Group Exhibition

Out of use: Interior

13 Nov 2015 – 23 Jan 2016

< >

1 / 11

Martin Erik Andersen, (Severin Severin awaits you there) transference, 2015

Dyed wool, Tibetan lambskin, silver, boot, steel, vacuum cleaner, 32 x 145 x 60 cm

2 / 11

Out of use: Interior, 2015

Installation view

3 / 11

Still Life (Truth and other lies) Ft. Will Evergreen, 2015

Jean Marc Routhier, white concrete, mother-of-pearl pigment, beewax, rape seed oil, jelly, aluminium, styrofoam, suger crystals, peacook butterfly, chinese plant parts, rose, egg, #D print, ink, 20 x 240 x 190 cm

4 / 11

Still Life (Truth and other lies) Ft. Will Evergreen, 2015

Jean Marc Routhier, white concrete, mother-of-pearl pigment, beewax, rape seed oil, jelly, aluminium, styrofoam, suger crystals, peacook butterfly, chinese plant parts, rose, egg, #D print, ink, 20 x 240 x 190 cm, detail

5 / 11

Out of use: Interior, 2015

Installation view

6 / 11

Out of use: Interior, 2015

Installation view

7 / 11

Out of use: Interior, 2015

Installation view

8 / 11

Out of use: Interior, 2015

Installation view

9 / 11

Out of use: Interior, 2015

Installation view

10 / 11

Out of use: Interior, 2015

Installation view

11 / 11

Out of use: Interior, 2015

Installation view

Nanna Abell, Martin Erik Andersen, Ib Braase, FOS, Lasse Schmidt Hansen, Emil Westman Hertz, Kasper Hesselbjerg, Jørgen Carlo Larsen, Marie Søndergaard Lolk, Bjørn Nørgaard, Rasmus Høj Mygind, Pind, Finn Reinbothe, Jean Marc Routhier, Superflex, Fredrik Tydén

Out of use

November 13, 2015 – January 23, 2016

 

Out of use sets out to survey art relating to interior design and the meeting between furniture, sculpture and the body. The works in the show are involved in functionality and loss of function through recycling, misuse, and transformation of everyday objects like chairs, potted plants, mirrors, beds, and blinds.

Interior design is usually associated with the private sphere and a non-public social space. Yet in several works in the show décor elements are reconstructed so that the domestic and public sphere, or singularity and design, are mixed together. The works relate to a cultural situation where everything increasingly exist as design in multiple versions, from corkscrews to sofas, and where sign value tends to overshadow use value.

Furniture is – possibly to a larger degree than other types of objects – open to an anthropomorphic reading. This means that it is relatively easy to experience them as mirrors of one’s own self. In ordinary language this is hinted at when we speak of for example the legs of a table or the arms of a chair. A lamp is always also a kind of subject, a chair is a consciousness, at least this is how we often perceive it. They are things we live with and literally live in, and they are things that often live on after us in order to be integrated in other contexts.

Arguably the white cube is historically prefigured in the collectors’ house screened off from its surroundings. In this sense the interior is mirrored in the white cube. On the other hand the works undermine this sense of a delimited space through their furniture-like links to everyday life and bodily use. When interior design and exhibition space are made to overlap the works drift into a scenic or stage-like atmosphere, reinforcing a sense of them as props. It reminds of how interior design is generally represented in mass media and lifestyle magazines. In this condition, design imitates art imitates design.