We have been invited to do a solo-show at Galleri Erik Steen this October, which we are very excited about. We will be showing new works, both sculpture and image-works. The exhibition will run from 9 October to 9 November, and is entitled Rediscovery.
About the gallery
Galleri Erik Steen began in 2006 under the auspices of Erik Steen, former director of Gallery Wang. Located at Skøyen, this gallery annually produces six exhibitions of Norwegian and international contemporary art, with emphasis on younger Norwegian artists.
We showed a total of nine new works in the exhibition. Larger images of all the works we showed in the exhibition can be found at the Work section of the website, or click on the images to view the work directly.
Press release, Galleri Erik Steen
We are happy to invite to an exhibition with new work by the artist-duo LELLO//ARNELL (Jørgen Craig Lello, born 1978 in Fredrikstad, Norway & Tobias Arnell, born 1978 in Lund, Sweden). The artists have collaborated since they met at the National Academy of Fine Art in Oslo in 2003. We are currently experiencing the emergence of a new, strong generation of young artists who share the common ground of working in a post-conceptual field. In this respect, this exhibition links up to our earlier presentations of artists like Jan Freuchen, Stian Ådlandsvik and Snorre Ytterstad.
REDISCOVERY uses the exploration of the 19th and 20th centuries as a point of departure; a period where geography was heavily in focus and the last "white holes" of carthography were filled in. Completing this societal task, which was often viewed with an air of adventure, wasn't only beheld with admiration, but had a strong influence on the spirit of the time. The world had finally achieved the complete view of itself, a new world view had quite literally been developed.
The exhibition treats knowledge, process, experience and fact as a fluid materials. By pursuing this modus operandi to the farthest, proposals that are accurate and incorrect, well-founded and misunderstood, fraudulent and credulous are made in the same breath. All this as an attempt to present the world and society around us in a "correct" way. The benefit and handicap with relating to knowledge in this manner is precisely this fuidity: History is a matter in constant flux, which is continually revised. The restoration of past mistakes coincide with the perpetration of new ones, and our most important foundation for understanding our own civilization lies in the acknowledgment of the motion between newfangled and discarded knowledge.
In the exhibition, subversion, destruction and misinterpretation of knowledge stands out as the central means used by the artists, and the aim is a kind of reinvention of the wheel. The forged or fictitious supply of knowledge, which the exhibition claims to communicate, is made in the shape of assertions that are plausible enough to be accepted without further question.
A typical example of the artists' method is "Dr. Livingstone or: How I Learned to Stop Worrying and Love the World". This object is exclusively fabricated from the first edition of H. M. Stanley's "How I Found Livingstone" from 1872. Henry Morton Stanley was one of the 19th century's most famous and notorious explorers. He made several expeditions to unknown and uncharted parts of the african continent, and published a large number of books and articles on the subject of his great discoveries. In this work, the most well-known of his exploits has been used; the account of how he found the disappeared Dr. Livingstone, who was missing in the heart of darkness. From the some 700 pages which recount the main story, two hemispheres have been cut out and assembled into a globe. The globe is mounted in a meridian stand which is fabricated from the cover of the book, and is presented using the book as a plinth. A world-view has thus been built using this book as it's fundament. However, the process has destroyed the literary work and the knowledge it contains. Since the layers of which the globe consists are not glued together, the possibility of restoring the information is present, but not without demolishing the artwork. Thus the piece forces an ultimatum where investigation of facts excludes the world-view, and vice versa.
Click here to view the gallery website: Galleri Erik Steen