Hans Alf Gallery
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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.



Friday, 28 September 2018 12:04

Jørgen Haugen Sørensen: A Dark Tale in White

Jørgen Haugen Sørensen: A Dark Tale in White

12.08.16 - 10.9.16


In his new show, A Dark Tale in White, which is the result of more than two years of intensive labor, Haugen Sørensen lets the clay act as his primary source of inspiration. The simple and familiar form is contrasted by the robustness of the material, which the artist moves in his own personal narrative.


According to Haugen Sørensen, the inherent dialectic of the sculpture is an essential remedy in describing the situation we all inhabit: What we experience here and now is seen through a veil of frightening details, while the big picture gets lost. This dichotomy is what he tries to emulate through the naked molding of the sculpture.


Since the beginning of time, humans have tried to visualize their thoughts and actions – good as well as bad. A Dark Tale in White paints a picture of a world ripe with cruelty and horror; fanatics, violence, greed and cynicism – everything conveyed through the quiet scintillation of white glaze over scorched clay’s horrific contortions. The brutality of the world is not something we can fathom in all our privileged ease. But yet it’s visible; as a dark and ominous shadow on the horizon.


The gloomy state of man – the raw and unforgiving clay – is explored and clad in the robes of innocence – the delicate, soft glaze: A dark tale in white.



Friday, 28 September 2018 11:58

Fredrik Raddum: Uncover

Fredrik Raddum: Uncover

20.05.16 - 30.06.16


The Norwegian word “bortenfor” refers to the intangible; that which is beyond our reach or comprehension. In the context of Raddum's new exhibition, "bortenfor" serves as a mission statement: This time around, and quite contrary to his usual approach, Raddum has decided to let chaos and chance rule in an effort to free himself and his artworks of the inevitable habits and rutines established through years of artistic practice. It is a question of moving beyond borders and frameworks in order to explore the unknown.


According to Raddum himself, the process of making "Bortenfor" has been characterized by "an open approximation without a framework or a certain theme that limits or hinders". This state of proverbial creative "boundlessness" acts as both a point of departure and a common thread throughout the show and its works.


Fredrik Raddum's search for "that which is beyond" also explains the exhibition's subtitle "Outside the Verge of Liminal Spaces".


In anthropology and in literature, a liminal space is "a blurry boundary zone between two established and clear spatial areas". It is this uneasy, undefinable state that the artist wishes to explore: Whether it be a man trying to focus on one thing, while his head is a whirlwind of thoughts; the disillusioned girl whose face is a blind trunk and whose hands are pacified in bundles; or the boy frozen mid-tumble, while reality (personified as two wild boars) stagger on beneath his feet - they are all seen in a state of transition, caught in liminal spaces.


The art is moving beyond.



Friday, 28 September 2018 11:43

Henrik Saxgren: 76 Degrees North

Henrik Saxgren: 76 Degrees North

21.10.16 - 19.11.16


For the past three winters, acclaimed Danish photographer, Henrik Saxgren, has made the grueling trip to one of the northernmost societies of the world; the small settlements around the seventy-sixth latitude or Ultima Thule, as it was once referred to – the place beyond the borders of the known world.

In this perpetually frozen and treacherous but always endlessly compelling landscape, Saxgren tries to document the battle between animal and man, man and nature – and nature’s eternal battle with itself.

Through a series of dreamy aerial shots, the landscape transforms itself and becomes an abstract painting, while the lens continues to challenge and push the limitations of art photography. Humans are seen only at a distance – and only as one element among many; just like the animal is granted no moral primacy in the saxgrenian universe: One moment it is an elusive, majestic whale romping somewhere in the vastness of Baffin Bay; the next it is intestines and steaming chunks of flesh neatly arranged in the crimson snow of the shore. That’s simply life, the camera tells us.

There are no pointed fingers in Saxgren’s documentary, no paternalistic rants against uncontainable climate changes, the amoral aspect of whaling or the consequences of colonialism. Saxgren only observes. With the eye that is his lens; the hyaline gaze that has become his trademark.

Henrik Saxgren puts it this way:

“For several years I tried to pin a genre to my photography – but I never succeeded in coming up with a definition that fully contains it. Now I’ve somewhat given up, because when all layers have been peeled away, only one thing remains: My photographs are basically a representation of how I see the world. The image justifies itself.”



Wednesday, 26 September 2018 16:06

Christian Lemmerz: The Night is Large

Christian Lemmerz: The Night is Large

24.11.17 - 13.01.18


Ever since Christian Lemmerz first allowed himself to be catapulted from the periphery to the absolute centre of the limelight with his exhibition Stage in 1993, the - in more ways than one - formidable German with the grave face has established himself as one of the brightest, most insistent voices on the Danish art scene. From harsh, anarchist explosions through classicist demonstrations of force to a down-right visionary appropriation of new media: Time after time, Lemmerz has illustrated to his audience the artistic brilliance and almost annoying ease with which he seems to tame, subjugate and mobilize at will virtually any material imaginable. As a figure on the Danish art scene, Christian Lemmerz is a natural-born lead that seems to demand the light wherever he goes - even if he might himself prefer to be consumed by darkness.


Everyone has an opinion about Christian Lemmerz, his art has infiltrated the public space and our collective consciousness, and practically every museum in Denmark has at some point been conscribed to the sculptor's dystopian universe. There's something about the Lemmerzian brand of unwavering determination and zeal that - regardless of the topic, be it Dante's Inferno, the Holocaust or suicide terrorism - ensnares his audience to a point, where we inevitably allow ourselves to be seduced. Christian Lemmerz has a rare ability to grab hold of the viewer and force him so see the world from changing angles. And in much the same way, Lemmerz seems to continuously demand of himself that he revisit the big questions in life - existential angst, Christian mythology, Death - to see them from new perspectives; to somehow nullify former discoveries. He is - if this is even possible in a postmodern reality - an iconoclastic classicist.


In his new exhibition, The Night is Large, which will be the artist's second solo with Hans Alf Gallery following Limbo in 2015, Christian Lemmerz once again delves into Death as the ultimate theme. In a series of 13 large death bed portraits that also act as landscape paintings, Christian Lemmerz explores personal loss and the memory of the dead, while a series of marble, bronze and plaster sculptures serves as a metaphysical counterpoint in an intimate, condensed and first of all personal composition.



Russell Nachman: Drunks, Prophets, & Pieces of Shit

13.10.17 - 18.11.17


Four years after his last Danish solo exhibition, Russell Nachman is back in town and so is his crazy, drunk, black metal entourage. The Brooklynite takes on our project room with a serious of eclectic portraits and a style that has been dubbed "Alice Cooper meets Caravaggio".



Wednesday, 26 September 2018 15:59

Aus Berlin

Armin Boehm, Christian Achenbach & Moritz Schleime: Aus Berlin

13.10.17 - 18.11.17


Three Berlin-based artists take on the main gallery in a group exhibition curated by the directors.



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.



Wednesday, 26 September 2018 15:53

Morten Schelde: New Paintings

Morten Schelde: New Paintings

19.05.17 - 30.06.17


Morten Schelde is renowned for his extremely detailed, often monochrome pencil drawings, but he is also an excellent painter. In his first solo show with Hans Alf Gallery, Schelde takes on the oil painting in a series of works that explore the relationship between man and nature.


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