Thomas Shütte: Zombies and Architecture
Level 0 is a designated exhibition space at the subterranean basement level of ARoS Aarhus Kunstmuseum, reserved to and specially designed for international light art, video art and installations. For the most part, new acquisitions has been funded from the Carlsberg Foundation’s donation to ARoS Aarhus Kunstmuseum of DKK 40m over a ten year period.
The following works are currently installed in the gallery:
Zombies and Architecture
Installation featuring several sculptures and works on paper by the German artist Thomas Schütte. Grotesque busts, humorous heads on pedestals, floor sculptures in bronze and aluminium, and etchings of human figures and architectural models. Thanks to a special agreement with a private collector, ARoS is now able to showcase an extensive collection of works by Thomas Schütte. A world-famous German artist born in 1954, Schütte is represented in leading museums across the world and has built a museum in Düsseldorf dedicated to his works.
Expulsion from Number 8 Eden Close.
Tapestry: wood, cotton, acrylic, polyester and silk. 200 x 400 cm / 78 3/4 x 157 1/2 in.
For a number of years Grayson Perry has been interested in the class divisions that permeate British society. He is particularly fascinated and inspired by the way in which class differences are reflected in taste. He explored this phenomenon in three programmes, All in the Best Possible Taste, for British Channel 4. This series also provided the basis for a set of six tapestries, of which Expulsion from Number 8 Eden Close, 2012 is one.
The tapestry on display is an allegory in which several situations and time frames coexist in the same picture. The motif represents a group of people gathered round a dinner table; people that Perry would describe as members of the cultural middle class, where status and prosperity are not bound up with money but with education, the ‘right’ opinions and ‘good’ taste. The group at the dinner table is eating bruschetta and salad copied from images that Perry found in a Jamie Oliver cookbook. In fact, the disembodied face presiding over the scene is the chef Oliver himself who according to Perry is a kind of ‘smiling god of class mobility’, Jamie Oliver’s personal ascent in the social order being well-known by any Brit owning a TV. The rainbow, which in art history is also found in other versions of The Expulsion from the Garden of Eden, becomes the dividing line that the couple must pass through in order to move away from the middle class, here represented as a cold and blue space in which the mother is hoovering the fake grass of the front lawn, to enter the cultural echelons of the upper middle class, where warm colours are used to depict relaxed dinner parties with the ubiquitous bottle of red wine.
Elmegreen & Dragset: Too Late
ELMGREEN & DRAGSET:
The work is shaped like a nightclub for gay a morning after a festive evening. The disc ball spins and the music in the background runs on repeat. Upon arrival, the music makes you is in doubt whether you’re late to a date, or if the song voice, which scornfully repeats the phrase "too late", makes you aware that you have arrived late for the party.
The work has been purchased for ARoS collection thanks to a donation from the New Carlsberg Foundation.
Tony Oursler, USA
A solid glass tank measuring 2 x 2 x 2 metres filled with water is the setting for a large human head, cast in glass fibre, onto which a face is projected. The darkened space that surrounds the tank adds to the eerie atmosphere. The work is thus a further development of Tony Oursler’s (b. 1957) previous productions where he brings dolls to life by means of projected video images.
James Turrell, USA
Milkrun III, 2002
James Turrell’s (b. 1943) light work is contrived by artificial light. The viewer confronts a smouldering red light field which is fractured by a blue and yellow light that slit-formingly cuts into it, thus introducing tridimensionality into a diffuse opal-hued light. Instead of a spectacular effect, this shimmering field of colour produces a sense of thoughtful, reticent drama.
Pipilotti Rist, Schwitzerland
Dawn Hours in the Neighbour’s House, 2007
Swiss Pipilotti Rist (b. 1962) has created an installation especially for The 9 Spaces where the guest in just 8 minutes can experience 24-hours. Her unique video/sound installation is staging one of daily life’s banal, yet magic moments: the dawn of light. Rist has established a living room with furniture, wall paper, windows and plants. Video, sound and light create different atmospheres in the dawn of light. She seems preoccupied with the seemingly ordinary, well known aspects of life. But there is a twist. There is something strange and unfamiliar about the house –underlined by the fact that the artist has created a home in something as unnatural and alien as the space of a museum.
Olafur Eliasson, Denmark/Iceland
The Danish-Islandic Olafur Eliasson born 1967 is a well established, modern artist. Eliasson has earned his fame making large scale artworks that combine natural science with art. In The 9 Spaces at ARoS Eliasson combines these two elements yet again with great effect in Surroundings. By confronting the viewer with different physical experiments he challenges the sense of sight and makes our eyes see something which is not there. Eliasson thereby seek to create a disorientation in how we interact with the world and how we create the idea of ourselves by interacting with the things that surrounds us.
Mariko Mori, Japan
Tom Na H-lu, 2006
Mariko Mori’s work is in elegant and fitting manner combining spirituality and cyber technology. Tom Na H-lu was the name given by the ancient Celts to the place where the human soul took up abode before being reborn. To the Celts, Tom Na H-lu was in the shape of a tall monolith. Mori has recreated this monolith in matt glass. The glass sculpture contains a computer-controlled LED light source, which changes colour whenever a star dies and when the celestial bodies known as neutrinos, which are elementary particles created by a fusion between sun and star, move in space. Via the internet this work is linked to a supercomputer in the Super Kamiokande Observatory in Tokyo University.