Med udgangspunkt i SKULPTURI’s "kælder-karakter" har Jørgen Carlo Larsen opført fire kælderinstallationsrum. Kælderen er et sted for opmagasinering og arkivering, men hos Larsen bliver den også et kropsligt værerum, et sted man kan trække sig tilbage til og slappe af i. Kælderen er det private, introverte lokale, i hvis dunkle hjørner der er plads til hemmelige historier og pludselige erindringer. Kunstnerens opvækst i 1950’ernes modernistiske miljø med husgerning, gør det selv-arbejde og samlermani fornægter sig ikke.

Taking its point of departure in SKULPTURI’s “basement-character”, Jørgen Carlo Larsen has erected four basement-installation spaces. The basement is a place for storing things and keeping archives but in Larsen’s work, it also becomes a physical space for being, a place where you can retreat to and relax in. The basement is the private, introverted room, in whose dark corners there are places for secret stories and unexpected memories. The artist’s upbringing in the 1950s’ modernist surroundings, with housework, do-it-yourself activities and collector’s mania is evident throughout.

Rosemaria Rex har kurateret en udstilling med fokus på værker, der placerer sig i spændingsfeltet mellem skulptur og fotografi, 2D og 3D, et immaterielt og et konkret rum. Begge medier tager del i tiden — det sker dog på meget forskellig vis. Sammenstillingen af objekt og flade åbner for et tredje,imaginært rum, hvor både billede og fysisk genstand antager nye betydninger — og en ‘tredje tid’, hvori lineære, ‘rationelle’ forløb er erstattet af overlappende eller accelererede tidsafsnit.

Rosemaria Rex has curated an exhibition that focuses on artworks which situate themselves in the field of potential lying between sculpture and photography, between 2D and 3D, between an immaterial and a concrete space. Both mediums take an active part in time — this transpires, though, in very different ways. The juxtaposition of object and surface opens up for a third, imaginary space and a “third time”, in which linear, “rational” progression has been replaced by overlapping or accelerated periods of time.

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.

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”.