PRESENTATIONS-2019

PRESENTATIONS2019
Photo: Günther Dächert
Jakob Emdal: Gaven2018Photo: Günther Dächert

Jonas Kasper Jensen and Jakob EmdalPerspicuusBasis Frankfurt2018

Photo: Günther Dächert
Plasma in DEX garden2018Photo: Günther Dächert
Photo: Jakob Emdal
Plasma in DEX garden2018Photo: Jakob Emdal
Photo: Günther Dächer
Installation view2018Photo: Günther Dächer
Photo: Katrin Binner
Installation view2018Photo: Katrin Binner
Photo: Katrin Binner
Installation view2018Photo: Katrin Binner
Photo: Katrin Binner
Installation view2018Photo: Katrin Binner
Photo: Günther Dächert
Jakob Emdal: Gaven2018Photo: Günther Dächert
Photo: Günther Dächert
Jakob Emdal: Perspicuus2018Photo: Günther Dächert

    Perspicuus
    Jakob Emdal und Jonas Kasper Jensen

    June 8 – July 22, 2018

    The joint exhibition Perspicuus by Jakob Emdal and Jonas Kasper Jensen presents new works specially developed for the exhibition that is the outcome of a close collaboration between the two Danish artists. By means of photography, installation, sound and painting, the exhibition focuses in particular on the constantly evolving development of different forms of the image in the context of technological progress and historical changes. In their conceptual work, the artists deal with the structures of net-based image production and reception, as well as with the construction and representation of algorithmic processes, using their many-faceted artworks to link the physical and the digital world.

    With the title Perspicuus (lat. translucent, clear), Emdal and Jensen refer in their artistic motif to the structures that lie beneath the surface of images or our visible environment, making them tangible through an artistic approach. By doing so, the conceptuality of the image within the context of the exhibition is employed with the general idea of making both culture-historical shifts in meaning and digital structures perceptible.

    Jakob Emdal focuses on the image as a historical document, or as a symbol of a particular culture and our reception of it today. With his photography series, Emdal addresses questions concerning the effects of time on the meaning and perception of pictorial representations or the photographic staging itself as a trigger for a judgement of value and for a particular reception to what is portrayed.

    While Jakob Emdal directs his view from the changing pictorial meaning and receptivity in the context of found images or documentary photographs to historical and current cultural aspects, Jonas Kasper Jensen is more concerned with a pictorial representation of future cultural developments that lie outside visual perception. His work relates to current predictions regarding the development a new economic technology called Plasma, which he then translates into a multimedia installation using sound, installation and painting. Jensen approaches this aspect through the visual transfer of this technology into the exhibition space and herewith convert a still unclear future reality in which the effects thereof cannot yet be determined in a new form of imagery.

    Photographs of culture-historical artefacts, contemporary image production and a visual expression of future developments meet in the exhibition of the two artists. They show an artistic approach to the nature and characteristics of images,

    the reception and meaning of which is shifting or has yet to be made accessible. Through these artistic translations, multi-layered artworks are created that make tangible the abstract digital networks of our time with a new visual quality.

    Perspicuus is a project by Jakob Emdal and Jonas Kasper Jensen
    Curated by Christin Müller

    The exhibition was made possible with the financial support of the Hessische Kulturstiftung, Statens Kunsfond and the Cultural Department of the City of Frankfurt

    On the possibility of life in ruins2017

    Jonas Kasper Jensen, Flo Maak, and and Rebecca Ann TessOn the possibility of life in ruinsHuset for kunst og design2017

    On the possibility of life in ruins2017
    On the possibility of life in ruins2017
    On the possibility of life in ruins2017
    On the possibility of life in ruins2017
    On the possibility of life in ruins2017
    On the possibility of life in ruins2017
    On the possibility of life in ruins2017

    On the Possibility of Life in Ruins

    The installation is like the ruins of a modern city, which is a post-apocalyptic scenario based on their observations not only of megacities in East-Asia, but small towns in Germany and Denmark as well. As different as these places seem, they are connected through global economy, a changing world climate and the ruins of urban utopias. Picking up on the paradigm of constant circulation, the artists has created an infrastructure for its own sake, like fibre cables in an abandoned smart city with nothing to circulate. They are reconstructing the empty centre of (post-)modern cities by capturing them in traces of steel, glass and templates of urban planning. There is a distorted grid of steel wires, reminding of 3D design mesh and contemporary high-rise architecture. Printed industrial fabric hanging from the wires is indicating both the possibility of shelter and a short cut between construction and destruction. Photographs of almost deserted semi-public space contributes another fragment of present-day cityscapes. Sound of artificially generated plastic, metal and glass is circulate through the space, making the spectres of modern urban utopias audible, yet, also creating comfort for the visitors: You are not alone in this. Together the works form an uncanny reproduction of something quite familiar, yet, it has been stripped to its bones. It's neither a futuristic projection nor a historic survey, it's just staging the question, here and now: How life is possible in such ruins?

    Occidenten2017

    Jonas Kasper Jensen and Johannes SivertsenOccidentenFour Boxes2017

    Occidenten2017
    Occidenten2017
    Occidenten2017
    Occidenten2017
    Occidenten2017
    Occidenten2017
    Occidenten2017
    Occidenten2017

    På latin taler man om den nedgående sol, occidens, modsat den opgående sol, orient, og deraf afledt om Occidenten og Orienten. I 1520'erne oversatte reformatoren Martin Luther occident til abend i sin Bibel, og derfra kommer begrebet Aftenlandet som en betegnelse for de vesteuropæiske kulturer. Siden har udtrykket vundet popularitet særligt i den tyske mellemkrigstid, hvor Oswald Spengler i sit pessimistiske storværk Untergang des Abendlandes portrætterede, hvordan tunge, mørke skyer samlede sig over et Europa, der havde slidt sig op i endeløse krige og mangel på selvtillid.
    I udstillingen Occidenten behandler Jonas Kasper Jensen og Johannes Sivertsen forestillingen om forfaldet som en central del af en kulturel selvforståelse. Med udgangspunkt i ideen om, at der i forfaldstanken også ligger et løfte om en forløsning, undersøger de, hvorfor der i vores kultur eksisterer denne grundlæggende tanke om et forfald, og hvilken betydning den har. Igennem en række værker, der peger på, hvordan kulturer synes at stå på skuldrene af hinanden, og hvor elementer, billeder og ideer har en cyklisk tilbagevendende karakter, åbner de for ideen om aftenlandet som en fiktion, der danner rammen om en specifik kulturel identitet. Det er gennem truslen om sammenbruddet, katastrofen og forgængeligheden, at vi kan mærke et kulturelt tilhørsforhold, og fiktionen om kulturens ophør er således en nødvendighed for at kunne legitimere en anden fiktion - Occidenten.
    Occidenten åbner på jævndøgn, den 20. marts 2017, hvor dag og nat er lige lange over hele jorden, og består af en række malerier, der skifter karakter i takt med lysets tiltagen og aftagen. Værkerne er malet med ét pigment, der kan opleves i dagslys, samt et fluoriserende pigment, der som spøgelser fra tidligere kulturer træder frem i ly af natten og åbenbarer andre billeder, der ligger skjult under overfladen. Derved vender udstillingen sig imod et mere cirkulært forhold til kulturen og dens påståede forfald: forestillingen om en cyklisk gentagelse af motiver og billeder, der er drevet frem af en konstant vekslen imellem civilisationers opståen og forfald, imellem morgen- og aftenland.
    Tekst skrevet af Louise Steiwer