Ann Lislegaard, Lea Porsager, Tove Storch
Known as The 111 White Plateaus, the square in front of KØS was created by artist Ann Lislegaard in 2014 in collaboration with landscape architect Sophie Sahlqvist.
The exhibition Experiment 111 is the third in a series of exhibitions held in the square, all made possible by a donation from Bikubenfonden. The title refers to the fact that three of the most distinctive figures on the Danish art scene today, Ann Lislegaard, Lea Porsager and Tove Storch, have accepted KØS’ invitation to share the space, making it their starting point for their own new site-specific works.
Ann Lislegaard’s contribution to the exhibition consists of the words “Come Let Me Show You The Future” written in white neon on the façade of KØS. Who is speaking here? Different words light up in a slow, pulsating rhythm, creating a wealth of changing combinations and sentences.
The sentence ”Come Let Me Show You The Future” is taken from Jeff Noon’s book Pollen: a science-fiction novel about a world where the boundaries between flora, fauna and humankind have become blurred, giving rise to new hybrids and mutations. Lislegaard often uses the science fiction genre as a laboratory where ideas can be tested and new, alternative approaches to our familiar reality can arise.
Born in 1962 in Norway, Ann Lislegaard is a graduate from The Royal Danish Academy of Fine Arts. Her practice takes place on the global scene, for example as Denmark’s representative at the Venice Biennial and with exhibitions in Brazil, Japan and most recently the Gwangju Biennial. Ann Lislegaard is one of Danish art’s finest representatives for video art and computer art executed to the highest technical and artistic standards, but she has also worked with architectural projects for public spaces – including the square in front of KØS and a street in Moss, Norway.
Lea Porsager studied fine art at The Royal Danish Academy of Fine Art in Copenhagen and Städelschule in Frankfurt am Main. Just two years after her graduation, she was invited to take part in the prestigious international exhibition dOCUMENTA(13) in Kassel in 2012, contributing the work Anatta Experiment. Since then she has exhibited prolifically in e.g. New York, Stockholm, Paris, Melbourne and Istanbul.
With VULGUS Lea Porsager has created a sculptural work consisting of 137 purple tongues that almost seem to grow out of the cracks between the white plateaus like autonomous organs growing up from below, independent of the human body, coming forth in crowds like a virus.
As is often the case with Lea Porsager’s art, this work demands open-minded “co-thinking” on the spectator’s part: we must actively see, feel, think and move in order to fully open and access this mysterious, disturbing and powerful work.
The esoteric and mystical significance of the “magic” number 137, the symbolism of the purple colour (luxury, magic and imperial grandeur), and the tongue figure’s references to language, body and logic all serve to establish poignant layers of meaning that inspire spectators to see the potential in alternative outlooks on life and ways of perceiving humankind’s relationship with the world.
Tove Storch (b. 1981) graduated from the Royal Danish Academy of Fine Arts in 2007. Since then she has made a major impact on the art scene in Denmark and abroad, exhibiting in e.g. Brazil, Belgium and the USA, recently completing a residency in New York.
Best known as a sculptor, Tove Storch also works with works on paper and performative approaches. Here she
has taken her starting point in a large reinforced class case made for one of the largest and most prominent plateaus in the square, measuring 3 × 3 × 1.5 metres.
For this display case, which is simultaneously an indoor and outdoor exhibition space, she has created a sculptural work: paintings on silk have been stretched onto iron mounts and placed in layers inside two three-dimensional iron frames.
The work has become a vibrant encounter between the sculptural and the painterly, between the intimate and the hard. It references the many thousands of sketches and preliminary works found in the museum’s storage facilities, but at the same time it plays with many opposites: here, art is exhibited right in the middle of the city, but at the same time it is hidden and well protected behind thick glass.