Rikke Hansen -
Selected reviews
 
 
 
GROUP SHOW: 'Venskaber' (Kunsthal Aarhus, Denmark), KUNSTEN.NU, April 15 (in DANISH)

Med udstillingen Venskaber har Kunsthal Aarhus søgt at give rum til en undersøgelse af de sociale relationer og kollektive arbejdsformer, som er med til at forme samtidens kunstneriske miljø og sætte fokus på kollaborationen som idé. Resultatet er blevet en ambitiøs, intelligent og kompleks installation af ni yngre kunstnere, hvis fællesskab primært bunder i, at de er nære venner og deler atelier på Nørrebro i København. Dog er det, som om udstillingen ikke helt formår at indfange de mange nuancer, der kendetegner venskabet som koncept.

Link to review here: R Hansen Venskaber


SOLO SHOW: 'SELFIE' (Viborg Kunsthal, Denmark), KUNSTEN.NU, Feb 15 (in DANISH)

Selfie på Viborg Kunsthal er den første større soloudstilling i Skandinavien med den polske billedkunstner Aneta Grzeszykowska. Som titlen antyder, er det iscenesættelsen af jeg'et, der tages under behandling. Desværre lykkes det ikke kunstneren at nå helt ind under huden på forholdet mellem krop og omverden.

Link to review here: R Hansen Selfie


BOOK: 'Jorg Heiser, All of a Sudden: Things that Matter in Contemporary Art (Sternberg Press, 2008), Art Monthly, No. 330, Oct 09
 
Jorg Heiser's All of a Sudden: Things that Matter in Contemporary Art takes as its starting point a frustration with the push-and-pull of current art criticism, which, according to Heiser, is best described as an 'entrenched battle between defenders of art's autonomy and champions of its merging with entertainment culture', a game in which people take turns expressing cultural pessimisms, while others celebrate the new possibilities for artistic practice. Somewhere along the line, Heiser argues, criticism has lost its focus on how artworks actually exist in the world, and, as an alternative, he offers a reading of a swathe of contemporary works by artists as diverse as Martin Kippenberger, Neo Rauch and Andrea Fraser (to mention but a few), situating these within complex networks of intermingling contexts and historical lineages. His refusal to follow a programme already set out by existing art criticism is fuelled by his dissatisfaction with a general nostalgia that plants art's critical potential securely in the past while simultaneously mourning its lack in the present. This gives the book a distinctively 'positive' vibe that nonetheless avoids falling into the pit of the all-embracing, anything-goes mentality which is, strangely enough, equally nostalgic...
 
Link to review here: Heiser/Hansen review  
 
 
SOLO SHOW: ‘Anri Sala: A Second Look’ (Hauser & Wirth, London), Art Monthly, No. 312, Dec-Jan 07-08
 
'Those of us who spend our daily adult lives thinking, speaking and dreaming in a tongue unfamiliar to us in our childhood know that changing languages, or existing in-between them, can be complex matters. You obtain not simply one, but two new second languages,forever distanced from the so-called first language, while always having to struggle to pronounce some of those acquired words that give away the fact that you are not from "around here". "Like my life," Anri Sala explains, "my work is continuously shaped, inspired and constrained by rupture, and transitory or intermediate stations". Born in Albania and living and working in Berlin, he often returns to tensions between presence and displacement in his work...
 
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SOLO SHOW: 'Steve McQueen' (Thomas Dane Gallery, London), Art Monthly, No. 311, Nov 07
 
'A horse lies dead in a field. Flies circle around her body. The grass moves in the wind. Nothing more happens and in some ways there is not much more one can say about Steve McQueen’s 16mm film Running Thunder, 2007, the only work in his current solo show at Thomas Dane.I must admit I hated the piece when I first saw it. It is a critic’s nightmare. Even the gallery’s press release appears to have given up on the work, explaining that it represents a departure from the artist’s previous concerns, moving swiftly on to talk about other works by McQueen not featured in the exhibition. But I would rather hate an artwork than feel indifferent to it and, after a while, it grew on me and like the corpse it portrays, it refused to go away...'
 
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PERFOMANCE: 'Art Now Live’ (Tate Britain, London), Art Monthly, No. 310, Oct 07
 
'Writing about live art tends to turn the critic into a storyteller forced to describe the characteristics of performance, the ‘now’ and the ‘live’, in the past tense. However, the relation between work and word cannot be reduced to a simple opposition between a dematerialised, ephemeral artwork and the, always late, putting-into-language of art writing. Instead it exists within a complex set of networks where things feed into and affect one another. This has become evident in the rise and stable continuation of critical debates challenging the notion of presence within performance art whilst pointing to the performative aspects of criticism itself...'
 
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GROUP SHOW: ‘The Shadow’ (Compton Verney, Warwickshire), Art Monthly, No. 309, Sep 07
 
'In Anri Sala’s Ghostgames, 2002, two girls play a game on a beach in North Carolina. Using torches, they chase so-called ghost crabs that only come out of the sea after dark; most often the crabs run away but occasionally they become transfixed by the light. Sala’s video is included in the group show "The Shadow", currently at Compton Verney. The exhibition is curated by Lea Vergine, whom most will associate with her writings on body art in the early 1970s. Upon entering the projection space of Sala’s video, one is met by a guard who kindly shines a torchlight in front of visitors in the darkened room. Presumably, the point is to reduce the risk of the collision of bodies in the space and not a playful echoing of the condition of the animals within the work. Yet, it is tempting to read it as an emblem of how this entire show, which brings together pre-existing works under the theme of the shadow, seemingly unrelated to any historical or socio-political context, transfixes somehow both the viewer and the work...'
 
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SOLO SHOW: 'Gerard Byrne' (Lisson Gallery, London), Art Monthly, No. 306, May 07
 
'Tensions between the literal and the figural, between presence, reproduction and representation, have characterised the theories and practices surrounding theatricality and performance to such an extent that it at times becomes difficult to see what more can be added to the discussion. Gerard Byrne’s solo exhibition at the Lisson Gallery manages to breathe some new life into these issues, examining the spaces between text, theatre, and photography...'
 
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SOLO SHOW: 'Richard Billingham' (Compton Verney, Warwickshire), Art Monthly, No. 302, Dec-Jan 06-07
 
'One video shows a bear pacing back and forth. Reaching the borders of the screen, her snout brushes against the frame of the image and she turns and heads in the other direction. Occasionally she escapes the static camera, only to return within seconds. The video lasts six minutes and is presented as a loop. The primary looping here, however, is that of the stereotypical behaviour of this zoo animal. This is looped looping. Bear, 2005, is one of the works included in ‘Zoo’...'
 
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GROUP SHOW: 'Universal Experience: Art, Life and the Tourist’s Eye’ (Hayward Gallery, London), Art Monthly, No. 292, Dec-Jan 05-06
 
'Every so often concepts and tendencies in the art world get brushed up and re-circulated under new names; exhibitions get curated, some of the ‘usual suspects’ get shown again, with a few of the "less usual" thrown in, and we are left to wonder what has changed, if anything. "Universal Experience: Art, Life and the Tourist’s Eye" at the Hayward Gallery is that kind of exhibition. This latest re-packaging brings together works that address the phenomenon of global tourism, whilst at the same time being attractions in their own right...'
 
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