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01.06.18 - 01.09.18

How do we navigate in a globalized world dominated by increasing borders?

This year’s Summer exhibition Border Matters at CCA Andratx starring Susanne Rottenbacher and Claus Rottenbacher, reveals itself as a theatrical stage where historical as well as contemporary border issues await the beholder with hesitance. Through their use of light as a common medium, the two German artists lay their focus within the intangible borders, whether it is the geopolitical tension in Gibraltar or the sensorial perception of bodily presence in space. Border Matters is a reflection on current conceptions of borders, both physically and conceptually approached from different perspectives confronting the liminality of anticipation.

The present exhibition comprises two individual projects:

On the one hand, the photographic series Non Plus Ultra by Claus Rottenbacher explores the transcendence of Gibraltar as the testimony in stone of a brutalist frontier between Great Britain and the Kingdom of Spain. The photos captured in 2016, geopolitically a year of drastic incisions from Brexit to the presidential elections in the United States, continue today to exist as a witness bearer and living memory of ongoing tension. Drawing with light, as the etymological roots of “photography” states, Claus Rottenbacher creates contemporary tableaux vivants - devoid of humans but with their overall presence manifested through architectural interventions in a sheer landscape. Moreover, the depicted mountain itself becomes a reoccurring main protagonist in those captures of time. It is this impasse, the moment the lens of the camera opens and closes, in which Claus Rottenbacher’s work reflects a state of mind that we – still today – find ourselves reluctant to realize.

On the other hand, "Border Matters" also entails an exercise of introspection, wherewith one becomes aware of his own physical limitations and positioning in an ever-changing environment. This can be seen as a play on the theatre concept of the forth wall, supposedly separating audience and actors, yet another border that might not matter anymore. From her professional background as a stage designer, Susanne Rottenbacher sets the scene by filling the CCA Kunsthalle with light appearing as matter, thus introducing us to a luminous contemplation. Her 10 x 10 x 4 meters light installation Disassembly performs a phantasmagoric cosmos of light as an explosive enduring movement, however fixed like in a stroboscopic flash, providing a new perception of boundaries and addresses our awareness to how we constantly define ourselves by borders. Thereby creating an endless suspense in the midst of the journey into yet unexplored fields.

How do we navigate in a globalized world dominated by increasing borders? One may ask again…

We find landmarks to guide us through, just as the sun and the mountains in former times were used as pinpoints to orientate seafarers for them to inhabit and conquer new territories. According to the myth, “Non Plus Ultra” was written on the Pillars of Hercules, as a warning sign of “Nothing further beyond”. But after dividing the mountain between the Atlantic Ocean and the Mediterranean Sea, a gateway was opened for new connections. Therefore, one may wonder how it can be, that even after 500 years of the “Plus Ultra” motto figuring on the Coat of Arms of Spain, we are still not sure what’s waiting ahead.

Exhibition design and concept by Frank Hauschildt, Berlin-based artist and curator

06.03.18 - 10.06.18

CCA Andratx is pleased to present the solo show of former artist-in-residence Absalon Kirkeby in the CCA Kunsthalle during Spring 2018.

Kirkeby’s process catches the complexities of the automatics of watching and transforms that into an image. His investigations take him to the root of image creation, construction and reception. The work traces the mobility of images captured in real life unto the screen; motifs dissolve their own motifs through a sifting and sorting process, in which the artist composes numerous layers of perception utilizing the computer as a palette for mixing and diluting the information the camera has obtained. The work discloses itself after being printed. In this emerged state the artist can tell whether the piece is or not, but the work is continuously under construction.

The titleSNEGLHUS/SNEGL/ is Danish as the artist himself, and translates into Snail/House/Snail as a reference to the exhibition space and the distribution of the individual works in different rooms. We encourage the visitor to keep his own corporal movement in mind when exploring the various sections of the exhibition.

Absalon Kirkeby was born in 1983 in Copenhagen, Denmark. In 2010 he studied at Goldsmiths College in London, UK, and achieved his Master Degree of Fine Arts at The Royal Danish Academy of Fine Arts in Copenhagen, DK, in 2013. Since then he has been exhibited in a numerous variety of galleries and museums internationally. During July 2017 Kirkeby was staying and working in Studio Rojo where he took part of the renowned CCA Artist-in-Residence program.

01.12.17 - 10.06.18

CCA Andratx is happy to present Sophie Erlund’s first solo exhibition in Spain which introduces a new series of works, all produced in the Studio Rojo during her residency in November 2017. The exhibition title refers to the co-existing between the materials used, as well as the works in between, but is also a matter of intuitive investigation which Erlund has been occupied with for years. Where the drawings and the tile floor are closely related in their pattern, the sculptures – the monoliths – differ. Although appearing in the same color nuances, they each have their own expression as independent beings.Monolith (sempiternal evidence), 2017 is placed on top of the tile floor, resulting in a strong tension by the physical touch between the surfaces of the two individual pieces. The monoliths resemble archaeological excavations and earthworks, compiled by different material found and developed around the studios in Andratx, thus exposing a chronology of time and events. The time of the artist’s working process merges in this sense with the time inherent of the palm leaf, the stones and the different elements in the sculptures. A monolith is a geological phenomena caused by erosion. But the word ’monolith’ is also used in an architectural and religious context, like the monolithic churches found in vastly different places in the world like Finland or Ethiopia. The title of the second monolith isMonolith (between green linnets and desire), 2017. A green linnet is a bird of desire and has for years been domesticated and bred because of its prestigious song voice. And in conjuction with the first titleMonolith (sempiternal evidence) one may wonder whether the exhibition in itself acts as evidence as such. Just as the song of the green linnet is a sign of life, and the captivity of the birds disregard all respect for nature in favor of man’s own desire for the beautiful and powerful, the works of Erlund seem to balance between a solid foundation and fragile future. Her artistic practice revolves around mental architecture and transitional spheres, often suggesting but never dictating a possible orientation.

Sophie Erlund was born in Denmark in 1978 and emigrated when she was 16 to the USA. Erlund later studied at the Central St. Martins College of Art and Design, London, United Kingdom, where she graduated in 2003. Currently she lives and works in Berlin, Germany and in 2017 she participated in the CCA Artists-in-Residency program where she stayed in Studio Rojo throughout the month of November.

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