Hans Alf Gallery
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Thursday, 14 February 2019 13:09

David Minařík: Now / No Nostalgia

David Minařík: Now / No Nostalgia

18.01.19 - 16.02.2019


Hans Alf Gallery kicks off 2019 with a fresh and exciting new show that insists on inhabiting the vacuum between methodical awareness and unanchored immediacy.


David Minařík graduated from the Royal Danish Academy of Fine Arts in 2017. In December of that same year, he had a small presentation in the Hans Alf Gallery project room that ran parallel to Christian Lemmerz' "The Night is Large", but "Now / No Nostalgia" will be his first proper solo in the city, where he was trained.


In an age of seeming historic myopia exemplified in what has been dubbed zombie formalism (a phrase coined by artist and critic Walter Robinson), David Minařík has 20-20 vision. Instead of blindly following suit and treating his paintings, as if they were merely vessels of aesthetic whims or conceptual statements, Minařík's work harks back to a different time; an unfashionable philosophy of sensations, emotions and unmediated impressions as the primary propulsion for painterly abstraction. His icons aren't Basquiat, Stella, Schnabel or Gerhard Richter, but rather Joan Mitchell, de Kooning (both), Kandinsky and Jorn.


David Minařík is something as rare these days as a card-carrying abstract expressionist, who actually understands, what that moniker entails. His paintings - wildly gestural, rich with colour and often deeply pastose - are the results of an intuitive process, where the painter, like his heroes before him, attempts to translate the moment - visual impressions, smells, taste, touch, emotions, interactions or melodies - into an unwavering, visual representation of a given now, which leaves the viewer with a distinct feeling of immediacy.


In "Now / No Nostalgia", David Minařík tries to encompass the effervescence of the moment, while simultaneously evoking the uncertainty of the next. In his own words, tomorrow, when planning ahead, seems to us "to hold specific shapes; a certain dynamic and structure; an undeniable rhythm and perspective" - when in fact, we have no idea, what is going to happen next. Man's ability to imagine the future even though it doesn't exist, is what Minařík utilizes when creating a painting. His abstractions on the nature of the now, are decipherable exactly because we as human beings are only capable of comprehending the future in abstract terms. And thus, in a somewhat self-referential fashion, the past summons the future to understand the present.



Jørgen Haugen Sørensen: The Innocent Guilty

30.11.18 - 12.01.2019

“I see myself as someone, who’s on the outside looking in, devoid of any beliefs in anything. Our time is a time of ceaseless movement; a time of endless abuse and crime that we’re forced to witness. “The Innocent Guilty” is a metaphor for the strange situation in which we find ourselves: Financial abundance that leads to climate change on one side, and endless wars that force people to abandon their lives an go on the run on the other. We are all involuntary participants in this game, and it riddles us with a chronic sense of guilt. The impetus of our progress, that certain force which has been our propulsion, has also left us behind, shuffling around aimlessly in groups of “innocent guilty”.”


In a time, where the visual arts are often accused of being both toothless, politically correct and timid, Jørgen Haugen Sørensen is an unwavering beacon of pessimism. Few other Danish artists have insisted as fervently on opposing the power elite, notions of good taste and the bourgeoisie – even if at times it would have undoubtedly been wiser to hold his peace.


For Haugen Sørensen it is a core duty, an intrinsic condition of being an artist, that you call out injustice and defend the defenceless. What he experiences around him, the sickly tendencies he believes to see, simply must be disseminated and communicated in the materials and with the language, which he masters. And for this reason alone, through seven decades now, the legendary sculptor has chipped, hammered, knead, shaped, pulled, stretched and drawn his way out of his own existential reflections and into both Danish art history and our collective conscience.


This new exhibition, which is the sculptor’s fourth with Hans Alf Gallery – probably some kind of record for the short-tempered working-class kid – is no exception to the rule that Haugen Sørensen never shies away from a fight. The works – a combination of imposing, black sculptures and gauzy white ceramic reliefs – with titles such as “The Unneeded”, “Random Justice” and “Why”, tell the tale of a world that is falling apart; a return to the uncivilized, naked, original man, who in all his uncomfortable immediacy mirrors his inner wildness in his exterior.


As Haugen Sørensen himself puts it, he has once again “discovered a new way of modelling”. And this technique, in which the traces of his fingers are visible everywhere, and the genesis itself is so apparent, is somehow Haugen Sørensen’s own way of mobilizing his inner savage; the animal within. The works, which already seek to voice a certain brutality, also bear the remnants of the artistic process in a peculiar, temporal manner that we rarely see in a sculpture, as it almost always takes the form of a movement frozen in time. Because of this additional dimension, Haugen Sørensen’s new works become dialectic: The artist shapes the material in reference to the world around him, but at the same time the artwork points back to the artist, his physique, his movements and his existence. Object and creator somehow become inseparable. And for an artist, this is probably the finest thing, you can achieve.


“The Innocent Guilty” marks Jørgen Haugen Sørensen’s triumphant return to Denmark, following the enormous retrospective in his hometown of Pietrasanta in 2017, in which both the museum, the local church, the square and several smaller piazzas were used, celebrating the sculptor’s almost 50 years in the Tuscan costal town. In conjunction with the celebrations, The New Carlsberg Foundation generously donated the sculpture “La Folla / The Crowd” to Pietrasanta, where it has now found a permanent spot on the Piazza Crispi a few hundred metres from the city centre.





Thursday, 10 January 2019 15:48

Morten B. Masri: Leaving Paintings

Anders SCRMN Meisner: Modern Love

30.11.18 - 21.12.2018


Morten B. Masri (b. 1977) is a Danish painter and sculptor, who lives and works in Copenhagen. He graduated from the Royal Danish Academy of Fine Arts in 2014.


According to Masri, his works are concerned with “potential experiences”: That which is not, but might come to be. His paintings, often monumental in both scale and subject, seek a liminal position between Man and the world; between belief and knowledge; between cognition and fact.


Masri’s universe utilizes seemingly incompatible historical elements to a great extent and without shame: Ancient Greek statues are placed carelessly in the wide-bellied wooden boats of the Danish Skagen painters, as if they were all variations on “Nike of Samothrace”, familiar scenes from the most iconic paintings of the Romantic era are emulated in the foreground, and behind his towering sculptures, the skillful painter pays tribute to the main protagonists of the Color Field movement. The works bear titles such as “The Terminal Beach” – a J.G. Ballard reference – and “Heavenly Widened Roses” – a line from Lou Reed’s “Sweet Jane” – and quotes in the paintings themselves paraphrase everything from Brian Eno to Ekelöf.


Morten B. Masri revels in the fragmented and poetic; that, which was once dubbed postmodernism, but which ought more fittingly be labeled bricolage. The point of this atomization, de-hierarchization and juxtaposition of seemingly contradictory elements, is to force the viewer to see anew and thereby hopefully perceive the world differently. The individual components aren’t necessarily important to the painter; rather, they act as exemplary forms that help structure the composition of the painting. It is about provoking curiosity and facilitating contemplation through equal parts recognition and confusion. And of course, as we all know, the devil is in the detail.


Morten B. Masri's work has been exhibited in the Dalian Art Museum in China; at Viborg Kunsthal, Denmark; with Copenhagen's Kunsthal Charlottenborg and at Volta, Basel. In 2014 he had his first major solo with the now defunct LARM gallery.






Monday, 26 November 2018 11:31

Next Exhibition


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Tuesday, 20 November 2018 13:52

Anders SCRMN Meisner: Modern Love

Anders SCRMN Meisner: Modern Love

27.10.18 - 24.11.2018

Everyone who has followed Anders SCRMN Meisner, since his first exhibiton with Hans Alf Gallery back in 2012, knows that his eccentric universe has been driven by a continuous investigation of the paper as a medium. In the beginning, SCRMN sketched his works on cut-out pages from obscure encyclopedias that he found in the back of old bookshops in Amsterdam. Later on, he started processing them into idiosyncratic collages on the history of Western civilization with detours into mysticism and the deeply personal.


In his exhibitions “The World Was Weird” and especially “Under Distant Palm Trees” his yellowing sheets were glued together to form giant “canvases” that SCRMN painted with concise and saturated gouache, akin to Matisse and more contemporary artists like Geoff Mcfetridge and fellow Dane Søren Behncke. In that sense, his trajectory towards the canvas has been unmistakable.


In MODERN LOVE, SCRMN takes the final leap from paper to canvas. More than two years has gone into the making of what has turned out to be 15 extremely personal, poetic and most of all eclectic works. And although art lovers and consumers alike love to draw parallels, nothing really looks or feels like SCRMN’s visual language. If he is an epigone, the model for his style is found solely in a distant parallel universe, where people are portrayed as naivistic silhouettes, the world is two-dimensional, all colors are egg-yolk-deep, and love still exists in its purest, most esoteric incarnation.


With his newest collection of works, SCRMN takes on the ungrateful task of portraying love from a female perspective. According to the artist himself, it is not a question of feeling the same as a woman or to pretend to understand her, but rather to meticulously and carefully describe what he sees; to approach the topic without preconceptions as a scientist relating to his material without prejudice. The intention is to capture a special strength, tenderness and complexity, which SCRMN believes to be more cultivated with the opposite sex - but, which he also acknowledges, may only exist in the eyes of the male painter.


Art history is rife with women posing passively without interacting with their surroundings; women who seem to be hiding very little behind a jaded gaze. In Modern Love, SCRMN seeks to remove himself from this by insisting to portray strong, confident women whose emotional lives are rich but also inaccessible to him, which gives the works an almost voyeuristic character because the subjects themselves have a tangible reluctance towards being portrayed: They live their own lives, have their own agendas and aren’t easily solicited by the universe of the viewer. The women in SCRMN’s paintings are peripheral acquaintances, people the artist has met in passing or simply strangers.


Modern Love is hence also the story of a man, looking at a woman, looking at a man (or another woman or looking away). And because of this, SCRMN is aware of the inherent impossibility in his original project: Best case scenario is, he catches a splinter of something real / Worst case, he sees nothing but his own reflection.


Nonetheless, the resulting show is an extremely interesting testimony to love and longing in the 21st Century. Rewriting the old proverb, one could say that “the operation failed but the patient survived”. For the works in MODERN LOVE are alive, and with this exhibition SCRMN demonstrates that he has taken another quantum leap in an already promising career.






Friday, 09 November 2018 12:06

Morten B. Masri

Morten B.Masri, Denmark

Morten B. Masri (b. 1977) lives and works in Copenhagen, Denmark. He graduated from the Royal Danish Academy of Fine Arts in 2014.


Masri’s work is about potential experiences - that which is not, but might be. His paintings seek to embody the poetic, intuitive and silent field that exists between man and the world. As a material state of presence. While weaving together intimate personal and collective history and myth, Masri’s work revolves around universal themes such as the nature of time and memory rendered palpable through the process of paint. References and appropriations in his art are multifaceted, but he accepts tradition rather than rejecting it.


Masri himself talks of a position left open, of constant levels of insecurity and of a continued interest in the dialectic between the incomprehensible and the attempt to comprehend. According to Masri, the process of painting is about the loss of meaning – but also about its re-emergence through experience; the physical experience of the work itself. The painter moves around to keep things together; moves the paint, moves intentions, moves around the fragments of narrative and figuration on the canvas in search of “something else”. It is a continuous negotiation of a “common language” between painter and painting.


Thus, Masri’s paintings are in a perpetual state of becoming and evolving as fragmented, poetic and organic bricolages of his own experience of the world. The result is an unexpected consolidation between static constructions and vivid pictorial spaces that expresses the artist’s idiosyncratic universe, while utilizing art’s ability to provoke the viewer’s perception of the world. In this way, Masri’s paintings are meditations on composition and decomposition; on form and formlessness; on the distance between unfathomable beauty and the abyss.


By shifting between pictorial genres and depicting highly traditional motifs such as vivid sceneries and still lifes in unusual ways, Masri’s works continue to offer an intriguing complexity in their mission to capture a world within painting, a fragment of a sentiment, the transient effect of light, the essence of an atmosphere.  Or perhaps just an emotion.


Morten B. Masri's work has been exhibited in a number of acclaimed institutions: in the Dalian Art Museum in China; at Viborg Kunsthal, Denmark; with Copenhagen's Kunsthal Charlottenborg and at Volta, Basel to name a few.



Leaving Paintings, 2018:





Selected works:


Friday, 28 September 2018 12:36

Jørgen Haugen Sørensen: Domino Effects

Jørgen Haugen Sørensen: A Dark Tale in White

27.11.15 - 31.12.15


In his second solo exhibition with Hans Alf Gallery, Jørgen Haugen Sørensen, who is known mainly for his excellence in sculpture, demonstrates his impressive abilities as a draughtsman.



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.



Friday, 28 September 2018 12:15

Christian Lemmerz: Limbo

Christian Lemmerz: Limbo

09.05.15 - 30.06.15


In his first solo exhibition with Hans Alf Gallery, Christian Lemmerz demonstrates his artistic versatility and brilliance.



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.



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