In the Womb of Light
9 January – 14 February 2015
There are two Eastern European languages that create their word for “world” out of their word for “light”, or a version of it – Romanian (lume) and Hungarian (világ). This foundational logical-poetical gesture goes against the grain of the entire Western thinking, which, since Plato, imprisons us in a cave of ignorance (“darkness”) only to promise us a (logical, un-real) Sun (of knowledge). Today, of course, nothing of this initial battle for the right words is preserved. The world is equally a world of light and darkness. This is what our eyes see, this is what our mouth utters. Light has become a most banal phenomenon. Still, it has once been something important enough to be entrusted with the experience of world as such. How to do justice to this importance in the flatness of an age for which knowledge is technology and language a simple carrier of information?
This is a task for thinking and / or art. One must start by re-building the strangeness of light. Not some mystical mystery – that would be the easy way out –, but a certain… it is difficult to even say what.
For Oana Fărcaş light is a female entity. It has a womb. But it is not necessarily a human. Is it a goddess, is it an animal? We do not know, and there is hardly any other option. It has something motherly anyway. This strangely coincides with the position of the greatest (and most forgotten) French thinker of all times – Gérard Granel (1930-2000). Insignificant as this detail might seem, it would be worth asking ourselves why certain artists and certain thinkers insist upon light. What logical muse instills in them such inspiration?
Light is a strange mother. We do not know what grows inside her womb. One can only guess. This is what Oana Fărcaş does in this series of paintings. She takes us to this (imaginary?) place that is the womb of light, and shows us what she “sees” there. She cannot stop at only one image. There are flashes that try articulating the same – a “landscape” where there is no landscape, there is no sight. Is this a panorama of sheer optical phenomena? Hardly so. There is nothing naturalistic in her approach, in the images she chooses to rework in order to articulate a secondary meaning that comes forth only when they are read together. Light loses its natural character, is withdrawn from the physicist’s lab, it is no longer dissected. It is shown instead. But always wrapped in strangeness. There are no simple answers to how things look in the womb of light. But there are some answers still. The viewers must decide on their own.
Text by Alexandru Polgár, editor of IDEA arts+society/Journal of Contemporary Arts, Theory and Politics
Asger Dybvad Larsen
Art as Art
9 January – 14 February 2015
LARMgalleri is expanding with an additional exhibition space in the basement of the gallery. Asger Dybvad Larsen will inaugurate this new exhibition space with a solo exhibition Art as Art. Asger Dybvad Larsen’s conceptual paintings are identified most clearly in their dialectical conversation with the medium’s traditions and its classic structure. This is done with a substantial focus on the traditional paintings materials. He sands the painting so that the wooden frame appears as part of the piece. This particular process focuses on the physicality of the painting and stores the process in the surface of the art work – one of the medium’s strengths. Asger Dybvad Larsen also works with surfaces in his paint-tray paintings. An acrylic paint-cast of the tray’s structural surface is mounted on a canvas and acts as an abstract motif in the work, and refers back to the precursors and the basic materials of a traditional painting.
Asger Dybvad Larsen (b. 1990) lives and works in Aarhus, where he is a student at the Jutland Academy of Art.
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