Tub


I’m consumed by the idea that things could have been otherwise. In everything I see its possibility. Even a fractal shift in meaning reminds me that I am arbitrary, and I seek it, sit with it, an erotics of the ahistorical.


On the gallery floor four balconies lie prone, civic objects in the leaky horror of things misplaced. Something’s not right. A horror evidenced by the material that loses its meaning. Is there a word for that feeling? Architecture is born into an order, and whatever shifts by which it becomes disorganized are the work of time or violence. In its aftermath, the subject is a private detective, a medical doctor, Mister Magoo, thinking of reasons, working out cause and effect.


I’m not sure where the fixation comes from, or what I want from it. The desire can’t explain itself. It’s greedy, and it takes in much of what I see. I feed it. It grows robust with anachronisms, which I suddenly find poetic, in the way that people use the word “poetic” to mean a kind of beauty they don’t yet understand.


How do we move into another time? Can we design ourselves? What if class were a flat plane? Can I move apart from, next to my style?


Under the pavement, pavement. Hoaxes, failures, porches, archaeological strata spread out on a continuous thin plane; softness and speed, echoes, spores, tropes, fonts; not identity but incident and the accumulation of air miles; unmarked solitude absorbing time, bloating to become an environment, indexical euphorias, the unraveling of laughter; a brief history of escalators; memory manifest, brindled, loosening; a crumpling of automotive glass… (Lisa Robertson, “Soft Architecture: A Manifesto”)


Tess Edmonson


Willy Ørskov

Works on Paper


9 January - 14 February 


Works on Paper, 2015. Installation view

Thea Moeller & Mads Westrup, 2015. Installation view. Photo: Jan Sondergaard

B I A N C A  D ’ A L E S S A N D R O

Lone Haugaard Madsen

       Rum #325 - Mehr


   26 September - 8 November

The exhibition is sponsored by

the Danish Arts Foundation

Lone Haugaard Madsen's work questions the status of permanence. In her exhibition making practice multiple temporalities conflate - installing becomes part of the production of the work, while the production of work can take place during installation. Works travel from the studio in different states of completion and are finished on site, tying together private and public art making spaces. Works dwell on the floors, in front of windows, leaned against walls. Objects are stacked and piled. Accumulation, like measures of time and labor give shape to the works that in their defiant presentation create a type of bond through difference. 

The spaces in which Haugaard Madsen places her work are numbered. The single space at Bianca D'Alessandro is #325.  This numeric system creates a flow of past and present shows, delineating the exhibition as a finite space, while creating an alternate temporality. Haugaard Madsen repeats and alters gestures, playing with the the status of the unique or singular work of art. In #325 the idea of a practice asymptoting towards qualitative perfection through repetition seems particularly ironic, as the space once belonged to the Royal Academy of Art in Copenhagen. 

The exhibition beckons the question - where does a sculpture, a painting, a drawing begin? In relations, some of the work suggests. Rejected and gifted objects have taken place within #325 that erase the hierarchy between objects' origins and use, creating a space in which objects can come together on their own.

Milan Ther, 2014

Lone Haugaard Madsen (b. 1974 in Silkeborg, lives and works in Vienna) studied at The Jutland Art Academy, Aarhus, and Akademie der Bildenden Künste Wien. Exhibitions include 'Raum #323 - Ulm', Galerie Nagel Draxler, Berlin, 2014 (solo); 'Raum #318', Neuer Aachener Kunstverein, Aachen, 2013 (solo); 'abstrakt', Sammlung Haubrok, Berlin, 2013; 'Raum #310 - Bauta', Overgaden Institut for Samtidskunst, Copenhagen, 2011 (solo); 'Lone Haugaard Madsen', Sammlung Haubrok, Berlin, 2011 (solo); 'Raum #26 - Retrofleksive', Grafisches Kabinett, Secession, Wien, 2006 (solo).


The exhibition marks the inauguration of a new gallery at Frederiksholms Kanal 28A.

Anna Zacharoff

Quelle Odeur


14 November - 20 December

Rum #325 - Mehr 1, 2014. Oil on canvas, wood from previous studio floor,

plastic cast, marble, plaster, balloon, string. 200 x 181 x 31 cm

Rum #325 - Mehr, 2014. Installation view

Rum #325 - Mehr, 2014. Installation view

Rum #325 - Mehr, 2014. Installation view

Rum #325 - Mehr 3, 2014. Concrete. 7,5 x 24 cm

Rum #325 - Mehr 4, 2014. Carpet, string. Ca. 40 x 45 x 29 cm

Rum #325 - Mehr 5, 2014. Painted chipboard, painted textile. 7 x 150 x 75,5 cm

Rum #325 - Mehr, 2014. Installation view

Rum #325 - Mehr 2, 2014. Wood, iron, flagline, textile, glass,

bronze, paper, leather, Plexiglas, rubber foam, stone. Ca. 350 x 470 x 330 cm

Rum #325 - Mehr 10, 2014. Concrete wood. 40 x 109,5 x 4 cm.  Photo: Jan Søndergaard

Rum #325 - Mehr 11, 2014. Wiping cloth, paint, Plexiglas. 40 x 65,6 cm

Rum #325 - Mehr 9, 2014. Towel from the bronzecasters workshop, cast in bronze and patinated. Ca. 24 x 44 x 35 cm

Rum #325 - Mehr, 2014. Installation view

Time after Tide


Tide was making the anemones dance a radical dance. It slapped the clamorous corrals, without result, and whipped the kelp to get attention. Glaring clownfish tried to keep up in the tango, occasionally getting thrown out in yet another quick turn.

Further down the reef, Tide's harassment was less effective. Sharks silently patrolled the rocks in search of no good deeds, sniffing right to left, left to right, in a never ending work-shift. All the bloody donuts trying to hide, best they could.

Hopefully out of sight of whatever was out there, a school of shrimps was filtering water among stones even further down in the blue. Occasionally making conversation.

"How many shrimps long is that dark and singing cloud?" Asked one of the shorter shrimps.

"You mean the whale clouds?" A longer one wondered. "I would think that the biggest turtle cloud is around 50 shrimps stretched long, and a whale cloud must then be around 750 stretched shrimps long, thus calculating that the whale cloud is at least as long as 15 big turtle clouds?" He answered very accurately for being a shrimp.

"But the normal turtle clouds are only 30 stretched shrimps long?" The shorter shrimp had answered his own question.

"Can’t you focus on what the other shrimps are doing, instead of always looking up at the clouds?" A model-sized shrimp grumpily clicked into the conversation.

There the chattering stopped. The shorter shrimp turned his antennae away in disappointment. Silently searching for more whale cloud songs in the distance.

There were a lot of clouds reflecting on the shy. Swimming around, the shrimp wondered about the new world he had been hatched into. From the corner of the dark stones at the bottom, most of the clouds were pale white, and almost as blinding as the end of water. Only closer to the rush-hour of Tide did they all dress in different colors.

A shrimp had to go with the dragging force of Tide to see big things like the clouds that sing. The shapes of clouds felt infinite. None was broader then it was long, but perhaps turtle clouds were pretty much square.


Anna Zacharoff (b. 1987, Stockholm) lives and works in Frankfurt am Main, Germany, studies at the Städelschule - Staatliche Hoschschule für Bildene Künste. Recent exhibitions include “LAST DAYS OF FLOUNDERING” at Standard (Oslo), Oslo, 2014; “Nuit Américaine” at Office Baroque, Brussels, 2014; “Anna Zacharoff Presented by Neue Alte Brücke” at Vilma Gold, London, 2014; “Freak Out” at Greene Naftali Gallery, New York, 2013

The exhibition was awarded honoraria by

the Danish Arts Foundation

Turtle #1 Maggie, 2014. Rayon, foam. 24 x 108 x 95 cm

Quelle Odeur, 2014. Installation view

Quelle Odeur, 2014. Installation view

Turtle #2 Michelle, 2014. Canvas, aluminium, oil, paper. 37 x 108 x 95 cm

Turtle #3 Carla, 2014. 13 x 82 x 87 cm. Linen, styroform, shells

Quelle Odeur, 2014. Installation view

Quelle Odeur, 2014. Installation view

Rose Dismissed, 2014. Oil and pigment on canvas. 152 x 164 cm

Next Time put the Left hand on the right Arm, 2014. Oil and pigment on canvas. 149 x 229 cm

¡Silencio!, 2014. Oil and pigment on canvas. 154 x 129 cm

Quelle Odeur, 2014. Installation view

Quelle Odeur, 2014. Installation view

Lionfish #4, 2014. Oil and pigment on canvas. 57 x 62 cm. Photo: Jan Søndergaard

Lionfish #2, 2014. Oil and pigment on canvas. 41 x 40 cm

Lionfish #3, 2014. Oil and pigment on canvas. 51 x 56 cm

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Tuesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

                                              Follow Me, 2014. Oil and pigment on canvas. 200 x 150 cm

Lionfish #1, 2014. Oil and pigment on canvas. 26 x 29 cm

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Tuesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

Thank you to Absolut Vodka

Works on Paper, 2015. Installation view

Untitled, 1984. Bronze. 23 x 28 x 28 cm

Works on Paper, 2015. Installation view

Untitled, 1984. Bronze. 11 x 129 x 104 cm. (detail)

Untitled, 1984. Bronze. 11 x 129 x 104 cm. (detail)

Works on Paper, 2015. Installation view

Works on Paper, 2015. Installation view

Untitled, 1981 - 82. Black chalk and coal on paper. 130 x 130 cm

Untitled, 1981 - 82. Black chalk and coal on paper. 130 x 130 cm

Works on Paper, 2015. Installation view

Untitled, 1983. Mixed media on paper. 110 x 110 cm

Untitled, 1983. Mixed media on paper. 110 x 110 cm

Works on Paper, 2015. Installation view

Untitled, 1981. Black chalk and coal on paper. 110 x 110 cm

Untitled, 1981. Mixed media on paper. 110 x 110 cm

Untitled, 1981. Mixed media on paper. 110 x 110 cm

Untitled, 1981. Mixed media on paper. 110 x 110 cm

Untitled, 1984. Mixed media on paper. 110 x 110 cm

Works on Paper, 2015. Installation view. Photo: Jan Søndergaard

Untitled, 1981. Mixed media on paper. 110 x 110 cm

Untitled, 1982. Painted wood, metal. 140 x 260 cm

Works on Paper, 2015. Installation view

Thea Moeller &

Mads Westrup


20 February - 28 March

Thank you to Absolut Vodka

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Tuesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

Thea Moeller & Mads Westrup, 2015. Installation view

Thea Moeller & Mads Westrup, 2015. Installation view

Thea Moeller & Mads Westrup, 2015. Installation view

Thea Moeller & Mads Westrup, 2015. Installation view

Thea Moeller & Mads Westrup, 2015. Installation view

Thea Moeller & Mads Westrup, 2015. Installation view

Thea Moeller & Mads Westrup, 2015. Installation view

Thea Moeller. Untitled / Adria Zement, 2014. Steele, Rubber band,  board

Thea Moeller. Untitled / Adria Zement, 2014. Steele, Rubber band,  board

Thea Moeller. Gerüstkonstruktion/ Lager, 2014
Galvanized steel pipes, Firewood stacking aid,  Furniture material, bord, Spray, Lacker

Mads Westrup. Kommunal Bue #3, 2014. Oil on canvas. 160 x 120 cm

Mads Westrup. Untitled, 2014. Oil on canvas. 40 x 52 cm

Thea Moeller. Camouflage/ Träger, 2014. Steel, wood, floor paint. 16 x 7 x 260 cm

Mads Westrup. Kommunalbue #4, 2014. Oil on canvas. 145 x 175 cm

Mads Westrup. Untitled, 2014. Oil on canvas. 34 x 41,5 cm

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Tuesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm


Timothy Furey

"This Days"


10 April - 16 May

Thank you to Absolut Vodka

Thank you to Absolut Vodka

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Tuesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

Thank you to Louisiana Museum of Modern Art

This Days. 2015. Installation view

Mr. Ó Cúnasa, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

This Days. 2015. Installation view

This Days. 2015. Installation view

This Days. 2015. Installation view

Mr. Ridgeway Speaks, 2015. Digital video with sound. 09:18 minutes. 5 + 1AP. vimeo.com/166241033

Mr. Pechorin, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

Mr. B. Traven, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

Outside I-IV, 2015. Hazel branches, canvas, earth pigment, graphite, oil, dirt, eyelet. Variable dimensions

Mr. Craven, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

Mr. Ridolph, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

Sufficient Obstacle I-VIII, 2015. Hazel branch and steel wire. Variable dimensions

Editing Y.

(For T. F.)


*


comment and share to enter community,

enter community to change / edit.


While checking Recent Changes tonight we

noticed a pattern of edits and reverts to this article.

The problem appears to be that someone

(currently editing from 109.76.148.204)

does not want the article to mention Y's

severe long-term economic decline.


a compromise of wealth

and / or information as it happens


it is very still

in the heart of the descriptive practice


as it ends preparatory work

and begins the act of writing


as it ends preparatory work

and begins the act of painting


blank lines

diluted intentions

as symbols


form adequate systems

to protect the most vulnerable

sufferers, grief is


shaping the abstract,

bending will


*


push


full darkness

down into the objects


images


wake up to

man enchanted


AFAICS there’s no doubt that the town has been blighted

by the effects of globalisation


by a weeping model, contract

in a shared and moderated environment


taking violence

out of certain vocabularies, still forcing


overflowing, grateful


Thanks for engaging here,

Hyde09 –

Talk page interaction is always appreciated


from a moment in time —

let’s call it space


and let’s have it calling from all the borders of itself


with words

coming from within the walls,

like visitors from Germany


destruction

poverty

breakthrough


generosity

death!

exhibition


*



KL

Sufficient Obstacle I-VIII, 2015. Hazel branch and steel wire. Variable dimensions

Sufficient Obstacle I-VIII, 2015. Hazel branch and steel wire. Variable dimensions

This Days. 2015. Installation view

Mr. O. Hasard, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

Sufficient Obstacle I-VIII, 2015. Hazel branch and steel wire. Variable dimensions

Sufficient Obstacle I-VIII, 2015. Hazel branch and steel wire. Variable dimensions

This Days. 2015. Installation view

This Days. 2015. Installation view

Mr. “Cherub” Swinburne, 2015. Acrylic and wax dressing on canvas. 172 x 120 cm

This Days. 2015. Installation view

Outside I-IV, 2015. Hazel branches, canvas, earth pigment, graphite, oil, dirt, eyelet. Variable dimensions

Outside I-IV, 2015. Hazel branches, canvas, earth pigment, graphite, oil, dirt, eyelet. Variable dimensions

Outside I-IV, 2015. Hazel branches, canvas, earth pigment, graphite, oil, dirt, eyelet. Variable dimensions
Photo: Jan Sondergaard


Press Text

 

 

From Regional Educations

 

2.1. Agriculture and Youth

 

A. Special funds will be made available through the payment scheme of existing agricultural subsidy channels for young farmers (1) at present in possession of holdings commencing their agricultural activity (2). Beneficiaries are subject to the obligations resulting from the scheme’s contract; funds must be utilised for licensed consulting services in topics set forth in Regulation (Lex) No 1306/213. These include farm certification schemes, compliance with general principles of integrated pest management, and hedging risks of damage caused by natural disasters, adverse climatic events and catastrophic events.

 

 

B. Young farmers’ oath passed by the executive assembly of the farmers’ association:

 

I believe in the future of agriculture, with a faith born not of words but of deeds – achievements won by the present and past generations of agriculturists.

I believe that to live and work on a good farm or to be engaged in other agricultural pursuits is pleasant as well as challenging.

I believe in leadership from ourselves and respect from others.

I believe in the ability of progressive agriculturists to serve our own and the public interest in producing and marketing the product of our toil. I believe in less dependence on begging and more power in bargaining; in the life abundant and enough honest wealth to help make it so-for others as well as myself.

I believe that agriculture can and will hold true to the best traditions of our life and that I can exert an influence in my home and community which will stand solid for my part in that inspiring task.

 

 

- Lorenz, Magnus, Julien, and the FFA

 



(1) "farmer" means a natural or legal person, or a group of natural or legal persons, regardless of the legal status granted to such group and its members, whose holding is situated within the territorial scope of the laws, as defined in Article 52 AG in conjunction with Articles 349 and 355 FAG, and who exercises an agricultural activity.

(2) "agricultural activity" means production, rearing or growing of agricultural products, including harvesting, milking, breeding animals, and keeping animals for farming purposes. Maintaining an agricultural area in a state, which makes it suitable for grazing or cultivation without preparatory action going beyond usual agricultural methods and machineries.



 




Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Tuesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

Magnus Andersen

Agrimundo


27 June - 4 July

Thank you to Absolut Vodka

Harvest Boys, 2015. Acrylic, chalk and lime wood. 98 x 149 cm

Agrimundo, 2015. Installation view

Harvest Boys, 2015. Acrylic, chalk and lime wood. 98 x 149 cm

Agrimundo, 2015. Installation view

Fence Piece (Agri), 2015. Acrylic on lime wood. 187,5 x 25 cm
+
Fence Piece (Mundo), 2015. Acrylic on lime wood. 169 x 25 cm

Fence Piece (Agri), 2015. Acrylic on lime wood. 187,5 x 25 cm
+
Fence Piece (Mundo), 2015. Acrylic on lime wood. 169 x 25 cm. (detail)

Agrimundo, 2015. Installation view

Agrimundo, 2015. Installation view

Agrimundo, 2015. Installation view
Photo: Jan Sondergaard

Tutorial Map, 2015. Acrylic, chalk and lime wood. 88 x 149 cm

Tutorial Map, 2015. Acrylic, chalk and lime wood. 88 x 149 cm

Farming Simulator, 2015. Acrylic, wood, monitor, Farming Simulator (video: 3.21 min). Variable dimensions

Farming Simulator, 2015. Acrylic, wood, monitor, Farming Simulator (video: 3.21 min). Variable dimensions. (detail). vimeo.com/130758528

Farming Simulator, 2015. Acrylic, wood, monitor, Farming Simulator (video). Variable dimensions. (detail)

Crop Converter, 2015. Acrylic, paper mache, wood and canvas. 151 x 268 cm

Crop Converter, 2015. Acrylic, paper mache, wood and canvas. 151 x 268 cm. (detail)


Nick Oberthaler

No Subject No Image No Taste No Matter No Grace No Style


7 August - 19 September

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Tuesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

Thank you to Bundeskanzleramt Österreich,

Austrian Embassy Copenhagen and Absolut Vodka

 

The fact that Oberthaler’s geometric abstraction functions as contemporary art is due to a number of strategies the artist employs in the realization of his work that keeps it from merely perpetuating a historically established style. One of these strategies involves designing tables, paravents, curtains, partitions and vitrines in an approach adopted from the critical context-art of the 90s. His wall painting at Bianca D'Alessandro in Copenhagen, which takes its colour from the facade of the building housing the gallery, is perhaps the most overt coupling of painting and context-art in Oberthaler’s work.

 

Mirrors resurface time and again among the materials, stemming from an interest in contextual concerns – mirrors not only reflect but also, in certain cases, distort. A further strategy for contextualising abstraction is the artist’s use of representational images. Oberthaler uses borrowed images primarily from magazines and/or online sources, and prints them in grid format on aluminium panels. The arrangements are reminiscent of the work of Andy Warhol and Peter Roehr. Roehr, who died in 1968 aged only 23, assembled collages of advertising material in grid format, sizing the selections so that the images remained intact, and did not assume an abstracted pattern. Oberthaler’s figurative elements are selected not only by proportion, but also for their high light/shade contrast, rendering them capable of achieving a much more abstract quality.


In terms of surface, Oberthaler’s painted and printed works are almost indistinguishable. The aluminium is painted with a very smooth, polished primer, with inevitable traces from processes such as masking resulting in sharply delineated shapes. Oberthaler not only references representational images as the dominant visual form of today (and using a concreteness very specific to the time of his artistic beginnings), even his paintings, which often look printed, always stay at least in clear sight/reach of contemporary printing techniques. Thus some works call to mind pixelated computer graphics or the raster lines of vacuum tube monitors, which are now relegated to the technological past.

 

For his exhibition at Bianca D'Alessandro he borrows John Cage’s declaration of independence at the occasion of a Robert Rauschenberg exhibition in 1953, “No Subject, No image, No taste...” referring to all transcendentalism, and much more than just an exhibition title. The assertion of a reality external to the image, Oberthaler seems to be saying, can no longer be a discursive category in post-modernism.

 

Christoph Bruckner

 

 

Nick Oberthaler (Bad Ischl/Austria, 1981) lives and works in Vienna. Recent solo shows include Pièce dérivée, Galerie Thaddaeus Ropac, Paris (2015); Calculated Reserve (Cur. Pier Paolo Pancotto), Museo Hendrik C. Andersen/Galleria nazionale d'arte moderna, Roma (2014); The blackbird must be flying (together with Thomas Julier), Centre d’art bastille/CAB, Grenoble (2015); Eventuality of an attempt, KIOSK, Gent (2013);  Galerie Emanuel Layr, Vienna (2012) and Galerie Martin van Zomeren, Amsterdam (2012). Group shows (selection): Rideaux/BLINDS (Cur. Marie de Brugerolle), Institut d'Art Contemporain/FRAC Rhône-Alpes, Villeurbanne/Lyon (2015); Ökonomie der Aufmerksamkeit, Kunsthalle Vienna (2014); Vers une hypothèse (Cur. Andrea Rodriguez Novoa), Francheville, CAC Fort du Bruissin/Programme Résonance - XII Biennale de Lyon, Lyon (2013); Die Sammlung # 4, 21er-Haus / Belvedere Vienna (2013); De leur temps 4: Nantes, Centre d’art contemporain Le Hangar, Nantes (2013); Minimal Myth (Cur. Francesco Stocchi), Museum Boijmans van Beuningen, Rotterdam (2012).

No Subject No Image No Taste No Matter No Grace No Style, 2015. Installation view

No Subject No Image No Taste No Matter No Grace No Style, 2015. Installation view

No Subject No Image No Taste No Matter No Grace No Style, 2015. Installation view

No Subject No Image No Taste No Matter No Grace No Style, 2015. Installation view

No Subject No Image No Taste No Matter No Grace No Style, 2015. Installation view

No Subject No Image No Taste No Matter No Grace No Style, 2015. Installation view

No Subject No Image No Taste No Matter No Grace No Style, 2015. Installation view

No Subject No Image No Taste No Matter No Grace No Style, 2015. Installation view

Untitled (Propositions), 2015. Offset-print on blueback paper, 59,4 x 42 cm. Edition of 250 / not numbered

Untitled (Grid), 2015. Protection foil, ink and matte varnish on aluminium, 180 x 100 cm

Untitled (Grid), 2015. Protection foil, ink and matte varnish on aluminium, 180 x 100 cm (detail)

Untitled (Thorvaldsen/The disquieting muses), 2015. Primer, gesso and acrylic on aluminium. 180 x 100 cm

Untitled (Thorvaldsen/The disquieting muses), 2015. Primer, gesso and acrylic on aluminium. 180 x 100 cm (detail)

Untitled (Blind/The Decay), 2015. UV-print on aluminium,180 x 100 cm

Untitled (Blind/The Decay), 2015. UV-print on aluminium,180 x 100 cm (detail)

Untitled (NoNoNoNoNoNo), 2015. Primer, gesso, acrylic and offset-print on aluminium, h180 x 100 cm

Untitled (NoNoNoNoNoNo), 2015. Primer, gesso, acrylic and offset-print on aluminium, h180 x 100 cm (detail)

Untitled (for R.R. / I). Aludibond mirrors with protection foil, 1k-glue and dust on black MDF, 2015. 131 x 79 cm

Untitled (for R.R. / I). Aludibond mirrors with protection foil, 1k-glue and dust on black MDF, 2015. 131 x 79 cm

Untitled (for R.R. / I). Aludibond mirrors with protection foil, 1k-glue and dust on black MDF, 2015. 131 x 79 cm (detail)

Untitled I – VIII (Cph). Work on paper, framed, 2015. Mixed media, dimensions variable. 60 x 42 cm (frame)

Untitled I – VIII (Cph). Work on paper, framed, 2015. Mixed media, dimensions variable. 60 x 42 cm (frame)

Untitled I – VIII (Cph). Work on paper, framed, 2015. Mixed media, dimensions variable. 60 x 42 cm (frame)

Untitled I – VIII (Cph). Work on paper, framed, 2015. Mixed media, dimensions variable. 60 x 42 cm (frame)

Untitled I – VIII (Cph). Work on paper, framed, 2015. Mixed media, dimensions variable. 60 x 42 cm (frame)

Untitled I – VIII (Cph). Work on paper, framed, 2015. Mixed media, dimensions variable. 60 x 42 cm (frame)
Photo: Jan Sondergaaard

Tiril Hasselknippe

Tub


21 September - 31 October

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Tuesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

Thank you to

Danish Art Workshops and Absolut Vodka

join our mailing list

info@biancadalessandro.com

Tub, 2015. Installation view

Balcony (residency), 2015. Concrete, steel, water, and food colouring. 98 x 125 x 68 cm

Balcony (residency), 2015. Concrete, steel, water, and food colouring. 98 x 125 x 68 cm (detail)

Tub, 2015. Installation view

Balcony (supplies), 2015. Concrete, steel, water, and food colouring. 90 x 90 x 52 cm

Balcony (supplies), 2015. Concrete, steel, water, and food colouring. 90 x 90 x 52 cm

Tub, 2015. Installation view

Balcony (survival), 2015. Concrete, steel, water, and food colouring. 95 x 99 x 89 cm

Tub, 2015. Installation view

Tub, 2015. Installation view

Balcony (survival), 2015. Concrete, steel, water, and food colouring. 95 x 99 x 89 cm

Balcony (intersectionality), 2015. Concrete, steel, water, and food colouring. 86 x 150 x 64 cm

Balcony (intersectionality), 2015. Concrete, steel, water, and food colouring. 86 x 150 x 64 cm (detail). Photo Jan Sondergaard

The exhibition period has been extended to

Sat 7 November

Mads Westrup

Circles


13 November - 19 December

Thank you to Absolut Vodka

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Tuesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

..."will carry with us in our memories. This also allows others to implant"...

..."Most are aware that Eskimos have about 200 words to describe snow"...

..."Language itself is one; currency is another, time is yet another, as is mathematics. Often we get so caught up in" ...

..."respectfully suggest that perhaps it is time to put them into their proper perspective. It is quite" ...


Flecting and Reflecting by Doug Fulcher

join our mailing list

info@biancadalessandro.com

Ghosts (T.D.T.C.), 2013-15. Oil and pigment on canvas. 209 x 150,5 cm

Circles, 2015. Installation view

Ghosts (T.D.T.C.), 2013-15. Oil, pigment and steel on canvas. 41 x 34,5 x 3 cm

Ghosts (T.D.T.C.), 2013-15. Oil, pigment and steel on canvas. 41 x 34,5 x 3 cm (detail)

Circles, 2015. Installation view

Circles, 2015. Installation view

Ghosts (T.D.T.C.), 2013-15. Oil, pigment and steel on canvas. 126 x 165 cm

Ghosts (T.D.T.C.), 2013-15. Oil and pigment and steel on canvas. 126 x 165 cm (detail)

Ghosts (T.D.T.C.), 2013-15. Oil, pigment and steel on canvas. 115 x 52 x 3 cm

Ghosts (T.D.T.C.), 2013-15. Oil, pigment and steel on canvas. 40 x 30,5 x 3 cm

Circles, 2015. Installation view

Sketches for statues, 2013-15. Alu-bronze. 44 x 20 x 26 cm & Sketches for statues, 2013-15. Alu-bronze. 41,5 x 21,50 x 13,50 cm

Circles, 2015. Installation view

Circles, 2015. Installation view

Circles, 2015. Installation view

Circles, 2015. Installation view

Circles, 2015. Installation view

Circles, 2015. Installation view

Ghosts (T.D.T.C.), 2013-15. Oil, pigment and steel on canvas. 41 x 34 x 3 cm

Ghosts (T.D.T.C.), 2013-15. Oil, pigment and steel on canvas. 58 x 68,5 x 3 cm

Ghosts (T.D.T.C.), 2013-15. Oil, pigment and steel on canvas. 149,5 x 160 cm

Circles, 2015. Installation view. Photo Jan Sondergaard

Ghosts (T.D.T.C.), 2013-15. Oil and pigment on canvas. 58,5 x 68,5 cm

Circles

Composed / Partitur by Johannes Lund

Recorded September 2015 in Torup

Amitai Romm, Jean Marc Routhier, Rikard Thambert, Fredrik Tydén

Tongue



22 January - 27 February

Thank you to Absolut Vodka

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Tuesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

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info@biancadalessandro.com

Tongue, 2016. Installation view.

Amitai Romm. Primer, 2016. Embroidery, polyester and UV print on jesmonite, aluminum fitting. 45 x 48 x 21 cm

Lea von Wintzingerode

Lodge


4 March -  16 April

Amitai Romm. Primer, 2016. Embroidery, polyester and UV print on jesmonite, aluminum fitting. 45 x 48 x 21 cm

Tongue, 2016. Installation view.

Rikard Thambert. Trekking Trance, 2016 . Gypsum, granite. 172 x 38 x 66 cm

Fredrik Tydén. Fragment_9, 2016. White concrete. 30 x 50 x 44 cm

Fredrik Tydén. Palma, 2016. Tie-dyed cotton, polyester. 67 x 31 x 9 cm

Tongue, 2016. Installation view.

Tongue, 2016. Installation view.

Tongue, 2016. Installation view.

Amitai Romm. Exfoliation, 2015 (detail). Latex impregnated paper, clay, zinc stearate, silicon carbide, phenol resin, aluminum. Dimensions variable

Amitai Romm. Exfoliation, 2015 (detail). Latex impregnated paper, clay, zinc stearate, silicon carbide, phenol resin, aluminum. Dimensions variable

Jean Marc Routhier. Frammenti ft. Will Evergreen, 2016. Melantin, Styrofoam, Chinese plants, inkjet colour, sugar crystals. Dimensions variable

Jean Marc Routhier. Frammenti ft. Will Evergreen, 2016 (detail). Melantin, Styrofoam, Chinese plants, inkjet colour, sugar crystals. Dimensions variable

Rikard Thambert. Swedish Simon's Tear of Wonder At The Doorstep Of A Light, 2015. Pigmented gypsum

Jean Marc Routhier. It is me, I am it (happy poems/algorithms), 2016 (detail). Laserprint. 7 sheets each 41,1 x 28,7 cm

Jean Marc Routhier. It is me, I am it (happy poems/algorithms), 2016 (detail). Laserprint. 7 sheets each 41,1 x 28,7 cm

Amitai Romm. Exfoliation, 2015. Latex impregnated paper, clay, zinc stearate, silicon carbide, phenol resin, aluminum. Dimensions variable

Jean Marc Routhier. As you like it, 2016. Crystal, silk, plastic, 6,5 x 66 x 10 cm

Tongue, 2016. Installation view

Amitai Romm. Exfoliation, 2015 (detail). Latex impregnated paper, clay, zinc stearate, silicon carbide, phenol resin, aluminum. Dimensions variable

Tongue, 2016. Installation view.

Tongue, 2016. Installation view.

Jean Marc Routhier. Frammenti ft. Will Evergreen, 2016 (detail). Melantin, Styrofoam, Chinese plants, inkjet colour, sugar crystals. Dimensions variable

Tongue, 2016. Installation view. Photo Jan Sondergaard

The exhibtion will be lit only by natural daylight in the hours from noon till sunset.

At the opening it will be possible to view the exhibition during the whole evening.

Thank you to Kvadrat

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Tuesday - Friday 12 noon - sunset  Saturday 12 noon – 3 pm

join our mailing list

info@biancadalessandro.com

Thank you to Absolut Vodka

Lodge, 2016. Installation view. Photo Jan Sondergaard

Lodge, 2016. Installation view

Lodge, 2016. Installation view

Lodge, 2016. Installation view

Lodge, 2016. Installation view

Lodge, 2016. Installation view

Lodge, 2016. Installation view

Lodge, 2016. Installation view

Lodge, 2016. Installation view

Lodge, 2016. Installation view

source (nake), 2014. Oil on canvas. 70 x 95 cm

source (nake), 2014. Oil on canvas. 70 x 95 cm

source (thirst), 2015. Oil on canvas. 75 x 90 cm

source (thirst), 2015. Oil on canvas. 75 x 90 cm

dancers I, 2014. Diptych. 2 x 70 x 65 cm

dancers II, 2014. Diptych. 2 x 70 x 65 cm

johannes paul at my age, 2015. Oil on canvas. 90 x 65 cm

martina, 2014. Oil on canvas. 75 x 57 cm

johannes paul at my age, 2015. Oil on canvas. 90 x 65 cm

martina, 2014. Oil on canvas. 75 x 57 cm

Sacramento



follow the leaf


and let go of the literal


floating arms in blue mirrors


backwater currents



here solo dancer


blushing face and turquoise gaze


orange grounds neon green


lateral branches trunks



stretching up and down


grey molding Martina


palm of hand


pressed against glass



and signals fired vertically


with green antennas


monitoring liquid cypresses


white light



blinding the herd


scale matters here


black leaves and clumps


of purple lichen



sessile figures


messengers in the margin


encircling


holding hands



red grounds this season


someone crawling naked


along the trunk


traveling root tips



in underground mazes


searching for moisture


rest is a precondition for looking


carry this vision




Sara Lindeborg


Dreamfair New York


Tiril Hasselknippe and Lea von Wintzingerode


3 - 8 May 2016


Dream is a series of online international art fairs. Dream fairs exist only on the internet

and are scheduled concurrent with existing art fairs.

Join us at dreamfair.org


Daniel Dewar & Grégory Gicquel, Jill Mulleady, Lin May Saeed, Min Yoon

Trumpets



3 June - 6 July

Thank you to Absolut Vodka

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Tuesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

join our mailing list

info@biancadalessandro.com

Trumpets, 2016. Installation view

Trumpets, 2016. Installation view

Trumpets, 2016. Installation view

Trumpets, 2016. Installation view

Trumpets, 2016. Installation view. Photography Jan Sondergaard

Daniel Dewar & Grégory Gicquel. Stoneware Vessel n°1, 2016. High-fired stoneware. 37 x 36 x 16 cm

Lin May Saeed. The Liberation of Animals from their Cages, 2007. Relief covered and painted styrofoam. 100 x 150 x 18 cm

Lin May Saeed. Ape in the Reeds, 2006. Steel, covered and painted styrofoam, jute. 57 x 45 x 60cm

Trumpets, 2016. Installation view

Trumpets, 2016. Installation view

Lin May Saeed. The Liberation of Animals from their Cages, 2007. Relief covered and painted styrofoam. 100 x 150 x 18 cm

Lin May Saeed. Ape in the Reeds, 2006. Steel, covered and painted styrofoam, jute. 57 x 45 x 60cm

Trumpets, 2016. Installation view

Min Yoon. Untitled, 2015. Pigskin. 47 x 168 cm

Min Yoon. Untitled, 2015. Pigskin. 53 x 166 cm

Min Yoon. Untitled, 2015. Pigskin. 43 x 140 cm

Amitai Romm

How shall the sea be referred to


19 August  - 24 September

Daniel Dewar & Grégory Gicquel. Stoneware Vessel n°2, 2016. High-fired stoneware. 37 x 36 x 16 cm

Daniel Dewar & Grégory Gicquel. Stoneware Vessel n°2, 2016. High-fired stoneware. 37 x 36 x 16 cm

Trumpets, 2016. Installation view

Thank you to Absolut Vodka

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Wednesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

join our mailing list

info@biancadalessandro.com

Jill Mulleady. Untitled, 2016. Oil on canvas. 151 x 92 cm

The earliest compass was invented by the Han Dynasty in 206 BC. It was a piece of naturally-magnetic lodestone floating on wood. For the first millennia since its invention it was used solely to determine geographical direction in divination practices. Knowing geographical direction is crucial for geomancy, a method of divination that interprets patterns formed by tossed handfuls of soil, stones, or sand according to markings on the ground. Geomancy practices aim to harmonize the directions of buildings, their interior and spirits of people according to divine geographical ideals. The rituals seek to inspire inner direction by aligning falling patterns to be interpreted according to greater surrounding geographies.


Named as “foresight by earth” in Greek and “science of the sand” in Arabic, geomancy has developed a world-wide use of compasses. Not until the 1100s was the compass used by the Song dynasty for geographical navigation to travel over distances. During the 1300s the compass was passed on to Persia and Europe. The same tool that was used to measure the falling patterns of soil, sand, and rocks, has since been used as a component in travelling and mapping out the entire planet. The compass added the certainty of embodied geographical direction as a compound force to human sight.


Every morning the stagemaker bowerbird of the Australian rain forests cuts leaves1. The bird makes them fall to the ground, and turns them over so that the paler insides contrast with the earth below.

In this way the bird constructs a stage for itself. Directly above, on a creeper or branch, while fluffing its feathers, it sings a complex song made up from its own notes and, at intervals, imitations of other birds. It is a complete artist.

Aslak Aamot Kjærulff

 

______________________

1 Benjamin Bratton, The Stack

Lin May Saeed. Dach der Welt / The Liberation of Animals from their Cages X, 2010

Sculpture, styrofoam, acrylic paint, polyester wool. 100 x 140 x 38 cm

How shall the sea be referred to, 2016. Installation View

How shall the sea be referred to, 2016. Installation View

How shall the sea be referred to, 2016. Installation View

How shall the sea be referred to, 2016. Installation View

How shall the sea be referred to, 2016. Installation View

How shall the sea be referred to, 2016. Installation View

How shall the sea be referred to, 2016. Installation View

How shall the sea be referred to, 2016. Installation View

How shall the sea be referred to, 2016. Installation View. Photography Jan Sondergaard

How shall the sea be referred to, 2016. Installation View

O. 2016 Photogravure. 34 x 24cm

Untitled. 2016. Photogravure . 50 x 34cm

Untitled. 2016. Photogravure . 50 x 34cm

Blind/Compass. 2016. Reinforced PVC, rope, water, laserdisc, neodymium magnets. 355 x 200cm (detail)

Blind/Compass. 2016. Reinforced PVC, rope, water, laserdisc, neodymium magnets. 355 x 200cm (detail)

Blind/Compass. 2016. Reinforced PVC, rope, water, laserdisc, neodymium magnets. 355 x 200cm

Blind/Compass. 2016. Reinforced PVC, rope, water, laserdisc, neodymium magnets. 300 x 200cm

Skin. 2016. Photogravure . 34 x 24 cm. Ed. 1 + 1AP

Parable. 2016. Steel. 150 x 150 x 30cm

Parable. 2016. Steel. 150 x 150 x 30cm

Jankel Alter

Princess

30 September  - 12 November

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Wednesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

join our mailing list

info@biancadalessandro.com

Princess, 2016. Installation View

Princess, 2016. Installation View

Naked Lunch. 2014-2016. Oil on canvas. 186,7 x 135,3 cm

Princess, 2016. Installation View

Die Maskierte. 2016. Oil on canvas. 105,4 x 66 cm

Princess, 2016. Installation View

Tom, 2016. Oil on canvas. 121 x 89 cm

Princess, 2016. Installation View

Princess, 2016. Installation View

Outsider. 2014-2015. Oil on canvas. 135,9 x 71,8 cm

Princess, 2016. Installation View

Princess, 2016. Installation View

Galut. 2016. Oil on canvas. 238,8 x 133,4 cm

Princess, 2016. Installation View

Princess, 2016. Installation View

Princess, 2016. Installation View

Princess, 2016. Installation View

Safar, 2016. Oil on canvas .127 x 52 cm

Blaue Pille. 2015-2016. Oil on canvas. 134,6 x 88,9 cm

Princess, 2016. Installation View. Photography Jan Sondergaard

Rikard Thambert

Rebirth


16 December 2016 - 28 January 2017

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Wednesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

join our mailing list

info@biancadalessandro.com

Rebirth, 2016/17. Installation View. Photo Jan Sondergaard

Planet Sunday, 2016. Plaster, steel, granit. 191 x 63 x 59 cm 

Rebirth 2016/17. Installation View

Rebirth 2016/17. Installation View

Rebirth 2016/17. Installation View

Rebirth 2016/17. Installation View

Rebirth 2016/17. Installation View

Rebirth 2016/17. Installation View

Rebirth 2016/17. Installation View

Girl, 2016. Plaster. 50 x 50 x 12 cm

Girl, 2016. Plaster. 50 x 50 x 12 cm

Squirrel Moon, 2016. Plaster. 21 x 6 x 24 cm

Forest Friend, 2016. Plaster, steel, wood, fabric. 181 x 105 x 133 cm

Rebirth 2016/17. Installation View

Rebirth, 2016. Plaster, steel, wood, acrylic paint. 139 x 62 x 41 cm

Forest Friend, 2016. Plaster, steel, wood, fabric. 181 x 105 x 133 cm (detail)

Forest Friend, 2016. Plaster, steel, wood, fabric. 181 x 105 x 133 cm (detail)

Dana Lok, Laure Prouvost, Mia Goyette


Opening Friday 2 June at 5 - 8 pm

DANA LOK. Cue, 2016 Oil on canvas 38 x 45 cm

The show ends Saturday 8 July

Opening hours Tuesday - Friday 12 noon - 5 pm, Saturday 12 noon - 3 pm

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Wednesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

join our mailing list

info@biancadalessandro.com

Amitai Romm

LISTE – Art Fair Basel

Burgweg 15, 4058 Basel, Switzerland


13 - 18 June, 2017

Preview Monday 12 June, 2017

By personal invitation only

Frederiksholms Kanal 28A  1220 Copenhagen K  +45 22994301  info@biancadalessandro.com

Gallery hours  Wednesday - Friday 12 noon - 6 pm  Saturday 12 noon – 3 pm

join our mailing list

info@biancadalessandro.com