Hans Alf Gallery
Tuesday, 10 August 2021 16:08

Erik A. Frandsen: Duerne fra Rom

Erik A. Frandsen: Duerne fra Rom (The Pigeons of Rome)

13.08.2021 - 18.09.2021

 

Friday August 13, Hans Alf Gallery celebrates the opening of Erik Frandsen's new exhibition Duerne fra Rom (The Pigeons of Rome)”. 

 

“The Pigeons of Rome” is a sequel to Erik A. Franden’s critically acclaimed – and utterly unplanned – “Quarantine Images” from 2020. While the latter materialized as a spontaneous reaction to the sense of crisis and existential uncertainty brought on by the corona pandemic, Franden's new body of works delves deeper into what are best described as mediations on the current situation of society. It’s the work of an artist, who has had time to digest and step away from his easel and is now ready to once again put a pencil to the canvas and try to channel his impressions.

According to Frandsen, the exhibition is about a fundamental disruption of the old order - something, which he believes the corona pandemic has accelerated and helped expose. Basically, the world as we knew it doesn't exist anymore, and the societies and structures that we used to think of as indestructible, have proven far more fragile than we ever imagined. Everything is dissolving – both around us and in Frandsen’s paintings.

 

While in “Quarantine Images”, the artist had reached a point, where he didn’t ‘just’ paint flowers or rooms with flowers in them but now also placed historical artefacts and artworks in these very rooms - a beautiful, but also quite private and intellectual exercise – in “The Pigeons of Rome”, reality has started to invade Frandsen's motives like mighty bodies of water or Southern European mudslides. Or like pushy, intrusive pigeons.

 

While life was lived from a distance, and Frandsen watched as his unfinished greenhouse was being invaded by pigeons, to Frandsen, this animal gradually became the very symbol of an existential conflict between illness and anxiety on one hand, and freedom and hope on the other. Pigeons invade our cities and defecate all over our infrastructure. They carry all sorts of illnesses and eat everything in their way. But they are also brilliant at adapting to new circumstances. They are urbanized, yet free. No matter what metropolitan city you travel to, you’ll be sure to find pigeons on its streets and squares. Maybe the pigeon is not just a representation of all things disgusting and annoying, but also a symbol of hope: An animal - unlike humans - who will always survive and adapt to new circumstances.

 

In the proces of creating “The Pigeons of Rome”, Frandsen also revisited artworks from his earlier production, and here, especially “Family” from the late 90s - a series of enamel paintings on aluminium, where the painter’s young family is depicted in mundane situations - had taken on a completely new meaning. After having studied the series for a period of time, Frandsen decided to once and for all transform the works. With the help of a demolition yard, the artist transformed the series into five massive cubes of compressed aluminium. On an extremely tangible level, these works demonstrate the disruption and transformation of both private and social structures. The sculptures, as well as a video installation documenting the process, will also be part of the exhibition.

 

 

 

Published in Duerne fra Rom
Wednesday, 30 June 2021 10:44

The Summer Show

The Summer Show

02.07.2021 - 31.07.2021

 

As a tribute to all the brilliant artists that Hans Alf Gallery represents, we have put together a special summer exhibition showcasing works by each of the 18 artists currently on our roster.

 

During the month of July, Hans Alf Gallery will be open Fridays, 12-17, and Saturdays, 11-16, only.

 

 

 

Exhibition view:

 

 

 

Works in the exhibition:

 

 

Published in The Summer Show
Tuesday, 19 January 2021 12:41

The Great Big Winter Show

The Great Big Winter Show

22.01.2021 - 27.02.2021

 

Hans Alf Gallery kicks off the 2021 season with a bang, as 11 of it's represented artists showcase new works in what has been appropriately dubbed "The Great Big Winter Show". The participating artists are: Armin Boehm, Erik A. Frandsen, Christian Lemmerz, Mie Olise Kjærgaard, Anders SCRMN Meisner, Louise Hindsgavl, Fredrik Raddum, Henrik Saxgren, Magnus Fisker, Anders Brinch and Anne Torpe.

 

Due to the current restrictions on physical commerce, The Great Big Winter Show will initially only be open online. Come February, we hope to be able to once again welcome visitors in the gallery.

 

 

 

Exhibition view:

 

 

Erik A. Frandsen: Karantænebilleder (Quarantine Images)

01.05.2020 - 23.05.2020

 

We are pleased to announce that on May 1st & 2nd, Hans Alf Gallery will return to somewhat normal operations, as we celebrate the opening of "Karantænebilleder (Quarantine Images)".

 

"Karantænebilleder" is an unscheduled, spontaneous effort from one of Denmark's most acclaimed painters, Erik A. Frandsen. Painted in just over ten weeks, the images tell the story of the self-exiled artist having only his immediate surroundings to reflect upon.

 

The show features a brand-new series of works by one of Denmark's most acclaimed painters. From the self-prescribed quarantine of his Falster studio, Frandsen has spent the last two months observing the madness around him and painting at an almost frantic pace. "Karantænebilleder" is not as much about Corona virus and general societal crisis, as it is an artist's personal account of being confined to his studio, truly alone with his colours and canvasses. This process has yielded a unique series of paintings that are distinctly Frandsen and at the same time quite different from anything we've ever seen him do before. "Karantænebilleder" is a joyous tour de force in the mundanity of home life - especially in these joyless times.

 

 

Take a 3D-tour of the show with Artland:

 

 

Erik A. Frandsen: Pilgrimage for an Armchair Explorer

11.09.15 - 17.10.15

 

In his first solo exhibition with Hans Alf Gallery, Erik A. Frandsen exhibits a revamped version of his critically acclaimed museum show, Pilgrimage for an Armchair Explorer, which was first shown at Horsens Kunstmuseum.

 

 

Erik A. Frandsen & Anders Brinch: Other Rooms, Louder Noises

16.09.16 - 15.10.16

 

In the duo exhibition, ”Other Rooms, Louder Noises”, Erik A. Frandsen and Anders Brinch - two contemporary, figurative painters with very different approaches to both style, technique and subject matter - are welded together in a seemingly incongruous collaboration.

 

Anders Brinch explores the dystopian aspects of life through a highly symbolic language that reveals a disturbing yet fascinating outlook on nature with man and animal as the central and at times mythical creatures.

 

In contrast to the fable-like nowhere land of Brinch’s tropicalism, Erik A. Frandsen embraces the mundane and familiar, as floral compositions and everyday-objects from the living room are distorted, emphasized, hidden or recolored to create a new meaning, a new figurative dimension, where depictions are representations – ideas of objects – rather than the actual objects themselves.

 

In “Other Rooms, Louder Noises”, each artists’ defining attributes are highlighted in the presence of the other, and the individual works take on roles as soft-glowing counterpoints in an intimate painter’s tête-à-tête.

 

The works in the “Other Rooms, Louder Noises” are taken from two separate museum exhibitions: “Diamond Souls” by Anders Brinch, which was on display at KIKshh in Roskilde in May 2016; and “The Siege Of…” by Erik A. Frandsen, which ran at Himmerlands Kunstmuseum from late April until early September 2016 in Aars.

 

 

Wednesday, 26 September 2018 15:56

Erik A. Frandsen: Flower Angles

Erik A. Frandsen: Flower Angles

18.08.17 - 07.10.17

 

Few artists move so effortlessly between materials and genres as Erik A. Frandsen. Ever since the “tray paintings” and his iconic “Home”, which was selected for Documenta IX in 1992 and subsequently purchased by the Danish National Museum of Art, SMK, hardly any material has been left untried: polished aluminium, neon, scagliola, marble mosaic, crocheting, glass, ceramics… A glance down the resumé of Erik A. Frandsen reveals unparalleled curiosity and daring that seems to forbid the boy from Randers to rest on his laurels.

 

Even so, it’s one thing in particular that most people associate with the prolific and versatile painter: His flowers. In fact, they’ve become so iconic to the painter’s oeuvre that they’ve been canonized as such; Frandsen’s flowers.

 

And rightly so. Because – in the most exemplary of fashions - Erik A. Frandsen has managed to reinvigorate the otherwise rather hackneyed concept of the still life. There is always a twist; an intangible unease in his compositions. Perhaps the beautiful roses have been placed in a urine bottle, or maybe the irises are starting to wither. Perhaps it’s actually weeds we’re seeing.

 

In New Works / Flower Angles, Erik A. Frandsen picks up, where he left off in ”The Siege of” from The Himmerland Museum of Art in 2016. Once again, Frandsen takes the viewer deep into the innermost sanctum, when flower compositions from his home in Copenhagen’s rowdy Nørrebro neighborhood or his refuge on the island of Falster are dissected and distorted through minute shifts in perspective and angle of attack.

 

And it is the latter exploration of the importance of angle to the motif that has given birth to the second title of the show: Flower Angles. It is about observing the same piece of reality from different angles; an almost obsessive exercise. And in turn this exercise results in a surprising gloominess you wouldn’t normally expect in the face of flowers. The foreground quivers, the home behind it expands and retracts. It is the idea of flowers, the notion of a home. And perhaps that uneasiness stems from exactly this: We recognize everything, but we’re still not entirely sure, what it is we’re seeing. The prosaic and well-known becomes mystical and poetic, once it is lifted out of its context and re-established in a new matter.

 

It is the unwavering exploration of this dialectic, which renders Frandsen’s oeuvre so sublime.

 

New Works / Flower Angles runs in parallel with the much-anticipated Haiti, which opens August 25 at Brandts Museum in Odense.

 

 

Published in Flower Angles
Tuesday, 03 March 2015 13:52

Erik A. Frandsen

ERIK A. FRANDSEN, Denmark

Erik A. Frandsen (b. 1957, Randers) is a selftaught artist.

Having chosen an unconventional path, dispensing of the traditional academic training, Frandsen takes his inspiration from all areas of life, as well as from art history and the artisans he has encountered through his extensive studies. In the years 1976-1979 he went to Greece to study ceramics, spent time in Carrara, Italy training as a sculptor, and traveled to Paris, France where he worked with graphics.

Erik A. Frandsen’s oeuvre is characterized by a recycling of motives and the application of these to various mediums, with an altogether different expression as the end result in order to illuminate that, which is not visible at first glance.

A frequent motif by Erik A. Frandsen is the flower composition, although they are not flower motifs in the traditional sense, but rather images of interiors in which the flowers are centrally placed. Frandsen’s flowers of choice are weeds such as thistles and dandelions placed in urine bottles in kitsch vases. In an art historical context the flower motif has sustained as a symbol of beauty, sensuality, life, death, and vanity. Erik A. Frandsen has earlier applied the flower motif as a symbol in his artistic exploration of intimacy, relationships, and home life as the chosen themes of his paintings.

Erik A. Frandsen has exhibited widely abroad as well as in Denmark – e.g. ARoS, New Carlsberg Glyptotek, Arken, Statens Museum for Kunst and Louisiana Museum of Modern Art.

 

CV 

 

 

 

 

Available Works:

 

 

Paintings

 

 

 

 

Drawings and watercolors

 

 

 

 

Mosaics and steelworks

 

 

 

  

 

Selected Works:

 

Published in Erik A. Frandsen

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