Hans Alf Gallery
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Tuesday, 30 November 2021 16:00

Louise Hindsgavl: The World Ajar

Louise Hindsgavl: The World Ajar

03.12.2021 - 08.01.2021


Friday December 3rd, Hans Alf Gallery invites everyone to join the opening of the last two exhibitions of the year: Louise Hindsgavl’s “The World Ajar” in the main gallery and Anders Brinch’s “Café Malmø” in our project room.


The World Ajar: The world as a jar with its lit half open; a play on words.


When the world is ajar, something is let in, and something is released. Louise Hindsgavl’s jars let you inside (if you dare), tell you secrets from a world, we all know too well, and show you a side of humanity, we all both intuitively recognize and are appalled by.


In her new show, Louise Hindsgavl has decided to abandon porcelain for a while to devote herself to the capricious charm of stoneware. And if you’ve ever questioned the acclaimed ceramicists mastery of the clay, you won’t once you’ve seen her new works in real life. Hindsgavl’s glaze-work is encaptivating and dramatic, her jars rise from the pedestals as if they were actual sentient beings, and the artist’s familiar imagery stands out even more in this coarse material.


The jar has been a cherished ceramic object since the dawn of time – for storing and as a work of art. A rotating canvas, on which the story follows the shape of the jar, begins where it ends, and allows itself to be divided into tableaus, when the eyes embark on the circular journey. Hindsgavl’s jars are massive, heavy, and colorful, and her stories are grotesque and painful. It seems as though the raw and tactile modelling in combination with the untamed glaze helps emphasize a feeling of ferocity that has always been present in the artist’s works. We know the tension from her seemingly virginal porcelain pieces that always hide violent and perverted scenes in the details. But in her colorful stoneware, the white vail of the porcelain has been pulled away, and everything obscene, entertaining, and titillating is allowed to stand out in all its grotesque magnitude.


Still, the underlying theme is the same: What lurks beneath the surface? What disruption and downfall lies ahead? Instead of the material itself – the porcelain – being the vessel of mystery, it is now the form that triggers our curiosity. What hides beneath the tormented masks? How do we find a way into the jar? The window to the world is slightly ajar. Look in. Or look out. The choice is your.




Wednesday, 27 October 2021 10:26

Christian Lemmerz: 20/21

Christian Lemmerz: 20/21

29.10.2021 - 27.11.2021


Friday October 29, Hans Alf Gallery invites everyone to celebrate the opening of Christian Lemmerz’ new exhibition “20/21”. The show consists of a new series of paintings and 10 imposing marble sculptures that were all – as the heading implies – conceived in the shadows of the past two, turbulent years


In recent years, automated marble carving technologies have become more and more refined and precise. As a classically trained marble sculptor, one would assume that Christian Lemmerz swears off this new technology’s blatant attempt to cut out human craftsmanship from the equation. But Lemmerz is also – in addition to his classical virtues – a relentlessly curious artist, who throughout his long career has experimented with everything from meat sculptures through performance art to virtual reality. So maybe it’s no surprise, really, that this adventurous renaissance man has decided to take on 3D technology and make it his own.


For the exhibition “20/21”, Christian Lemmerz has created 10 sculptures by utilizing a very personal method, in which he 3D scans a human being or an object, then distorts the digital model and manipulates the algorithms, before he finally has a machine transform his sketch into a physical artwork in marble. One of the dogmas of the method is that Lemmerz, as a sculptor, cannot work on or touch the finished product: All manipulation must happen digitally – when the machine puts its drill to the stone, the artist’s hands may no longer interfere with the process.

Lemmerz explains the works and his new approach to sculpting:


“The sculptures are new archetypes for our digital era. Intentionally, I excluded my own hands in the sculpting process, allowing the computer to manifest itself in the carving of the works. I wanted to redefine the potential of the ancient material of marble, which carries such a long tradition throughout history. Marble is no longer a pure and timeless material. It has been contaminated with and through art history, kitsch, and myth.”


“20/21” also consists of a series of figurative paintings that in many ways act as counterpoints to the show’s sculptures. While the latter spring from meticulous planning, digital processing, and robotic intervention, the paintings have materialized through a spontaneous discharge, in which the artist’s hand has worked its way across the canvas in an uninterrupted movement, until a (subconscious) motif has finally manifested itself. Being an incorrigible polemic, Lemmerz offers his audience two seemingly incompatible approaches to producing art and insists that both have a place in his universe.


Overall, Christian Lemmerz’ new exhibition represents the artist’s own personal attempt to understand and convey his thoughts on a tumultuous and defining period in our shared history, while with his method and approach he simultaneously charters a new road for both his own career and for the visual arts as a whole.


“20/21” opens on Friday October 29 and will be on view through November 27. Everyone is welcome.





Wednesday, 22 September 2021 12:08

Anne Torpe: Linear Disruptions

Anne Torpe: Linear Disruptions

24.09.2021 - 23.10.2021


Friday September 24, Hans Alf Gallery celebrates the opening of Anne Torpe's new exhibition Linear Disruptions”. 


The title of Anne Torpe’s new show refers to the interruptions, pauses and crises that the artist herself experiences when facing the canvas. Aside from this rather personal reference, the title also alludes to the concrete linear divisions that occur on the surface of Torpe’s paintings: The places in which the motif is interrupted by a change of color – and sometimes of gesture – like small pictorial disturbances or transitions on the surface of the painting that on one hand have caused the artist grief or aggravation, but which have also served as welcomed breaks in the artistic process; minute transitions from one place on the canvas to another.


Just as these ‘linear disruptions’ are visible to the beholder like a tactile rhythm on the surface of the canvas, they also exist deep within the actual motif. Torpe’s works are predominantly occupied by characters, who are waiting for something. They are trapped in a sort of ‘time-in-between-time’, as the artist herself describes it. One does not know whether they are taking a break from the hustle-bustle of everyday life, or if they have been interrupted by something or someone outside the frame. Regardless, they all seem to be undergoing a transition from one state of mind to another. In this way, Torpe’s works can both be seen as freeze-frames of everyday life, or as depictions of actual crises, which makes for a mysterious duality in her paintings: An acknowledgement of a fundamental coexistence of familiarity and unease.


Using old photographs from glamour magazines, stills from the movies of a bygone era, or even private polaroids as her primary inspiration, Torpe evokes compositions and atmospheres that seem strange and familiar at the same time. Torpe has a unique way of fusing seemingly disparate visions into an utterly new and personal imagery.


According to the artist, the works in “Linear Disruptions” can be seen as small scenes or stills from fictitious movies; random sequences of a drama, we all want to experience, but will never get to see. The audience is invited into the artist’s universe, where different characters and situations reoccur, but where an actual plot is never revealed. Older works from Torpe’s production occur on the walls behind the characters in some of the artist’s new paintings - but now presented in a different way so that new meaning emanate from them. The same applies to specific objects that reoccur across the artworks, like certain books, a board game, a colorful carpet. All these elements add to the atmosphere of the exhibition and simultaneously inscribe themselves in the ongoing image ecology of the artist’s oeuvre.





Tuesday, 21 September 2021 11:01

Market Art Fair 2021

Market Art Fair 2021

17.09.2021 - 19.09.2021


For this year's edition of Market Art Fair, Hans Alf Gallery presents a duo show with Armin Boehm (GER) and Fredrik Raddum (NOR).




Tuesday, 31 August 2021 09:14

ENTER Art Fair 2021

ENTER Art Fair 2021

26.08.2021 - 29.08.2021


For the third edition of Scandinavia's premier international art fair, ENTER, Hans Alf Gallery presents new works by no less than 11 of the gallery's artists: Adam Parker Smith (US), Armin Boehm (GER), Christian Lemmerz (GER), Mie Olise Kjærgaard (DEN), Erik A. Frandsen (DEN), Andreas Golder (GER), Christian Achenbach (GER), Fredrik Raddum (NOR), Morten Schelde (DEN), Anne Torpe (DEN) and Ralf Kokke (NED).




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.




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:



Magnus Fisker: Lad os svømme i denne flod af lidelse og lykke

23.04.2021 - 22.05.2021


Friday May 28, Magnus Fisker's exhibition Lad os svømme i denne flod af lidelse og lykke” opens in the HAG project room 


Magnus Fisker (b. 1992, Ringsted) is a student at The Royal Academy of Fine Arts in Copenhagen. Fisker is a painter above all, but he also experiments with sculptures in different organic materials such as wood.


To Fisker, the act of painting is itself a continuous process; every artwork a sentence in an ongoing story about his artistic practice. Fisker’s narrative is about existing as an entity in the world, and what it means to be a part of an all-encompassing circuit: To be a piece of biology and to be connected to the surrounding environment. For that same reason, the genesis, existence, and frailty of life is also a central theme in his works.


To paint is to put the paint brush to the canvas and drag it along. A brush stroke is born, evolves and dies. Within this cycle life exists. It may happen at different speeds, might be defined by various levels of pain and joy. You can roll the brush between your fingers, make it jump like a deer on a meadow. A painting is nothing but a series of brush strokes that follow each another, countless rows of reactions upon actions.


Fisker’s paintings exist as a conflict between dramatic and meticulous brush strokes, where the dreams and anxieties of the artist materialize in liquid landscapes. Although the motives are inspired by the artist’s childhood vacations in the Danish countryside – a fact that offers a concrete origin – Fisker’s paintings also constitute a synthesis of existing and fictitious geographical places that are dissected and reassembled anew. To Fisker, working with paint is an intuitive endeavor that must both seduce and surprise him, because this, as he himself puts it, is what helps him “understand the world and make it tangible”.


During winter and early spring, Magnus Fisker produced the works in “Let’s Swim in This River of Pain and Joy”. The exhibition, which is his first proper solo show, consists of abstract, expressive landscape paintings as well as a handful of sculptures made from burnt wood. The paintings focus on landscapes as both a remembered, meta-physical phenomenon and as a concrete thing-in-itself. The wooden sculptures, and their heavy presence, contrast the abstract universe of the paintings; as creatures that have materialized between brush strokes and invaded the room.


For the exhibition, Magnus Fisker’s fellow student Sabitha Søderholm will present a text written for the occasion. 




Armin Boehm: Nachtcafé (pas d'assurance pour la Nuit)

28.05.2021 - 26.06.2021


Friday May 28, Armin Boehm's new exhibition Nachtcafé (pas d'assurance pour la Nuit)” opens in Hans Alf Gallery. 


Armin Boehm (b. 1972, Aachen) was born and raised in southwest Germany. Today, he lives and works in Berlin. Boehm attended the academy in Düsseldorf, where he was the protégé of Jörg Immendorff. He is represented internationally by Meyer-Riegger (Berlin and Karlsruhe), Peter Kilchmann (Zürich), Francesca Minini (Milano) and Susanne Vielmetter (Los Angeles).


As a painter, Boehm has a unique style and touch that make his images instantly identifiable. Boehm almost always incorporates paper and textile patches in his works as a tactile reminder of the many layers of meaning in any image. As Boehm himself puts it, he “likes to paint with a pair of scissors”. This technique serves to emphasize the constructed nature of the painting, and because of the unusual texture of the canvas, strangely recognizable but still not entirely familiar, the viewer is forced to reexamine the work and second-guess his first impression. It is a way of provoking the eye and impeding automatic cognitive reactions.


As an artist, Armin Boehm is both part of society and someone situated on the outside looking in; he is simultaneously the elegant Berlin dandy, who is often pictured lounging in the periphery of his own motives, and the perspicacious and sarcastic polemicist, who calmly registers and dissects from a distance. Whatever his subject may be – innocuous cityscapes, riots from the suburbs, surreal portraits, decadent champagne parlors or flower still lives – Boehm playfully and freely makes use of the past and the present, of the humorous and the tragic, the beautiful and the monstrous, of the political and the naïve. In his often rather epic paintings, he moreover demonstrates his abilities as a sardonic storyteller, who always allows for at least two contradictory readings of the same scenario.


In “Nachtcafé (Pas d’assurance pour la Nuit)” it is the myth of the metropolis, the decadence of the elite, and the eternal conflict between the beautiful and the hideous in a globalized city that Boehm places under his microscope. Snapshots of busy crowds surrounded by commercials and billboards in a nameless square are complemented by gloomy tableaus from the private home of the bohemian, where a carefree cat snakes its way through pompous flower decorations and flimsy curtains. In the titular painting “Nachtcafé” we meet the artist as a DJ at a fancy cocktail party, and in a series of Boehm’s infamous psychological portraits we get up close and personal with the café’s dubious customers that tear and pull at their rubber-like faces, grimace towards the beholder and expose hideous creatures behind the masks. The fragile nature of any intimate relationship, and the artist’s own stake in this is also dissected. Needless to say, there is plenty to look at in Armin Boehm’s gloomy night cafe.





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