STEINPRENT, Tórshavn, The Faroe Islands
March 30 – May 4, 2019
OPENING: Saturday march 30 15.00
This is the first solo show by Danish artist Julie Sass in The Faroe Islands, celebrating 6 years of her collaboration with STEINPRENT on various projects, including the artist books: Volume Rhythm Matter dialogues (2017) and Lemon Mood (2018).
For this show, Sass has created a body of new works: very large-scale litho print, heliographs, an artist book, drawings, paintings, a large-scale sewn work and a window installation with neon lights.
The gallery space will be slightly altered for the show; new walls are constructed to make the angles in the space appear somewhat irregular. Attention to the space is called on via works of monumental scale mixed with intensely detailed and evocative drawings. Another focal point of the show is the experimental nature and possibilities that the large-scale lithographs present.
When looking closer at the multiple layers in the paintings, things add up as an invitation into a semi-transparent space with forms that are loosely contoured, or forms as silhouettes, suggesting their impermanence. Things are stacked, waiting to be rebuild, in a suggestive environment that has a dimmed tone of light; here elements are both emerging and disappearing.
The artist book serves as a meta-layer of painting with its overlaps and references to lived life, which cannot be woven into a single painting. This is one of Sass’ traits as an artist. She continuously unfolds and adds to painting, pulling it out of place and re-assembling it again, and again.
The artist book features 16 heliographs and 8 short poetic and fictional texts. The images are divided in ‘chapters’ in the beginning of the book and the texts are placed at the end, like a final chapter. This format is in a sense a continuation of the tone from Lemon Mood, but here the text in itself is almost abstract as there are no names of places, so the person(s) is moving continuously into the unknown. A mix of the sexes is insinuated; he/she shifts into a subtle We, people, and general observations are almost commonplace with overlaps in textures and senses. The mind is both directed towards the landscape, a body moving, and intimate spaces that most people live with the experience of.
The images in the book are a free flow with a few divisions or shifts and have their own pace, giving attention to their own rhythm, texture, color; are in a way just by themselves images in their own right.
Excerpt from the artist book:
There is a small creek nearby. No pain from the height, no dizziness. No return either. The immense mountains are always in the mind as a black fog, a memory. The latter is repeated, retrieved, wanted.
The bodies are passing silently through landscapes, keeping the sense of the stones they touch in their hands. Then, meeting women in colorful clothing, finally.
Meeting the lost gold, glittering gold, wisdom gold.
PETER CALLESEN: TIME IS RUNNING, 2019. ACID-FREE A4 150 GSM PAPER, GLUE, COLOUR PENCIL, ACRYLIC PAINT AND OAK FRAME WITH UV GLASS 53 X 40 X 7 CM
Steinprent 22.2-2019 - 23.3-2019
For the exhibition, Sinking Boats, Danish artist Peter Callesen created two works, Time is Running and Falling Cloud, which are inspired by a beloved Faroese hymn from 1897 that the priest, politician and poet, Fríðrik Petersen (1853-1917) wrote depicting the human existence like being in a boat without any oars drifting towards the big waterfall. Thus the poet describes the fundamental conditions of life, that we live our lives knowing that it will be over one day.
The Romantic subject matter of the elements of nature and the human within it is a recurrent theme in Peter Callesens work. We see it in the work Eismeer with it´s direct references in the title to the renowned painting by Caspar David Friedrich of a ship being wrecked by giant floes of ice. Peter Callesen is very interested in water as an element since it´s soft and life giving and yet can be hard and destructive.
The subject of the boat is recurrent in the three new lithographic pictures which Peter Callesen created in the graphic workshop, Steinprent for the exhibition; a melting boat, a sinking boat and a ship wreck. In all of the works at the exhibition death seems to get the final word, but this does not happen without a struggle which seems both poetic and humorous. There is an interesting contrast between the somewhat heavy memento mori existentialist theme and the material lightness of the works. They are all made of paper, but rather than working on the paper, Callesen works with paper as a sculpting material. The works show a main interest is the meeting between two and three dimensionality where the artist uses an ordinary A4 size white paper as a starting point for works which seem to transcend their material in such a suprising and wonderful way.
Steinprent, Skálatrøð 16 Tórshavn Faroe Islands. The gallery is open from 9-17.
Friday 31.august from 16-18 pm an exhibiton by Finnish artist, Anna Seppälä opens in Steinprent. The artist has participated in group shows in Faroe Islands several times - first time in the St.Olaf Exhibition in Listaskálin some twenty years ago, but this is her first solo show in the Faroe Islands. Her motives derive both from a realistic and a mythical universe in collages on painted surfaces. These pictures are full of flowers, they are decorative and funny and at the same time a bit gloomy with a hint of the Memento Mori theme in paintings of the baroque era, where the flowers, fruit and beautiful objects intended to remind people of the inevitability of death. But the drawings, lithographic prints and collages by Anna Seppälä are all full life and a decisive believe in love as a forceful and fundamental power. The artist will be present at the opening.
The exhibition Ape Rules, O.K.! is dominated by a number of monumental monkeys’ heads that surround and stare down the visitors from central points in the exhibition space. Although the pieces are thematically related to Carstensen’s large exhibition projects over the last several years - Becoming Animal in Den Frie Exhibition Building and The Museum for Religious Art in Lemvig, as well as Dyregørelser at Galleri Tom Christensen - the exhibition at Steinprent is also curated with some new revelations in mind. A recent report on Faroese television concluded that a mere 21% of the Faroese population believes in the Theory of Evolution, which states the common ancestry of humans and apes. A shocking 52% of the population, on the other hand, proclaimed a belief in Creationism, i.e. the belief that humans are created by God or some sort of higher power.
The exhibition contains several references to the many years’ collaboration between Claus Carstensen and the Faroese lithographic workshop, Steinprent. This is apparent in some of the collages, which consist paintings onto which lithographic fragments have been applied - Fragments of lithographic works that have been created at the workshop. Furthermore, there are three pieces that, in a manner of speaking, return to their place of origin, in that they consist of elements of the lithographic process. Namely the green rubber mats from the lithographic presses, on which one can still make out three of Carstensen’s lithographic subjects.
The collaboration between Claus Carstensen and Steinprent, which has lasted for sixteen years so far, is weighty and significant. Also in relation to Faroese art and art history. So far, it has resulted in numerous shows and approximately one hundred lithographic works, as well as several book releases. For example: Dét, hvorom man hverken kan tale ellar tie and Lille Dæmonologi with essays by Søren Ulrik Thomsen and Carstensen’s heliographic prints.
In terms of his subject matter, which frequently orbits interhuman brutalisation, Carstensen can not be despribed as someone afraid of conflict. Whether it is the genocide perpetrated by the Khmer Rouge, the nazis or so-called common human behavior. The primary subject matter has been animals the last couple of times that Carstensen has been working at Steinprent. In 2015, in collaboration with Jan Andersson, Carstensen created the monumental Lithographic piece, Hvalp (Puppy). A piece depicting an aggresive barking German Shepherd, with a snippet of text, phrased as a death threat, taken from a hate mail sent to the Danish poet Yahya Hassan. It reads (loosely translated from Danish): “Fucking dog, you slut. You are going to die, puppy. You filthy whore. I really want to kill you. Fucking cut you in to tiny little pieces, you bum. I hope I will see you some day and I promise you Hell.”
The term Becoming Animal is the starting point for Carstensen’s subject matter. It is a phrase that he describes as a two-sided anthropological plane, on which both sides are interconnected. It delineates graduations of notions, such as: culture, conscientious occurences, self-awareness and human characteristics. The idea that humans are mindful of the fact that we do not live on an open, endless terrain, but see ourselves losing territory. Whereas animals see an unenclosed, unlimited and timeless landscape, where there is no ‘before’ or ‘after’ and therefore neither any consciousness of death. From Carstensen’s perspective, there is an agressive/active and a passive model of ‘Becoming Animal’. The passive side ‘Becoming Animal’ relates to an enormous longing for eternity. The active side ‘Creating Animal’ is about turning ‘the others’ into animals, with an awareness of an hierarchical elevation in relation to those that one degrades.
The spectator is taken aback by the apes’ glances and their abiguous nature. The open jaws with the agressive presentation of teeth versus the monkeys’ sorrowful expression indicates a form of thoughtfulness. ‘The Eyes Are the Windows to the Soul’ reflects on the significant symbolism that we impart on the eyes - In many ways, the notion of the ‘human particular’ lies in the glance. The ape that the Faroese society is now faced with became embarrassingly obvious in Heini í Skorini’s TV-documentary Gud signi Føroyar (God Bless the Faroe Islands), wherein the religious persuasions of the Faroese people was mapped out. Here it became clear, that the Faroe Islands are statistically more similar to some fundamentalist regimes in the world, in comparison to some of the other usual commonalities with Northern Europe.
Summer is a very busy time for the people who work in Steinprent, the lithographic workshop in Tórshavn. But somehow in between the many visitors, they seem to manage to get a lot of work done. Downstairs the exhibition by Randi Samsonsen is still on. Upstairs the Danish artist, Peter Callesen has been working at the workshop and his three lithographic works will be part of his exhibition in Steinprent in august.
The Faroese artist, Hansina Iversens works in the non representational field, she has finished a series of lithographic works this last week with fascinating material effects. They contain several layers of colour like the piece at the top of this page, which seems to have a burning sensation which is juxtaposed by the cool, strange transparent silver grey form on top. It has the shape and appearance of a spooky face, but it is in fact just an organic formation of colour.
Í gjár læt framsýningin hjá Randi Samsonsen In Search of Lost Colours upp í Steinprenti. Har vóru nógv fólk og lagið var gott í nýrenoveraða og kekkaða framsýningarhølinum, sum var ein flottur og væl hóskandi karmur kring tey bundnu, heklaðu, seymaðu og samansettu listaverkini. Framsýningin verður hangandi til 23.juni. Farið í Steinprenti og fáið tykkum eina góða, fjølbroytta og øðrvísi listauppliving.
In Search of Lost Colours
The opening of Randi Samsonsen’s exhibition ‘In Search of Lost Colours’ takes place at Steinprent (Tórshavn, Faroe Islands) on Saturday the 12th of May at 3pm.
Randi Samsonsen’s main medium is textile. Knitted, crocheted, sewn and stuffed artworks. Lithographic works have also been created for the exhibition.
The exhibition is conceptual. Both the lithographic and textile works have the same starting-point, which the artist has referred to as colour memories from the different homes that she grew up in and visited as a child. From childhood, we are blessed with an outstanding ability to sense our surroundings. With our untarnished senses, we see, smell, hear and feel the rooms surrounding us and the things in them so thoroughly, that we are able to relive these sensory recollections many years later.
Colours play a vital role in Randi Samsonsen’s memories, which is the reason for her empirical take on colour memories.
Through studies of family photo albums she has been making notes and colour charts, which she has been using for both her textile and graphic works. All of the pieces in the exhibition are fundamentally non-representational. Randi Samsonsen’s colour memories manifest themselves in organic shapes, which she places lying, standing or hanging in the space. Some pieces have very natural characteristics, reminiscent of coccons, hanging plant stems or bladder wracks. But the human body also plays a crucial role in these works, from an inspirational, as well as a comprehensive standpoint.
Randi Samsonsen’s textile work relates to the human body, with anthropomorphous shapes evocative of body parts, but this is also art that is to be understood in a complete physical, tactile and sensory manner. Several works are soft, whilst others possess a more rough exterior. The processes used for the creation of these pieces are a wide variety of needlework. The same, which for centuries, have been used to produce common everyday items. But Randi Samsonsen’s work forces a different perspective on this. Somewhere between the known and the unknown, her work surprises by making us laugh, frown and recall.
Randi Samsonsen lives and works in Tórshavn. She holds a Master of Design from the Designschool in Kolding, Denmark. She is a textile artist and also works as teacher at Glasir Tórshavn College. In 2013 she had a solo show at Nordatlantens Brygge, Copenhagen. She has curated several exhbitions at the National Gallery of the Faroe Islands, as well as taken part in a myriad of group shows in the Faroe Islands and internationally.
- Traditionsbrud, Hobro, Denmark
- IsThisKnit, Copenhagen, Denmark.
- Aguille en Feté, Paris, France
- Our Arctic Future, Berlin, Germany
Jack Kampmann was a Danish artist who became a very important figure in the development of Faroese modern art. He lived in the Faroe Islands for many years with his wife and children. He arranged art exhibitions and also he was a teacher in the first Faroese art school. Faroese artist, Ingálvur av Reyni has acknoledged Kampmann as one of his most important mentors.
The exhibition runs from 4ht of May to the 22nd of July 2018
On the 4th of May the exhibition "Jack Kampmann - A Modernist on the Faroe Islands" opens at the National Gallery of the Faroe Islands.
Nils Ohrt, director, bids welcome. Hanna Kampmann, daughter of the artist, opens the exhibition.
Lea and Janus Kampmann play a couple of songs.
Everyone is welcome to the opening of the exhibition. The museum is open every day of the week from 11 a.m. to 5 p.m. Also on holidays
Forlagið Eksil has released the second poetry collection "Korallbruni", by poet Anna Malan Jógvansdóttir. Her first collection "Undirfloyma" was published in 2015, and in 2016 she was awarded the Culture Prize for Young Artists by the Faroese Cultural Ministry.
Anna Malan Jógvansdóttir is 23 years old and is currently a student at the Literature College "Forfatterskolen" in Copenhagen. Anna Malan has illustrated both collections herself.
Anna Malan says that "Korallbruni" is an attempt to write herself out of human nature and into nature and let nature take control. Anna Malan is inspired by the posthuman and nature-philosophic trend which currently is much in fashion on the Nordic art and literature scene. With this poetry collection Anna Malan wants to remind us that we need to reconsider our place on Earth, and that earthly matter is not just dead and idle but a part of everything, not least ourselves.