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18.04.19 - 14.07.19

We cordially invite you to the opening on Thursday, April 18th between 7 and 9pm at the CCA Kunsthalle

The term “all inclusive” is obviously denoting a holiday in which all meals, drinks, and activities are included in the overall price, but what is your all inclusive dream? Can you make it real? How have the dreams of abundance been formulated and manifested in the past? How are they visualized today?

In one of the featuring works in the exhibition, the statement “you made me” can be read. This short piece of text, introduces a twofold semiotic interpretation, applicable to all the works in the exhibition. On the one hand as a self-reflection of the painting itself, answering directly the artist back; but on the other hand, it alludes to all the figures represented in the works surrounding it. Although not being in a portrait gallery, these figures inhabit the exhibition space as welcoming (g)hosts. Weaved in and out of dreamy colour gradients and organized on shelves together with other artefacts, these individuals become muses representing eccentric Italian heiresses and poets from the 20th century, movie-actors, hidden artificial intelligent creatures as well as contemporary pop stars, entertaining the show as casual embodiments of decadence and fully enjoying their freedom of anxiety or responsibility. They welcome the beholder into his/her own perfect resort – a dreamlike reality. The sentence “you made me” ultimately works as a reference to the idea that in the end, everyone is responsible for the creation of its own narrative.

Pop icons and chromotherapy

Ditte Ejlerskov's artistic process often entails an interaction with the Internet: written correspondences with email-scammers, paparazzi pictures downloaded from Google and contemporary music videos give shape to her universe. With both disdain and fascination, Ejlerskov introduces the pop icon Rihanna as a recurring motif in her work. In the present works, the images of Rihanna and Minaj will be found, however rather than performing as fan-art, they invite the viewer to start his/her own journey into his/her own fantasies.

In both her abstract and figurative paintings, Ejlerskov analyses and explores the potential of painting as a medium itself and they also concurrently work as tools for interpreting our contemporary dreams. Recently her work is focusing on the formal aspects inside her practice, represented here by a series of large-format hand-painted colour gradients. These works pose as healing and slightly vibrating, but static two-dimensional chromotherapies. Chromotherapy’s effects were already discussed in 1025 in the Persian Canon of Medicine, and methodologically consist of the use of light in the form of colour to balance the lacking energy in a person's body, on physical, emotional, spiritual and mental levels.

Earthly paradise

From the same part of the world, however dating back to 4000 BC, Furåker has found in the ancient Persian gardens an inspiring feature in which he has continually worked within his practice and explored its influences in Andalusian or Indian gardens. In an on-going series of paintings, under the working title “Paradisus Terrestris” – the Earthly Paradise –, Furåker is depicting gardens from the Antiquity and the Renaissance. The garden tradition displays a powerful urge to use greenery, gravel, architecture and water to recreate spatially a new world. Those works act as a microcosm gathering within it all cultural mythologies and seducing the observer to enter into an imaginary paradise.

The self-made Luisa Cassati

Personalities, and their lives, are also an important element in Furåker's painting practice and are frequently represented in his works as myths and are found in concrete situations, locations and groups of people or events. In the present series of works, Furåker has delved into Luisa Cassati’s life, an eccentric Italian heiress and art patron. This extravagant woman would role-play dressing up as a Byzantine empress, yearning not only to become one, but also to become a living piece of art.

In this moment, do you remember the “you made me” painting back from the beginning?

Ditte Ejlerskov (DK, 1982) has mainly exhibited in Sweden for example at Röda Sten Konsthall in Göteborg, Malmö Konsthall and Malmö Art Museum in Malmö, Kristianstad Art Museum, Uppsala Art Museum, Ystad Art Museum, The Museum of Sketches in Lund and at The Royal Academy in Stockholm. She has exhibited in Norway at Kristiansand Kunsthall, Stenersenmuseet in Oslo, KUBE in Ålesund and Gallery North Norway in Harstad. In Denmark at Aarhus Kunstbygning, Kunsten in Aalborg, Arken in Ishøj, Art Centre Silkebord Bad and Museums Centre Aars, Den Frie Udstillingsbygning and Kunsthal Charlottenborg in Copenhagen. At Bonn Art Museum in Germany, Cneai in Chatou in France and Amos Anderson Art Museum in Helsinki, Finland. Later this year she opens a show at Viborg Kunsthal in Denmark and she is now for the second time exhibiting at CCA.

Johan Furåker (SE, 1978) has exhibited solo at CAPC in Bordeaux in France. He has also exhibited at Cneai in Chatou and at Espace pour l’art in Arles. He has exhibited at institutions such as Reykjavik Art Museum in Iceland, Hämeenlinna Art Museum and Turku Art Museum in Finland, at KUBE in Ålesund, Gallery North Norway in Harstad and at Vestfossen Kunstlaboratorium in Norway, at Hannover Kunstverein in Germany and at Malmö Art Museum, Inter Arts Center in Malmö and Ystad Art Museum in Sweden, at Die Diele, Zürich, Switzerland, Ringsted Galleriet, Art Centre Silkebord Bad and Museums Centre Aars in Denmark and at CAVE / AYUMI GALLERY in Tokyo, Japan. These days he is preparing a solo exhibition in Norway at Kristiansand Kunsthall. This show marks his second exhibition at CCA as well.

The exhibition is supported by IASPIS, The Swedish Arts Grants Committee's International Programme for Visual Artists.

29.03.19 - 30.06.19

We are pleased to invite you to the celebration of the exhibition on Thursday, April 18th between 7-9pm at the CCA Kunsthalle

ARTISTS: Kristian Kragelund (DK), Elisabeth Molin (DK), Karl Monies (DK) and Nathan Peter (US)

CCA Andratx is excited to present the group exhibition Le Hasard et la Nécessité which unfolds four different artistic expressions delving into the space between Chance and Necessity. Inspired by the title of the book by the French Nobel-Prize winning biochemist Jacques Monod from 1970, CCA intends to question the relationship between chance encounters, coincidences and opportunities and the necessity to make a choice.

Monod concludes, inspired from the Existentialists, that “man knows at last he is alone in the unfeeling immensity of the universe, out of which he has emerged only by chance. His destiny is nowhere spelled out, nor is his duty. The kingdom above or the darkness below; it is for him to choose.”

Karl Monies believes less in chance by working accordingly to the7 Hermetic Principles, one of them being correspondence, “As Above, So Below”, another one being the pendulum movement of Rhythm, and perhaps most interestingly is in this context the principle no. 6: “Cause and Effect”, stating that the chance is merely a term in describing something that is unknown to our planes of existence. Bringing his personal archive consisting in 10 years of gathering bits and pieces from here and there, he has within the past month been assembling these almost “forgotten” images in new/old, intuitive/orchestrated constellations of Principles.

During his residency at CCA Andratx, Monies has besides continued developing two ongoing series of works: his ceramic and polystyreneContainers and his tapestryComforts. The former functioning literally as striking, sculptural containers for anything, any thought, any idea, any purpose or simply pure energy. One may think of Ursula K. Le Guin’s Carrier bag theory explaining how containers have always played an essential, and perhaps, underestimated role throughout the whole history of mankind; the container understood as the body, the dwelling space, the library, the museum, the womb, the matrix.

Comforts consists of a series of meticulously hand-embraided textiles, that besides from their geometrical patterns and particular bleached and dyed color schemes, immediately triggers the haptic and perhaps even synesthetic sense in any visitor, who is able to imagine how comfortable a blanket wrapped around you feels like and how any kind of fabric functions as something protecting; as a separating layer and connecting point between our bodies and the world.

”When I was nine years old, the world, too, was nine years old. At least, there was no difference between us, no opposition, no distance. We just tumbled around from sunrise to sunset, earth and body as alike as two pennies. And there was never a harsh word between us, for the simple reason that there were no words at all between us; we never uttered a word to each other, the world and I.

Our relationship was beyond language—and thus also beyond time. We were one big space (which was, of course, a very small space).

And right at that point in time (where there were no points in time), our school began teaching us about all the world’s points in time.

When I turned ten years old, the world suddenly turned ten million billion years old.”

InCOMFORT 732/00/ Elisabeth Molin addresses entropy – the ‘perfect disorder’ or ‘randomness of an enclosed system’ – resulting from a curiosity of how architecture and urban artifacts affect the human body. Her work intertwines photography and short poetic texts, together creating a prism of approaches to the subject. Whereas the photographs visually refer to moments of intersection, the text describes bodily encounters with synthetic materials, screens and data.

Molin’s works act as a series of chance encounters; the motifs in her images are never staged, but always found and shot as they are. They point at the microscopically small, the day to day transformations and to a between state-ness. As opposed to separating the natural from the artificial, the photographs depict the often surreal and magical encounters between mechanical and organic rhythms in the city.

The titleCOMFORT 732/00/ refers to a note she found on the street one day, which she was intrigued by but couldn’t decipher; it seemed to contain a paradox between a state of mind and a particular time, although the time was out of date, an imagined date almost, caught in between past, present and future.

“If our space, our world, hadn’t acquired time, it had certainly acquired depth. And it had definitely been stirred up.”

The difficulties of grasping things that exist outside “our” time and through “our” language have often lead artists to an in-depth examination of the materiality of things. Attempting to understand the function and meaning of the (sometimes invisible) materials we surround ourselves with, we see in the works of Kristian Kragelund a carefully organized, controlled and rigorous process of layering fiberglass on top of canvas, only to let it react and respond to his gestures underneath, allowing the coincidences to arise.

If we step close to the portrait-sized works, we get a glimpse of the human touch from the artist, who is leaving his mark on the canvas with intuitive strokes however affected by his inherent knowledge of how he’s part of a greater system. The connected diagonal lines bring to mind the schematics of a computational code, like the visual manifestation of an algorithm, perhaps similar to the one that created the pattern of the fiberglass, determined on maximal strength and capacity. The process of layering resembles the tension between nature and technology, from the biologic – the artist himself – imitating the artificial intelligence – the algorithm – to the computer-generated fiberglass, which mimics the flexibility of organic tissue or skin. The meeting of drawing and canvas accidentally reveals a pattern “simulating” nature enhanced by the appearance of the air bubbles in between creating a silk like surface, and fusing man and machine in a process of what the artist thinks of as moral collapse in society.

“The whole surface of the Earth should be covered by sensors placed with half a meter’s space in-between, capable of gathering data that would then be compiled into a huge computer. But almost in the same moment that the computer would start its calculations, there would, in the interstices between the sensors, appear very small deviations that at first would result in very small mis-calculations in the computer, mistakes that nevertheless would spread and grow rapidly and finally become worldwide.”

“The small interstices between our senses, in-between awareness and unawareness, in-between the spaces, in-between the words.”

Suggesting the interstice as an amorph place of becoming, brings us to the fourth artist of the exhibitionLe Hasard et la Nécessité Nathan Peter. With his twofold approach Peter makes use of his art historical knowledge as points of reference, here especially finding inspiration in the Baroque theatrical world of illusions, by working with elements as the fold and the mirror. With these ideas in mind he examines the materiality of painterly resources such as color and canvas. The result becomes what he terms a “negative” painting, an upside down, crumbled up, folded and unfolded sculptural object unraveled and somehow disassembled in his laborious studio performance as a way of distilling physical as well as philosophical information on “painting” into its very essence.

In terms of chance and necessity, Peter says that he likes the possibility of something expanding infinitely – like the fold: “In its movements exists endless opportunities of pulling apart, putting back together, over and over again. Visually, you kind of want to fold it back up, but because of the missing stretcher bars, which would constraint the painting physically, there are these infinite chances of allowing the work to grow outside of the frame in a continuous movement.”

“We just know that there is something we call chance. That there is something we perceive as chance. Still, there can be something about this chance that we do not perceive. Chance could even be fulfilled by an order, that streams on different frequencies than the ones our human senses are able to tune in on.”

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