Damien, Hirst Away from the Flock, 1994. ARTIST ROOMS, Tate and National Galleries of Scotland. Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © Damien Hirst and Science Ltd. All rights reserved, DACS 2018
Press release, December 2018
THE ARoS 2019 PROGRAMME
ARoS will be presenting a wide range of exhibitions in 2019. Our temporary exhibitions feature, for example, national and international collaborative projects, Scottish world-class video art, and a celebration of the fiftieth anniversary for lifting the ban on pornography.
ARoS Contemporary, level 1
Tomorrow is the Question
06.04.19 – 04.08.19
Tomorrow is the Question is an extensive and ambitious presentation of international contemporary art. The exhibition features works by artists including Doug Aitken, Hito Steyerl, Rirkrit Tira vanija, Allora & Calzadilla, Alfredo Jaar, Mona Hatoum, Simon Denny, Raqs Media Collective, and Cao Fei.
At the core of Tomorrow is the Question is the issue about our common future. Via sculptures, video works, installations, and interactive works, the artists address the changes and challenges in terms of resources currently facing humanity. The exhibition unfolds a range of scenarios for our future and invites a dialogue on the subject.
Tomorrow is the Question is initiated and curated by Luise Faurschou, founder and director of ART 2030 and Faurschou Art Resources in collaboration with Erlend G. Høyersten, director at ARoS.
07.09.19 – 16.02.20
The Scottish artist Douglas Gordon (b.1966) is among the major video artists to appear in recent times. The exhibition at ARoS is one of the most extensive presentation of Douglas Gordon’s works in Europe to date, shows a wide selection of the artist’s most important works.
Among the subjects Gordon addresses in his works is the relationship between light and dark. He often reuses film material created by others, zooming in on details in order to probe some of life’s issues – big and small. This he does, for example, by using simple recurring motifs or graduated scale. In his renowned work Through a Looking Glass from 1999, he has, for example, reused the iconic scene from Martin Scorsese’s film Taxi Driver (1976) in which the protagonist practices being tough in front of a mirror while repeating ‘are you talking to me?’
In the exhibition it will, for example, be possible to experience Gordon’s collaboration with the French artist Philippe Parreno (Zidane, A 21st Century Portrait) where we watch the footballer Zinédine Zidane in a match from 2005. Seventeen cameras shoot Zidane from all angles, focusing strictly on the man rather than the ball. In this way, the psychological mechanisms of the game are foregrounded, so that even hard-nosed renouncers of football will have to reconsider the merits of the game. The exhibition also shows new works such as the collaboration with the musician Rufus Wainwright where the latter, in large-scale close-ups and in super slow motion, flutters his eyelashes, heavily made-up with black mascara, at a camera shooting 1000 images per second.
Douglas Gordon was educated at the Glasgow School of Art and the Slade School of Fine Art in London from 1988 to 1990. He lives and works in Berlin, Glasgow, and Paris and has shown at major museums worldwide. Douglas Gordon has received a number of awards – among these the coveted Turner Prize in 1996.
ARoS Classic, level 5
09.02.19 – 22.04.19
There is play, dialogue, and social interaction for people of all ages when the exhibition Move gets visitors moving, transforming the gallery space into one big movable structure. The exhibition presents selected works from ARoS’ permanent collection, all addressing the subject of movement.
The definitive work featured at this exhibition is, without comparison, the interactive work Distance from 2004 by the Danish artist Jeppe Hein (b.1974). Distance is a 400 m long ball circuit adapted to the architecture of the gallery space. Visitors entering the gallery space are registered by a sensor, which sets a ball rolling. Following ‘your’ ball brings you through a shambles of loops, sharp corners, hoists, and drops. The work is designed in modular steel rails which means that the circuit varies from one presentation to the next.
Jeppe Hein’s dynamic art project is shown in interaction with selected video works from ARoS’ collection.
Art & Porn
29.05.19 – 08.09.19
To mark the fiftieth anniversary of lifting the ban on visual pornography in Denmark in 1969, ARoS and Kunsthal Charlottenborg in Copenhagen have joined forces to show the group exhibition Art & Porn. The exhibition highlights how art was influenced by changing the law on pornography. What are the implications when the boundaries of what citizens may be faced with in public spaces change from one day to the next?
The exhibition opens with the famous work Sex-Paralysappeal (1936) by the artist Wilhelm Freddie (1909-1995). The work illuminates the awkward feelings instilled by sexual and erotic imagery in the past. The discussions that followed in the wake of Wilhelm Freddie’s work contributed significantly to Denmark, as the first country, lifting the ban on pornography in 1969. The exhibition features works by many Danish and international artists, including Annie Sprinkle, Elmgreen & Dragset, and Jeff Koons.
When the exhibition finishes at ARoS in the autumn of 2019, it will move on to Kunsthal Charlottenborg.
Objects of Wonder
12.10.19 – 01.03.20
Objects of Wonder is a major international exhibition of sculpture featuring works from 1960 until the present. The exhibition has been realised in close collaboration with Tate, London, and it is the first time in the history of ARoS that the museum shows a sculpture exhibition of this calibre.
The exhibition showcases picks from recent sculptural history, including sensory and thought-provoking artworks by, for example, Louise Bourgeois, Yves Klein, Anish Kapoor, Damien Hirst, Anthony Caro, Mona Hatoum, Jeff Koons, Sarah Lucas, and Ai Wei Wei. On the one hand, the audience will encounter a series of experiments with form where tactility, context, and light play a central role. On the other hand, they will experience sculptures that challenge the whole idea of this genre by playing with the distorted body or including everyday objects. In other words, these are not sculptures in the usual sense of the word
From the 1960s onwards, major new breaks occurred in sculpture as an artistic format. The artists from this period embraced, in one sense, the heritage left by Marcel Duchamp and the surrealists’ found objects while, in another sense, having to acknowledge the focus and staging of viewers’ bodies, space, and time imposed by minimalism and landscape art.
ARoS is known for its collection of installation works where the audience is not merely looking at an artwork but immersed spatially in it and moving through it. In Objects of Wonder, ARoS wants to relate to the museum collection by reviewing highlights from the past 60 years of vital sculptural history, mirroring developments within installation art.
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