Hans Alf Gallery
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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:



Wednesday, 04 March 2020 12:48

Anders SCRMN Meisner: Angel

Anders SCRMN Meisner: Angel

07.03.2020 - 08.03.2020


On Friday March 6, we celebrate the opening of Anders SCRMN Meisner's new show "Angel". The exhibition is the Danish painter's fifth with Hans Alf Gallery since joining the stable in 2012.


After the success of his last exhibition “Modern Love”, which marked a defining transition from paper to canvas, Anders SCRMN Meisner is back with 16 new, evocative oil paintings in a show he’s called “Angel”. The works in the show are predominantly blue, an enigmatic mountain ridge is repeated, and in most of his almost scenographic tableaus, the stars and the moon take center stage. You sense that everything is held together by a peculiar, nightlike calm, which trickles like water underneath the frames.



SCRMN explains:


“Back in June 2019, I stayed in an old vicarage in a small village a few hours south of Lyon. Every night, we slept underneath the stars in the master bedroom, where the ceiling had been transformed into an indigo firmament covered in hundreds of fiery stars. In the following months, I didn't really think too much about this experience, but one day, standing in my studio, I realized that suddenly all my paintings were blue and full of stars. The vicar’s night sky had travelled back to Denmark with me.”


“The strongest inspiration often happens subconsciously – and often only reveals itself much later. There are many patterns in my paintings, specific colors and recurring figures that I have picked up along the way, and which are now integral parts of my vocabulary. Things from my time in Sevilla, from Amsterdam or from my wife’s beloved Colombia. Together these things form a very personal iconography; a visual memory without which I probably wouldn’t be able to paint.”


“Although the works in “Angel” seem to revolve around the religious experience as a theme, the exhibition is not to be considered religious. Instead, “Angel” is about hope, forgiveness and redemption in a world, where were almost being suffocated by Humanity’s biggest and heaviest questions: What am I doing to fight climate change? How am I taking care of the planet? How will I protect my family in case of war? All of this responsibility, all of these grave concerns: We need absolution, spiritual relief, an angel that soars down from above and redeems us. Especially in a time, where the divine seems to have abandoned us.”





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


Wednesday, 29 January 2020 10:42

Andreas Schulenburg: Whistleblow

Andreas Schulenburg: Whistleblow

31.01.2020 - 29.02.2020


On Friday January 31, we celebrate the opening of Andreas Schulenburg's new show "Whistleblow". The exhibition is the German artist's first with Hans Alf Gallery since joining the stable in 2019.

A whistle is an instrument that produces sound from the flow of gas; often air. The word whistleblow refers to the act of blowing a whistle. It can be either an intransitive verb or a noun. Etymologically the word is derived from the somewhat novel notion of a whistleblower – an insider, who discovers foul play in an organization and makes it public – and thus the word is a compound word referring directly to the specific act of whistleblowing, as opposed to the general act of blowing a whistle; a whistle blow.
In his new exhibition, Andreas Schulenburg delves into the realm of what he calls “visual words”, dissecting intrinsic layers of meaning and trying to contrast the words themselves with his own, idiosyncratic imagery. This approach of placing a word or concept in an unexpected context – something the artist calls “concept sampling” – often leads to quite absurd and humorous constellations.

Schulenburg is fascinated by new, trendy buzzwords that have flooded our vocabulary: coaching, mindfulness, teambuilding and wellness; concepts that are all somehow related to our survival as individuals in a complex and hectic world; quick-fixes to serenity and peace-of-mind; six easy steps to enlightenment. You do a little bit of yoga, meditate for a few minutes, have a sip of diet Coke and then it’s back on the proverbial hamster wheel. Schulenburg’s sampling is a way of forcing us to see the absurdity in our demeanor and, if not change our ways, then hopefully laugh at our follies.
In “Whistleblow”, Andreas Schulenburg demonstrates the full scope of his abilities, as he presents works in such diverse mediums as felt, watercolor, ceramics, mosaics and Fresco painting. The purpose of this mix is to cultivate the illogical by way of confusion and wonder, contrasting message and material, putting further emphasis on complexity and paradoxicality – two exemplary driving forces to the artist’s practice.

In each work, we are confronted by Schulenburg’s dark and twisted sense of humor; an eclectic narrative that departs with what is generally considered politically correct and instead allows us to see our society – and indeed ourselves – in a different light. Albeit undeniably political, Schulenburg is neither judgmental nor idealistic: The sole purpose of the show is to foster reflection and curiosity. The rest is up to us.





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



Thursday, 21 November 2019 15:27

Christian Lemmerz: URIEL

Christian Lemmerz: Uriel

22.11.2019 - 18.01.2020


Friday November 22, Christian Lemmerz’ new show “Uriel” opens in Hans Alf Gallery. For the infamous German, who turned sixty earlier this year, the exhibition marks a fundamental shift of gears, as he takes leave with his familiar figurative universe to instead explore the processual and performative in a series of monochrome and largely abstract drawings and reliefs.


Christian Lemmerz possesses an artistic mind quite out of the ordinary. One could easily argue that he has been one of the most dominant figures on the Danish art scene ever since the early 80’s. In crazy, grandiose and often grotesque visual manifestations, Lemmerz has time and time again taken his audience by surprise and pushed the boundaries of what is accepted in art. Through history, repetition and plagiarism has brought many singular minds to an understanding of the need for new vantage points, and in much the same way, Lemmerz’ practice seems to be driven by existential impatience: We have to forge on! And so, everything is unrooted, automatic reactions are dismantled, icons overthrown, darlings slain. The ground needs levelling, before new houses can be built.


In URIEL, Christian Lemmerz is in the middle of his own personal paradigm shift. After having spent most of his career exploring the narrative and aesthetic qualities of figuration, the sculptor-turned-draughtsman has for the past couple of years found himself mid-air in an artistic leap that has seen him reinvent his own universe: Gone are the anatomical studies, all the zombies and the biblical references; and what remains is the journey of the hand across the paper, a twilight between genesis and resolution, the quivering contour of a moment.


The journey towards a new understanding began shortly after Christian Lemmerz’ sorrowful exhibition “The Night is Large”, in which the artist processed the recent death of his parents through a series of portraits. According to Lemmerz, it felt as if he had finally emptied out his inner registry of images: The trembling profiles of his parents on their deathbeds, drawn from pure memory alone, marked a sort of farewell to figuration. In the months following his show, he still tried to find his way back, but while the artist yearned for everything universal and open to interpretation, his usual imagery appeared stale and banal to the artist. Lemmerz sought inspiration in oriental calligraphy and read everything, he could find about the subject. He hid away in his studio and initiated a tedious but determined transformation that didn’t find its true form until much later with the performance piece “EyeScape” at Copenhagen Contemporary.


Now, Christian Lemmerz has created a show that doesn’t look like anything, we’ve ever seen from him. Seven imposing, nonfigurative reliefs that are all made ”à la minute” like negative images, fingers directly in the foundry sand, freezing the movement with liquid bronze, are flanked by a series of subdued, monochrome “landscapes” that document the journey of the hand back and forth across the paper’s plane without resorting to recognizable shapes or imprints. A colossal bronze sculpture without a beginning or an end seems to have exploded into the room, and in smaller, grid-like drawings, one senses the inspiration from calligraphy. The ”old” Lemmerz is visible only in glimpses, as when an enormous bronze torso shoots up between a handful of drawings that also utilize the notion of the body as a more or less visible element. But, generally speaking, the gaze and the look has changed. And thus, also the experience.


As is customary with Lemmerz, what is at stake isn’t exactly clear. But in this particular show, it is perhaps an even greater pointe in itself that the room for interpretation and understanding is left open: It is essential that the audience gets involved and accepts the performative premise that informs the creation of the works, and thus, each spectator is forced to process the image itself, so that which is abstract can become concrete to each individual.


In Judaism and Catholicism, Uriel is the name of the fourth archangel after the better-known and more widely canonized Michael, Gabriel and Raphael. He is the angel of repentance and submission. In Milton’s ”Paradise Lost”, Uriel is in charge of the orb of the Sun, he is the eyes of God, but unwittingly steers Satan towards the newly created earth.






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



Thursday, 24 October 2019 13:12

Both Hands on the Wheel: A Group Exhibition

Both Hands on the Wheel: A Group Exhibition

25.10.19 - 16.111.2019


Friday October 25, Hans Alf Gallery invites everyone to join the opening of the group show "Both Hands on the Wheel".


A handful of the gallery's represented artists plus a few special invitees have been asked to create at least one ceramic object with the pottery wheel as a unifying point of departure. Some have chosen to focus on the classic vase, others have gone with a more deconstructivist angle, and still others have - not surprisingly - decided to ignore the assignment altogether. The resulting show is a fun, puzzling and eclectic voyage into the artistic mind.


"Both Hands on the Wheel" will feature ceramics and a few new works in different materials by the following artists:


Christian Achenbach (GER) / Armin Boehm (GER) / Anders Brinch (DEN) / Marliz Frencken (NED) / Andreas Golder (RUS) / Louise Hindsgavl (DEN) / John Isaacs (GBR) / Mie Olise Kjærgaard (DEN) / A. SCRMN Meisner & C. Echeverri (DEN/COL) / Andreas Schulenburg (GER) / Jørgen Haugen Sørensen (DEN)


The show opens on October 25 and will be on display until November 16.



Friday, 18 October 2019 13:49

Mie Olise Kjærgaard: Absolute Beginners

Mie Olise Kjærgaard: Absolute Beginners

20.09.19 - 19.10.2019


Over the course of less than a year, Mie Olise Kjærgaard’s career has seen many significant highlights. During her last exhibition, “News From Nowhere”, which was her first Danish gallery solo in nearly a decade, The New Carlsberg Foundation acquired the main artwork of the show (‘The Woman with the Three-Eyed Hat and Her Son’) as well as several ceramic sculptures. In April 2019, represented by Hans Alf Gallery, Kjærgaard participated in Stockholm’s Market Art Fair with an immersive installation featuring paintings, ceramics and a large wooden construction created on site. And in October 2019, Kjærgaard embarks on another American adventure, when her show “Ambiguous Aggregations” opens with Barbara Davis Gallery in Houston.


Before this, Hans Alf Gallery has the pleasure of showcasing a smaller Kjærgaard installation in the gallery project space running parallel to Frank Fischer’s “Leaving London”.


In her new exhibition, “Absolute Beginners”, Kjærgaard continues the work on her utopian metropolis ‘Moirania’, which also served as the focal point in her previous exhibition “News From Nowhere” and her presentation at Market. Kjærgaard has continued to develop and work on the imagery and visions of ‘Moirania’, which in themselves have become increasingly iconographic.


As in Kjærgaard’s presentation at Market Art Fair, the ceramic sculptures occupy a central role. Unlike many of her contemporaries, Kjærgaard has insisted on turning her own pottery. This strenuous and laboursome work has resulted in a group of fantastically personal ceramic works, which, alongside a handful of larger paintings and a series of smaller ones, constitute the backbone of an interesting and thought-provoking vision of a different, more harmonious future.




Friday, 18 October 2019 13:43

Frank Fischer: Leaving London

Frank Fischer: Leaving London

20.09.19 - 19.10.2019


In early 2019, Frank Fischer left London after having lived in the city for nearly two decades. Swiss-born Fischer had grown tired with the omnipresent euroscepticism, the uncertainty surrounding Brexit and a perceived increase in random violence and general ruthlessness. The bubbly optimism and creative enthusiasm, Fischer experienced when he initially moved to the roaring capital, was no longer present. To Fischer, the magic had simply disappeared.


Leaving London is a personal homage to the painter’s years on one of the world’s biggest and most colorful art scenes. The exhibition consists of 13 artworks; the last 13 works that adorned the walls of Fischer’s studio in Walworth when he decided to pack up his life and ship it across the channel.


As opposed to previous exhibitions, where Fischer’s characteristic paraphrasing technique was devoted to one specific artist, Leaving London consists of works that Fischer saved for himself through the years; works that he was initially unable to let go of and whose liberation required the intervention of two extraordinarily persuasive gallerists.


Thus, the exhibition features paraphrases of paintings by artists as different as Caspar David Friedrich, Michael Craig-Martin, Japanese Mr., and Pippilotti Rist. Despite their disparate nature, the divergent color palettes are forced to coexist through Fischers unique kaleidoscope, and rather than the untamed color explosion you might expect, Leaving London has become an elegant and heartfelt demonstration of that exact thing and feeling, Fischer manages to create and manifest though his artistic practice.




Saturday, 14 September 2019 12:57

Erik A. Frandsen: The We-Machine

Erik A. Frandsen: The We-Machine

14.08.19 - 14.09.2019


When it comes to material versatility and artistic suppleness, Erik A. Frandsen is unparalleled in Danish art history. Even though in the general public, he is perhaps most readily associated with his ongoing exploration of the classic still life, which he still after more than two decades manages to rethink, the hardheaded boy from the country is also an innovative sculptor and mosaicist, a splendid photographer, and a formidable draughtsman.


In his new show, “The We-Machine”, it is Frandsen in his role as the latter, who clocks in. Over a period of three months, he has been following the international cycling calendar assiduously: First in the flesh in Italy, during the annual Giro d’Italia; then through the summer highlights of the silver screen from his far-off studio on the island of Falster.


An almost obsessive process of observation and registration has yielded more than sixty compellingly enigmatic, singular works of art. Quite contrary to what one would expect, the individual drawings are not intended as cycling studies per se, rather they are meditations on movement and propulsion; a kind of stylistic exercise or survey of a transient mythos. In “The We-Machine”, Erik A. Frandsen draws on his considerable art historical knowledge and know-how, as he brings to a halt the inherent dramaturgy of cycling in frozen moments of unwavering light and buoyancy, so that the narrative is pushed back and the otherwise anonymous surroundings are brought to the fore.


“The We-Machine” is a masterclass in the discipline of seeing all that, which the eye has a habit of omitting.




Tuesday, 02 July 2019 11:56

Per Morten Abrahamsen: Paper Flowers

Per Morten Abrahamsen: Paper Flowers

07.06.19 - 29.06.2019


As part of the annual Copenhagen Photo Festival, we present an exhibition of three-dimensional still lifes by acclaimed Danish photographer Per Morten Abrahamsen.


In “PAPER FLOWERS”, Per Morten Abrahamsen presents a series of works that break with the two-dimensional plane of photography and reach out towards the viewer. By cutting out elements and simultaneously adding layers and contours, the ever-experimenting photographer attempts to rediscover the classical still life in a new context: Flowers, treated in a seemingly perfunctory way, are lifted out of the frame by Abrahamsen’s intervention, and transformed into wild and dynamic explosions of color in the pictorial space.




Tuesday, 02 July 2019 11:56

Armin Boehm: North

Armin Boehm: NORTH

25.05.19 - 29.06.2019


Armin Boehm (b. 1972, Aachen) has become one of the key figures in a generation of German artists that includes names like Jonas Burgert, Jonathan Meese and Anselm Reyle. Born and raised in West Germany, Boehm enrolled at the academy in Münster in 1995 and later graduated from Staatliche Kunstakademie Düsseldorf in 2001, where he was a Meisterschüler of both Konrad Klapheck and Jörg Immendorff. Having experienced a steady upsurge in artistic impact and recognition since the mid-naughts, he is now represented by some of the most prominent galleries of the international art world.


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 tangible 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 her 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 NORTH, Armin Boehm presents a new body of works that depicts the life of a modern metropolis. Boehm has taken inspiration from previous visits to Copenhagen, the architecture of the city, its rhythm and population, but the actual works are not necessarily meant to portray the Danish capitol: It could be anywhere in Europe.


The exhibition is compounded by a merger of four singular lines in the Boehmian nomenclature: the slightly chaotic but still innocent cityscapes; the mad and almost barbaric riot scenes; the grotesque and surreal psychological portraits; the lush and decadent depictions of the well-to-do. Although seemingly detached at a glance, combined these different lines actually provide a powerful diagnosis of life and the state of things in affluent western societies: We keep up appearances and lead a seemingly carefree life of comparative luxury and abundance, but rebellion, aggression and resistance always-already loom beneath the surface, and thus we cannot help but become torn and schizophrenic as a people. It is the eternal – and eternally ugly – fight between idealism and reality. And it is quite possibly both ugly and uncomfortable, but as Boehm himself once stated:


“I don’t want to do comfortable paintings. We live in an uncomfortable time.”




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