Interlace / Eva Grøttum

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Buttonhole Fotopolymer print. 2017

Interlace / Eva Grøttum 

Eröffnung:12. Mai 2017,  20 - 22 Uhr. 

Ort: prinz-georg // raum für kunst. Prinz-Georg-Straße 9. 10827 Berlin

Ausstellungszeitraum: 13. - 19. Mai

Öffnungszeiten (nach Voranmeldung): Samstag 13 -17 Uhr. Dienstag – Freitag 14 -18 Uhr

Für eine Voranmeldung oder Fragen kontaktieren Sie bitte Aage Langhelle unter der Handy-Nr. 0173-6035317 oder schicken Sie eine E-Mail an: Diese E-Mail-Adresse ist vor Spambots geschützt! Zur Anzeige muss JavaScript eingeschaltet sein!

Über die Ausstellung:

Minimal complex
Eva Grøttum often starts her artistic work process by investigating a picture of a pattern, an embroidery or a geometric ornament from cultural history and the history of science.
In Grøttum’s visual investigations, an embroidery or an ornament is transformed into a stylized quote in the shape of dots, lines and surface. That which is culturally coded, for instance a pattern from a Norwegian traditional dress, gets a more universal design and is printed with the help of a stencil on fabric, paper or sheet metal.
In some of her newer works, she also makes use of the results of scientific research. She combines drawings of molecular connexions with watercolours of flowers.
In other works in this exhibition, one can see an ornamental hand drawing on top of a fragment of an older graphic artwork of the artist. She uses duality, two components, as a basic principle, for instance a hand-drawn pattern on top of a standardized chequered paper, a faded piece of paper or one of the artist’s own graphic works.
The lines Grøttum draws in present time are laid as a layer on top of the lines of an artwork from her past. With the help of time and space on several levels, a new visual space emerges, a poetic visual universe that is created in a dialectic relationship. Some of Grøttum’s pictures are like objects for contemplation.
Grøttum’s work method, where she is citing originals from different cultural arenas, and also is reusing her own artworks, is reminiscent of a superordinate level. If one would read Grøttum’s works with an academic approach, they could be seen as visual ontological questions. In ontology, the classic question of whether there are any general laws in social systems and structures, such as there are in physics, is raised. Most ornaments originate from myths and stories, and that is also the case in Grøttum’s work with Islamic and Indian geometric pattern tradition. Grøttum is deconstructing patterns and ornaments into building blocks that she uses in her own work, where they are constructed into something new. Her method gives reason to view the artworks on such a superordinate level. She is transforming a known element into a new context and visual representation. In this way, one also gets a new view on what one thinks one knows.
If one views Grøttum’s works in their concrete and reduced form, they also enter into the tradition of minimalism, where the idea of the immanent artwork was central. But also in this context, I see a duality – the work as form and at the same time as a meta-comment to this type of late modernistic art. Also by their apparent references to philosophy and art history, Grøttum’s works emphasise the notion of the immanent artwork as a pure illusion.
To me, it is natural to characterise her almost ethnologic practice as an artistic fundamental research that is covering several fields like contemporary art, cultural history and history of science.

Aage Langhelle, Kurator