Gaia Alessi
Art & Language
Fiona Banner
Robert Barry
Joseph Beuys
Pierre Bismuth
David Connearn
Geoff Cox
Matthew Crawley
Martin Creed
Angela de la Cruz
Tacita Dean
Barry Flannagan
Ceal Floyer
Peter Fraser
Margarita Gluzberg
Gilbert & George
Liam Gillick
Kristján Gudmundsson
Graham Gussin
Hans Haake
Nancy Holt
Douglas Huebler
Dean Hughes
Alex Ingram
Yves Klein
Gerhard Lang
Jeremy Millar
Tatsuo Miyajima
Jonathan Monk
Gabriel Orozco
Victoria de Rijke
Hayley Skipper
Robert Smithson
Hiroshi Sugimoto
Slaven Tolj
Keith Tyson
Sophie Weeks
Lawrence Weiner
Andrew Weir
Ian Wilson
Keith Wilson
Carey Young
In the new Malmo’s Center for Contemporary Art. Nothing presents the idea of nothing as a substantial artistic subject. In the midst of a flurry of debates about the mathematical history of zero, artists also have a history of exploring visual, playful and philosophical approaches to the void, invisibility, and absence.
The new activities of Malmö’s Center for Contemporary Art
Nothing presents the idea of nothing as a substantial artistic subject.
In the midst of a flurry of debates about the mathematical history of
zero, artists also have a history of exploring visual, playful and
philosophical approaches to the void, invisibility, and absence.
A major concern for artists in the 1960’s and 1970’s was questioning
the idea of what we see before us. They examined the part that
material qualities play in supplying evidence of an artwork that may
exist purely in the imagination. Artists Robert Barry and Douglas
Heubler made work that expanded the notion of sculptural space.
More recently artists have tested and parodied these works and ideas.
Keith Tyson’s telepathic invitation to collaborate - resulting in a blank
canvas and Pierre Bismuth’s blue wall a slightly different colour blue
that you can’t see. These artists make playful homage to Robert
Barry’s telepathic piece, made in 1969, and Yves Klien’s patented
colour International Klein Blue. Tacita Dean’s sound work Trying to find
the Spiral Jetty is a recent recording of her search for Robert
Smithson’s land sculpture in Great Salt Lake, Utah, USA, 1970, now
submerged.
Creative processes are often about making something out of nothing or
nothing out of something. Ceal Floyer’s Garbage Bag, 1996, a bin liner
placed in the corner of the gallery and Angela de la Cruz’s Nothing
(Blue),1998 a scrumpled up canvas, contrast relative values of the
material and the idea. Matthew Crawley investigates ideas of nothing.
His work A Film of me hiding in the bushes, 1996, which is just that,
offers a playful incite into the faith of invisibility. By constructing a
column in the gallery Gaia Alessi explores architectural invisibility and
the value and description of empty space. In this way ‘nothing’ is a
frame of reference and only exists if you are not looking for it. The
phrase ‘there’s nothing there’ is a value judgement.
Participating artists: Gaia Alessi, Art & Language, Fiona Banner,
Robert Barry, Joseph Beuys, Pierre Bismuth, David Connearn, Geoff
Cox, Matthew Crawley, Martin Creed, Angela de la Cruz, Tacita Dean,
Barry Flannagan, Ceal Floyer, Peter Fraser, Margarita Gluzberg,
Gilbert & George, Liam Gillick, Kristján Gudmundsson, Graham
Gussin, Hans Haacke, Nancy Holt, Douglas Huebler, Dean Hughes,
Alex Ingram, Yves Klein, Gerhard Lang, Jeremy Millar, Tatsuo
Miyajima, Jonathan Monk, Gabriel Orozco, Victoria de Rijke, Hayley
Skipper, Robert Smithson, Hiroshi Sugimoto, Slaven Tolj Keith Tyson,
Sophie Weeks, Lawrence Weiner, Andrew Weir, Ian Wilson, Keith
Wilson and Carey Young.
The exhibition catalogue includes texts and images by 80 artists and
writers. Published in collaboration with NGCA and August Media.
Nothing is supported by:
Arts Council of England, British Council, City of Sunderland, Northern
Gallery for Contemporary Arts
Johan Svensson in the Project Room
Johan Svensson lives in Malmö and graduated from the Art Academy
here in 2000. Since then, he has shown a series of exhibitions in
Scandinavia and was awarded a three month studio grant at
Suomenlinna in Finland. His show at the Rooseum continues the
policy of encouraging emerging artists to produce new, ambitious work
for our project room.
Johan Svensson works with sculptures, drawings and objects to tell
narratives that are often allegorical or surrealist. His work can reference
famous and infamous personalities, places, signs and events taken
from history and contemporary debates. In his presentations the
subjects are liberated from their original situation to create a world
where new combinations emerge.
In the Rooseum Project Room, an enormous sugar landscape is
scattered over the floor, covered with a swarm of nasty, deformed
insects. Nailed to their hard little bodies are well known trademarks:
McDonalds, VW, Marlboro, Nike, Toyota, Mercedes, BMW, Calvin
Klein and Shell. The work becomes a creepy, slightly sickening vision
of a version of our consumer paradise, parodied by an overabundance
of sweetness.
Fredrik Roos Konstnärsfond’s grant, 2001: Petra Jensen
The Rooseum is happy to announce the award of the Fredrik Roos
Konstnärsfond 2001 and a small exhibition of the winner, Petra Jensen.
For further information and pressmaterial contact Helena Trenk
ROOSEUM PROVISORIUM
Malmö’s Center for Contemporary Art Gasverksgatan 22, PO Box 4097, 203 12 Malmö, Sweden
phone: +46 (0) 40121716 fax: +46 (0) 40304561