Lars Morell & Rune Elgaard
Opening: 31.10.2014 / 17.00 - 19.00
Exhibition: 01.11 - 29.11.2014
Visit: Tuesday - Friday 12.00 - 18.00 / Saturday 11.00 - 16.00
St. Kongensgade 3, Baghuset
INFO@GALLERIKANT.DK / +45 29466331
"Epilogues" brings together two artists whose works each in their own way have the book, the letter and the picture as subject and topic.
Thus the title refers to a literary sphere. "Epilogue" goes back to the ancient drama in which the Greek word epilogos means "a finishing speech." Throughout history epilogues appear in many forms in plays and literary works, often as a speech to the audience containing a moral after the act has taken place. In more recent works epilogues are more like open statements, a kind of registration of details which may open and extend the work as much as it completes it. Morell and Elgaard´s exhibition belongs to the latter category.
It is up to us as viewers to decipher the prior action which the epilogues of the exhibition unfold.
The main action could hide in a conspicuous work in the exhibition, Lars Morell's sculpture "The Spirit Paintings" shows a giant book. There is no access to the book's inner, it is massive and pure skin. It is present and at the same time absent. This ghostly presence between visible and invisible is characteristic of Morell´s works. Likewise he has a continuing interest in the realm of magic and the similarity between the magician´s process and the artist´s. For example, in the series "Ink on Paper", which are a part of the exhibition, illusion plays an important role as stimulus of the viewer's eyes and mind. We are invited into a kind of contemporary and melancholic aura of the world of yesterday. In Morell's artistic practice references to the late19th century with inventions like Lumiére Brothers' first photographic tricks is mixed with modern presentations and analytical approaches. It is significant that one of his previous works is called "Time Travel Box” with absinthe as the time travel fuel.
Rune Elgaard is an accurate creator of images in painting as well as drawing. He juxtaposes meticulous details to demonstratively cleaned surfaces. In other words the pictures are both realistic and abstract. They open a window to the world and are yet insistently flat themselves. If one were to place them into more recent art history, they might be seen as photorealistic as well as color-field abstract. The fact that the realistic elements in the nature of found-footage do not divulge any given connection for the viewer give them an abstract, open touch. The image fragments are both from past and present, sometimes of art-historical nature. This applies especially for Elgaard´s new works for this exhibition. For example, in "Hand with book with Still Life" a painting where a hand holds a book with an opened page, which displays a still life painting from the 16 th century.
Elgaard´s works show books in a practical and quite speculative manner. As in Morell's big book sculpture, they are impossible to access and read. The painting can not be penetrated nor cancelled; it is the reality of the canvas and not the depicted book, or the world of the painted still life in the book we are facing. The exhibition is therefore not an epilogue about the painting as a significant art media nor the book as an object of our fascination. Instead they occupy the stage as the main plot.
With extracts from the text "Bogbilleder" by Kristian Handberg, art historian, MPhil., PhD.