Jørgen Fog
Phantasmagorical pneumatology
May 4.th. - June 1.st 2024
By taking as a starting point a number of real objects with a prehistory, visual artist Jørgen Fog consciously considers the artwork as a product. It offers itself as a result of a culture industry that produces, distributes, controls, filters, archives - and discards.
At the exhibition in Bonamatic, the works are identified with passages through 'dark ride' tunnels in amusement parks: remnants of a dream world, the technologies of the fantastic, modernity, boredom and the eternal return.
Wild animals, 'stunts', fragments collected from a ghost train on Dyrehavsbakken. Originally, they have reached out with distracting shudder against "the mass's way of amusing itself" and "thus accustoming it to submission".
As before, the works must be instruments in a unified system to exhibit their role: to work with the illusion to avoid deluding themselves. Now in their unoriginal relationship in full view, where the artefacts cling to things without distorting them in their restless transit under the taxidermist's lamp. They tune into the phenomena of the impersonal and alien world to deconstruct the historical material and think the forgotten past into the present. The objects point back to and forward towards a collectivity, which is the interpreting and remembering viewer.
Jesper Fabricius
New considerations (which could easily be confused with previous considerations if you are malicious enough).
13. oktober - 11. november
Fernisering fredag 13. oktober kl. 17-19
In the exhibition, Jesper Fabricius will exhibit various things, which are sometimes art such as drawing, photography, collage, painting, other times it can be insignificant clippings of colours, images, text and objects. The exhibition will be presented on a line. And will be read from left to right like a book.
There are many squares and some triangles and a painting of a small a, but also with small triangles.
The coherence or lack of it appears from the sequence.
10.juni – 1.juli 2023
Florencia Escudero (US)
Nadia Haji Omar (AUS)
Ronald Burns (US/DK)
Escudero, Haji Omar and Burns are all graduates of the School of Visual Arts i
New York.
Haji Omar's drawings are complex and repetitive compositions of meditative patterns. She often organizes elements based on linguistic structures and characters, as in the Sinhalese and Tamil alphabets, combining the personal with a minimalist method.
Florencia Escudero's sculptures are often soft, handmade and with digital textile prints, a kind of surreal pillow animal where feminist theory, needlework and cyber culture meet in an attempt to rewind the objectification of women's bodies, to instead investigate how objects become people.
Ronald Burns, who has lived in Copenhagen since 1965 and a long time member of the artist association Grønningen, shares the surreal universe with Escudero, and the eclectic idiom with Omar. Burns frequently returns to the Baroque and Romanticism, and often combines the present now with the personally remembered.
NADA New York
19 - 21. maj
Kristoffer Ørum: Mundane Monsters
18. februar til 18. marts 2023
Kristoffer Ørum's exhibition poses a paradox and asks how we can get used to living in a world that is constantly changing with technological trends that constantly supplement, expand and reinforce the same reality with extra layers of information.
Our everyday life is increasingly a mediated dimension that is permeated by the virtual and by digital systems; what yesterday was a disturbing future is what we fool around with today and voluntarily throw ourselves into.
The exhibition is supported by The Danish Art Counsil and
Apparitioner over Utterslev
10.september - 8. oktober 2022.
Sam Derounian, Astrid Edith, Maria Finn, Erik Hagens, Sif Hedegård, Elle Klarskov-Jørgensen, Jakob Kolding, Ann Lislegaard, Jakup Nilsson, Finn Reinbothe.
The exhibition is based on the captivating idea of the 'ghost' that haunts the present; that certain ideas from the past haunt us, and come back in different guises, like a spectral voice.
The animated work becomes the thing that, like an elusive ghost, haunts the place without really inhabiting it. Seen as an apparition, the work sets up a paradox in terms of status in relation to reality: it is only when the apparition appears, haunts us, that it becomes uncanny and 'real'.
Some previous and new works by the artists are exhibited, as well as re-enactments of performance and installation works.
Closer
Emilie Bausager
Berit Dröse
Udstillingen Closer opstod i forlængelse af en undersøgelse af Bonamatics eget udstillingslokale. Fra dette stedspecifikke afsæt blev en abstrakt undersøgelse af tid og rum til igennem kunstnerne Emilie Bausager og Berit Dröses værker. Skalaforholdet i værkerne bevæger sig fra mikrouniversets støvpartikler og sandkorn til blikket på Jorden fra det ydre rum. I dem er der et spil mellem det øjensynlige, og det der ikke lader sig indfange visuelt. Fælles for de to deltagende kunstnere er at de har arbejdet med glas og valget af materialer antyder en fælles tematisk bearbejdning af udstrakt tid og repræsentationen af denne.
Closer er kurateret af Silke Jolly Engberg
1. - 30. april 2022. Fernisering fredag 1. april kl. 17-19
30.november - 4. december
NADA Miami 2021
Kindly supported by
5. November - 4. December
Truls Melin
Truls Melin's sculptures often seem to be confirmations of the impossible, and although they may be understood from the idea of the ‘ill-adjusted other’, they are always made in the name of reality. Not as an appendage to something objective, a thing that is present, to sight and to touch, but the real as the unexpected, the forgotten or the hidden. The sculptures carry out this unexpected arrival, where they, like cartoon characters, step into the fabric of the event without mass. The sculpture reflects the materialisation of the relationship to the other. At the same time, they offer a certain resistance to being acquired by us, as a pure presence in the world of phenomena.
Truls Melin represented Sweden in the Nordic Pavilion at the Venice Biennale in 1993 and at the 8th Biennale of Sydney in 1990, and as the first Swedish visual artist he received the prestigious DAAD scholarship in Berlin in 1994. He has also received the Statens Kunstfonds three-year work grant scholarship, and Konstnärsnämnden Stockholm 10-year scholarship 2003 - 2013 and Moderna Museets Vänners sculpture prize 2007.
Truls Melins skulpturer synes ofte at være bekræftelser på det umulige, og selv om de måske kan forstås ud fra idéen om det ’utilpassede andet’, så er de altid fremstillet i realiteternes navn. Ikke som et vedhæng til noget objektivt, en ting der er til stede, til syne og til at røre ved, men det virkelige som det uventede, det glemte eller skjulte.
Skulpturerne virkeliggør denne uventede ankomst, hvor de som tegneseriefigurer uden masse træder ind i begivenhedens opspind. Skulpturen tænker materialiseringen af relationen til den anden med. Samtidig yder de en vis modstand mod at blive tilegnet af os, som rent nærvær i fænomenernes verden.
Truls Melin repræsenterede Sverige i Den Nordiske Pavillion på Venedig Biennalen i 1993 og på 8th Biennale of Sydney 1990, og som den første Svenske billedkunstner modtog han det prestigefulde DAAD stipendiat i Berlin 1994. Han har desuden modtaget Statens Kunstfonds treårige arbejdslegat og Konstnärsnämnden Stockholm 10 årige stipendie 2003 - 2013 og Moderna Museets Vänners skulpturpris 2007.
17. September - 9. Oktober
the plasma incident has to do with lightness. Experiences of lightness. If one can associate lightness with a sudden sensation that your sense of regularity starts melting. To observe the splitting of yourself into still faster moving and lighter elements. To find yourself in a state of plasma; unstable, without form, and electric. With intent. Reluctantly. Without noticing it. Euphoric. With horror. Paralyzed.
Artists:
Signe Frederiksen
Amalie Smith
Song Yi
Jessica Diamond
Jean-Antoine Watteau
Utagawa Toyohiro
Curated by Søren Andreasen
26—29 August 2021
21.05 - 12.06. 2021
Lise Harlev Tilman Wendland - The Echoing of a Sound Reveals the Size of the Room You Are In
“The echoing of a sound reveals the size of the room you are in” is a sentence in one of Lise Harlev’s spray painted works. Her works describe the many ways in which sound affects our understanding of a physical space and everything in it. But the sentence could also be a description of Tilman Wendland’s installations in the exhibition, in which architectural details of the exhibition space are copied and then reproduced as light foamboard structures, similar to the way an echo repeats a sound in a room.
Tilman Wendland and Lise Harlev are both based in Berlin. This exhibition presents their works together for the first time. While the works may seem very different in aesthetic and approach, the artists share an interest in architecture as a physical and psychological framework. Rather than pointing out the obvious characteristics of a room, their works focus on details that often go unnoticed, such as the depth of a window sill, the curve of a wall, unidentifiable sounds, repeated sounds, etc. These details are presented to us in new and altered ways, bringing them to the foreground of our attention.
17.04 - 08.05. 2021
Jonas Georg Christensen og Peter Olsen. In-between.
For the past 10 years, Christensen and Olsen have worked with artistic interventions in the form of subtle paintings on building facades.
They work on anonymous industrial architecture, such as warehouses, sports centres and factory buildings, the site-specific interventions being based on both the surrounding environment, and the design, colors and materials of the buildings.
The strategy propose new possibilities of visual art in the public space today, where they differ in essence from e.g. the invasive manifestations of graffiti, working more with a kind of visual assimilation that reads the anonymous architecture, and cool-critically corrects in an overall interpretation of place and space.
After being photographed the painted facades are still in the public sphere, where the citizen can encounter them without intermediary. Thus, the works appear out there as discrete interventions in the city's peripheral space, while at the same time being produced as large-format photographs, and displayed as mediated works in the exhibition space raising questions about the positioning of the artwork.
NADA Miami 2020
Janey
7th November - 28th November
Magnus Andersen, Swan Lee, Sara Sjölin, Eugene Sundelius von Rosen, Lydia Ericsson Wärn, David Skoog & Richard Vogel
Curated by coyote.
The exhibition Janey has taken its title from the main character in Kathy Acker’s novel “Blood and Guts in High School” released in 1984. The fictional character of Janey Smith is used as a main point of entry to the exhibited works; as a coming of age trip and as an allegorical mirror of the surveilled playground on the opposite side from the gallery.
In conjunction with the exhibition coyote invites to the epilogue exhibition Smith at Arcway, using Janey’s surname as a title and point of entry. FB-Event: https://bit.ly/3mCAO1r
Due to the Covid-19 restrictions, we can only admit a limited number of people at a time. Please act responsibly and safely according to the current health recommendations. Masks and sanitizers are available.
ENTER ART FAIR
KASPER HESSELBJERG
KAFFEHAVE
4/9 – 4/10 2020
Bonamatic glæder sig til at byde velkommen til udstillingen Kaffehave, der udover..
FAIR by NADA
Kristine Kemp
Dead Space 55.714285 12.528986
31.01. - 29.02. 2020
Kristine Kemp's exhibitions are often found in the divide between exhibition spaces and the surrounding climate, understood as the conditions in which a gallery is...
NADA Miami 2019
CROSSHATCHED
Rikke Benborg, Hans Holten, Pernille With Madsen, Troels Sandegård
8th November - 7th December 2019
BONAMATIC
Crosshatched as a title refers to hatched road markings used to separate traffic for safety reasons. It indicates areas in public space that drivers are not allowed to enter or stop except in case of an emergency, and then only one at a time. Visually, a crosshatched area resembles a deletion, a striking out of space, making it a kind of non-space. But crosshatchings also make another space emerge, similar to how they are often used in graphics to outline or convey depth in a figure.
Machine sans nom
Thomas Bang, INOX (Benedikte Bjerre and Asta Lynge), Torgny Wilcke and Kristoffer Ørum
30th August - 28th September 2019
The exhibition is named after one of Francis Picabia's machine paintings, examines the idea of the art object as a machine. The works in the show are presented as productive machines possessing a capacity to carry out operations both as singular units and assembled into larger wholes. Instead of being representations in a conventional sense they function as productions of effects. Consequently the exhibition is not so much a stage of expressions, but more....
18/5 – 15/6 2019
Lone Haugaard Madsen, Søren Andreasen, Wolfgang Paalen
DYN: a periodical published in Mexico City (and distributed in New York) between 1942 and 1944 by the Austrian ex-Surrealist Wolfgang Paalen. The periodical ran through five editions of just 50 copies eachbut it has since gained a reputation as one of the most important publication of the 40s and was of vital importance for the New York School and beyond..
January 24 - february 23 2019 Albedo
Klaus Thejll Jakobsen
Jens Fog Jensen
Veo Friis Jespersen
Farhad Kalantary
Heine Klausen
Asbjørn Skou
Ane Vester
"Visible at night from orbit as the biggest galaxy of light on the globe, more populous overall than the United States, the super giant megalopolis Europe sets out from Milan... and ends up in Dublin after St. George's Channel. It's a social unit comparable to the Great Lakes or the Greenland icecap in size, in the ......
November 2 - december 1, 2018 Reassembling th Social
N55
Pablo Llambías
Per Lunde Jørgensen
Balls, waves, masses of snow, a collective, these are all examples of what Bruno Latour calls quasi- objects. They are characterised by sending out turbulence, connecting subjects and other objects and setting them in motion. Quasi-objects are active and contributory, never just passively inert. They have an ability of assembling the social anew and of catalysing it in new directions.
This is an exhibition of works by three artists - N55, Pablo Llambías and Per Lunde Jørgensen - that in ways similar to Latours quasi-objects are connected to action....
September 8 - October 6, 2018 So you, too, like fruitcake?
Anders Bonnesen, Eva Steen Christensen, Lise Harlev, Kasper Hesselbjerg
Peter Kruse Larsen, Truls Melin, Lise Nørholm
This iconic quote by the Swiss author Robert Walser was allegedly the only thing he had to say when he met Lenin in Zürich during the First World War. Maybe Walser's offhand remark is still remembered today because it strikingly encapsulates the tone in many of his prose texts and Microscripts: a blend of seeming innocence and eccentric insignificance combined with speculative depths...