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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

28.06.18 - 23.09.18

når himmelen klarner

Kenneth Alme, Are Blytt, Lina Viste Grønli, Halvor Rønning, Camilla Steinum

*Curated by Are Blytt

CCA Andratx is pleased to present the exhibition når himmelen klarner featuring Norwegian artists Kenneth Alme (b. 1981), Are Blytt (b. 1981), Lina Viste Grønli (b. 1976), Halvor Rønning (b. 1984) & Camilla Steinum (b. 1986).

The exhibition has been created for the CCA Kunsthalle and presents, for the first time together, works by these five artists who live in Oslo, Brussels, Berlin and Boston. Invited by Are Blytt, the artists have also been given the opportunity to work in the four studios at CCA Andratx as Artists-in-Residence during the month of June 2018.

Lina Viste Grønli’s artistic concern is with the materialization of language, often realized in her combinations of semiotic sculpture and collage techniques. She investigates the tensions between physical things and abstract systems, drawing from popular culture and everyday objects to propose alternatives and redefinitions. At CCA she has been merging found objects from her immediate surroundings: the courtyard outside her studio and the local supermarket.

In Camilla Steinum’s work we see a series of sculptures, two tongues growing from the same base, curling and twisting as if they are trying to speak or communicate. There are several of them and they are all based on the same premise, but they all move and twirl in different shapes and directions. Cast in silicon with red pigment, making them uncannily lifelike, but still alien and disturbing, they symbolize the meeting of two, with language as the means of communication and the vulnerability connected to this.

Halvor Rønning brings appropriated elements from visual popular culture into abstract paintings, figurative drawings and collages. In the works included for CCA Andratx, he takes on the fundamental ambivalence to both the utopian world of painting and the idealized fictional world communicated through mass-media culture. By using formalism and humorous commentary, Rønning denies any well-defined positions from which to desire or ironize, not giving any superiority over the material, and thus entangling both spectator and artist through repulsion and attraction.

Kenneth Alme’s diptych paintings, two stretched canvases hanging side by side, slightly different sizes, one cotton and one linen, have the fragmentation of history and information as its base. Working with certain ad hoc printing and painting techniques that adds distortion to selected visual material, Alme’s work points to human history and information, and the re-use and recycling of this.

Are Blytt’s work depicts small black sentences on white background, all in capital letters and in the size of A4 sheets on big, free hanging linen canvases. The sentences appear to be small haikus, like EITHER/OR. Inspired by Søren Kierkegaards book Enten-Eller from 1843, it represents two separate life views concerning existential questions and the primal question; how should one live?

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