Worn through Rain, but fuck Concrete. P inside me

Worn through Rain, but fuck Concrete. P inside me

 

Marianne Skaarup

 

24.08 - 09.09.2017

Foto: Marianne Skaarup

Rækker ud efter tegningens ontologi. Mulighedsbetingelser for et billedes fremkomst. En søgen efter et billede, der retfærdiggør sig selv.

 

En tilgang fokuseret omkring at påvirke, markere og danne spor på papiret og hvor billedet blot fremkommer som konsekvens af bevægelser og genstande absorberet ind i papiret under vand. Papirerne efterlades i kar med vand og blæk gennem dage eller uger.

 

Her dannes linjer som konsekvens af destruktion,

opløsningen er værkets natur og betingelse.

 

Årsag og bevaring bliver et – herved tegningen som ruin.

De våde tegningers tyngde anvendes til at støbe og forme dem. Idet jeg hænger den våde tegning, står jeg og bevidner dens langsomme kollaps om et skelet af snor.

 

Fysisk håndtering af tegningen. Tegningen som et vidne, en hukommelse, der holder alle de handlinger som den har været udsat for.

 

Billedet udgraves under det sorte vand.

 

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Den nordiske ambassade proudly presents the exhibition Worn through Rain, but fuck Concrete. P inside me by Marianne Skaarup.

 

Marianne Skaarup (b. 1985, DK, MFA Malmö Art Academy, SE, 2015) is primarily a sculptor, but her practice is as well focused on drawing and video.

 

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Worn through Rain, but fuck Concrete. P inside me

 

 

Reaching for the ontology of drawing. Conditions of possibility for an image to appear. A search for an image that justifies itself.

 

An approach where the focus is on influencing, tracing, marking the paper and where the image occurs merely as a consequence of movements and objects absorbed into the paper under water. The papers are left in pools of water and ink for days or weeks.

 

Here lines are formed as a consequence of destruction,

dissolution is the nature and condition of the work.

 

Cause and preservation becomes one – hence the drawing as ruin.

The heavy weight of the wet papers is utilized for molding and shaping them. As I am hanging the wet drawing I am standing and witnessing its slow collapse upon a skeleton of strings.

 

Physical handling of the drawing. The drawing as a witness, a memory, carrying all actions it has been exposed to.

 

The image is excavated under black water.