himmel og jord, herunder hendes egne værker.

At the exhibition, “Hun og Hende”, Elisabeth Toubro’s and Karin Westerlund’s respective views of the world are mapped out in one common organicinterlacing pattern. The works revolve around the genders’ standpoint and voice in society as well as around their newly gained rights. At the exhibition the visiting public gets a chance to ask Westerlund questions about everything under the sun, including questions about her own works.

Proceskarakteren betyder, at man tydeligt kan se, hvordan Veo Friis Jespersens nye skulpturer er lavet, hvordan materialerne er føjet sammen. Skulpturerne er sammensætninger af simple materialer, åbne processer og fysiske handlinger. Bevægelser, der medfører nye erfaringer af rummet, lyset og tyngdekraften.

The processual character of Veo Friis Jespersen’s new sculptures entails that you can clearly see how the sculptures have been made. The sculptures are montages of different “poor” materials, processes and physical actions that shift the fundamentals of architecture around and rephrase basic physical questions like: What is gravity? What is light? What is carrying and what is being carried?

45 billedhuggere fra mindst fire forskellige generationer har indtaget hver deres 80×80 cm store kvadrat i SKULPTURI’s lokale og har dermed etableret en situation, hvor skulpturen opleves som et felt af sideordnede processer, tegn og handlinger i stedet for et isoleret objekt. Materiale- og formgivningsvalg spænder vidt, men de mange brudflader og modsætninger fortættes i den overordnede kategori ‘ting’.

Forty-five sculptors from at least four different generations have each taken up their own 80×80 centimeter large squares inside SKULPTURI’s exhibition room and have thereby established a situation where the sculpture is experienced as a field of coordinated processes, signs and actions instead of as an isolated object. The material- and designchoices vary greatly but the many fractured surfaces and contradictions have been concentrated into the overall category of “things”.

Karin Lorentzen har fyldt blomster med gips og herefter trukket støvdragere og kronblade af. Blomstens indre, dens ‘natur’, er med dette greb foreviget i gips, og den skulpturelle form er herefter fastgjort til SKULPTURI’s loft med åbningen opad som en omvendt stuk eller stalaktit-dannelse. På gulvet ligger blomsterrester og nedfalden gips — spor efter arbejdsprocessen.

Karin Lorentzen has filled flowers with plaster and has subsequently pulled off the stamens and the petals. The flower’s interior, its “nature”, has been immortalized in plaster and the sculptural form has hereafter been fastened to the ceiling with the opening facing upwards, in the manner of upside-down stucco or a stalactite formation. On the floor, remnants of flowers and fallen flakes of plaster are lying about — trails left behind in the wake of the working process.