Art tour // PREMISES
Guided tour // 17:00 - 18:00
From compelling architecture to the intimate rooms of the domestic space, the structural elements of our surroundings have been a popular subject matter in art since the Renaissance. By the end of the 20th century, interior painting as a genre had become widespread, and the subjects, styles and techniques developed along with historical events and social changes.
In the group exhibition PREMISES, Martin Asbæk Gallery explores the depictions of our surroundings through the work of photo-based artists such as Trine Søndergaard, Elina Brotherus, Martin Liebscher, and others, exploring the premises of the home, of beliefs and of personal history, all connected with architecture and spaces.
Astrid Kruse Jensen's scenic dreams
When Martin Asbæk Gallery opens the exhibition Resonance by Astrid Kruse Jensen 20 May it will be with a number of new photographic works that seek to capture what is everchanging and goes beyond the tangible. The relationship between photography and remembrance is an important drive for the artist, who has worked with memory as a form of shifted reality in her entire oeuvre. During the photo festival in June the gallery invites you to two artist talks in the gallery.
Resonance is an interaction between cyanotypes and works created using expired polaroid film, and it is therefore not the concrete motives, which are in focus. Instead, the works circle around inner conditions and a search for resonance. The viewer gets the sense of standing across from an abstraction without reference to any specific time. Deconstructed dream images, rooms, and memories merge.
The relationship between photography and remembrance is an important drive for the artist, who has worked with memory as a form of shifted reality in her entire oeuvre. This is expressed through an exploration of the basics of photography. Using double exposure, backlight, chemical traces and the use of long shutter speed, Kruse Jensen generates, with strokes of light, traces of what has already passed, while simultaneously encapsulating traces of resonance.
Scenes of dreams
The title of the exhibition refers to the echo of reminiscences in the world: to sense the resonance of the past in the present. The cyanotypes of the exhibition are an example of a photographic technique, where motives are developed by placing objects on paper prepared with light-sensitive emulsion, which is then exposed to sunlight. However, Astrid Kruse Jensen’s cyanotypes do not work with the imprint of the object, but instead with the imprint of its shadow. Thereby giving the abstract a concrete form – and at the same time connecting with both the starting point of photography, light, as well as the shadows of the past. The works appear as scenes of dreams, in rooms created with the desire for a life in balance.
In the exhibition, Kruse Jensen also introduces a number of works on glass, where it is unclear, whether we are over or under the water surface. The concept of resonance is also known from physics, where it describes two systems that go in oscillations with each other, in harmony. Astrid Kruse Jensen's photographic works are an interpretation as well as an adaptation of this harmony.
About the artist
Astrid Kruse Jensen (b. 1975) has studied at the Gerrit Rietveld Academy in the Netherlands and at the Glasgow School of Art. She has been nominated for several prizes, such as the Deutsche Börse Preis in 2014 and Anne Marie Telmányi’s prize for women artists in 2017. Kruse Jensen has had solo exhibitions in Denmark, Sweden, France, Germany, The Netherlands, Iceland and India as well as several group exhibitions in Europe as well as The States, Canada and China. Kruse Jensen’s works are in several private and public collections, including at the George Eastman House, ARoS, The National Collection of Photography, Manchester City Gallery, Vestsjællands Kunstmuseum, Artotheque de Caen, the John Kobal Foundation and the Danish Arts Foundation.
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Astrid Kruse Jensens drømmekulisser
Når Martin Asbæk Gallery åbner udstillingen Resonance af Astrid Kruse Jensen fredag den 20. maj bliver det med række nye fotografiske værke, som forsøger at indfange dét, der er i evig forandring og som rækker udover det håndgribelige. Dekonstruerede drømmebilleder, rum og minder går i ét, og netop fotografiets relation til erindringen er en vigtig drivkraft hos kunstneren, der igennem hele sit virke har arbejdet med erindring som en forskudt virkelighed. I forbindelse med fotofestivalen i juni, kan du opleve kunstneren til hele to artist talks i galleriet.
Udstillingen er en vekselvirkning mellem blåtryk og værker skabt på forældet polaroid film, og det er således ikke de konkrete motiver, der er i fokus. I stedet kredser værkerne om tilstande, en søgen efter resonans. Som beskuer får man fornemmelsen af at stå overfor en abstraktion uden reference til nogen specifik tid. Dekonstruerede drømmebilleder, rum og minder går i ét, og netop fotografiets relation til erindringen er en vigtig drivkraft hos kunstneren, der igennem hele sit virke har arbejdet med erindring som en forskudt virkelighed. Dette kommer til udtryk gennem en udforskning af fotografiets grundmateriale. Gennem dobbelteksponeringer, modlys, kemiske spor og brugen af lange lukketider frembringer Kruse Jensen med strøg af lys, sporene fra det, som allerede har passeret, og indkapsler samtidigt spor af resonans.
Drømmekulisser
Udstillingens titel refererer til erindringens genklang i verden; at mærke resonans fra fortiden ind i nutiden. Udstillingens ’blåtryk’ er et eksempel på en fotografisk teknik, hvor motiver fremkaldes ved at placere objekter på papir klargjort med en lysfølsom emulsion, der efterfølgende udsættes for sollys. Særligt for Astrid Kruse Jensens blåtryk er, at der i værkerne ikke arbejdes med objektets aftryk, men i stedet med aftrykket fra dets skygge. Herved får det abstrakte konkret form – samtidig med at værkerne trækker tråde til både fotografiets udgangspunkt, lyset, såvel som fortidens skygger. I udstillingens værker fremstår rummene som kulisser for drømme, i rum som er skabt med ønsket om en tilstand i balance.
I udstillingen introducerer Kruse Jensen også en række værker på glas, hvor det ikke er klart, hvorvidt vi befinder os over eller under vandets overflade. Begrebet resonans kendes også fra fysikken, hvor det beskriver to systemer, der går i svingninger med hinanden, i samklang. Astrid Kruse Jensens fotografiske værker er en fortolkning såvel som bearbejdning af denne samklang.
Om kunstneren
Astrid Kruse Jensen (f. 1975) har studeret på Gerrit Rietveld Academy i Holland samt på Glasgow School of Art. Hun har været nomieret til adskillige priser, herunder Deutsche Börse Preis i 2014 og Anne Marie Telmányi’s pris for kvindelige kunstnere i 2017. Kruse Jensen har haft soloudstillinger i Danmark, Sverige, Frankrig, Tyskland, Holland, Island og Indien samt adskillige gruppeudstillinger i Europa samt USA, Canada og Kina. Kruse Jensens værker optræder endvidere i flere private og offentlige samlinger, herunder George Eastman House, ARoS, Den Nationale Fotosamling, Manchester City Gallery, Vestsjællands Kunstmuseum, Artotheque de Caen, John Kobal Foundation og Statens Kunstfond.
