Gardar Eide Einarsson
A madman, a Patient, a Condemned Man, a Worker or a Schoolboy
7 March – 17 May 2015
This spring, ARoS will be presenting the young Norwegian artist Gardar Eide Einarsson in an exhibition entitled A Madman, a Patient, a Condemned Man, a Worker or a Schoolboy. Einarsson’s raw, angular and stringently narrative universe is the first in a series of exhibitions entitled ARoS FOCUS//NEW NORDIC to run over a three-year period in the ARoS West Gallery.
IN PURSUIT OF MEANING AND NEXUS
Gardar Eide Einarsson was born in 1976 in Norway. Einarsson uses found materials, pictures and symbols and converts them into posters, photos, paintings, videos and installations. His artistic universe is angular, raw, often black-and-white and generally uncompromising. Two kinds of imagery come together in Einarsson: graffiti print emerging from the skater culture and the stringency of modern art. His art includes references to politics, pop culture and power structures besides being critical of institutions. It is full of action and consequence and must be explored by the visitor in pursuit of meaning and nexus.
ELICITING THE UNDERLYING MESSAGE
A Madman, a Patient, a Condemned Man, a Worker or a Schoolboy is an integrated installation consisting of two parts that are interrelated. If you invest time in the exhibition, its underlying message will gradually become apparent, bringing our common history and knowledge into play and giving us food for thought.
LAYERS THAT SCREEN, PROTECT AND CONCEAL
One part of the installation consists of large black so-called tarp-paintings (tarpaulin). On top of the black paintings, pictures of black tarpaulins have been (silk screen) printed. In this way, Einarsson has superimposed an extra layer, thereby screening and concealing things. Looking at the works, you can see that the tarpaulins are the type used to protect against wind and weather and also to screen and conceal things. When the picture of a tarpaulin is added to a painting using the silk screen technique, it becomes an added layer concealing and protecting the painting beneath: a layer interposed between the artwork and our perception and enjoyment of it, thereby delaying the art experience and rousing our interest.
NORDIC NATIONAL PRIDE
The second part of the exhibition lies on the floor in a careless manner and consists of large quantities of fabric taking up most of the exhibition area. The work is named Untitled (Flagwaste) and consists of surplus fabric from the production of Nordic flags: a fond salute to the American conceptual artist Robert Morris’ well-known work Untitled (Threadwaste) from 1968. Einarsson’s version consists of the offcuts of fabric discarded in the process of producing Nordic flags. The flags are overt symbols of national identity and icons of our national sense of belonging and national pride. They also point to our self-perception in relation to other nations. When visiting the exhibition at ARoS, you will be moving among the remains of Nordic national pride and might even step on the remnants of our national self-image.
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Bjarne Bækgaard. Branding and Business Manager, ARoS
M: +45 3066 5142 | T: +45 8730 6618 | firstname.lastname@example.org
Lise Pennington. Acting senior curator, ARoS
T: +45 8730 6641| email@example.com