Andersen's (DK)

Based in Copenhagen, Andersen’s opened in 2005 with a programme focused around Claus Andersen’s German connections; showcasing predominantly the artists in Berlin he was working with at that time, including Anselm Reyle, Olafur Eliasson, and Tomás Saraceno. Today the gallery represents a variety of emerging and established artists from all over the world.

Bredgade 28
1260 Copenhagen K
Denmark
(+45) 53 53 69 29

gallery@andersen-s.dk
andersenscontemporary.dk

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Curated for
CHART

Andersen’s is pleased to participate to CHART 2021 with selected works by gallery artists Esben Weile Kjær, Lilibeth Cuenca Rasmussen, Christian Falsnaes and Nicholas Grafia.

Danish artist Esben Weile Kjær has realised new sculptural works in depiction of his alter-ego, Julian Luxford. The sculptures are in reflective polished polyester and are installed on mirrored plinths. Lilibeth Cuenca Rasmussen has instead worked on a large scale sculpture that will be hanging from the ceiling. Alongside the floating sculpture, it's a series of mirrors which will line across the walls of the booth. Each mirror is engraved with text derived from Cuenca Rasmussen's performances. Christian Falsnaes will be joining Andersen's booth presentation with a performance piece which will be activated upon purchase. Instructions and details will be shared with the buyer, and the piece will be staged following the artist’s guidelines. Informed by literature and research practice in queer, feminist and post-colonial writing, Nicholas Grafia will present newly realised works on canvas. Throughout his multidisciplinary practice, the work of Grafia aims to irritate and subvert established power relations and conventions within his heteronormative western surrounding.

Christian Falsnaes, Time - Line - Movement, 2018 Performance, marker on paper, photo 30 x 42 cm

Lilibeth Cuenca Rasmussen, Hybrid Rituals# 3: Gynophobia, 2020, Epson Premium Luster Photo Paper 260g on dibond, 70 X 103 cm (framed), Edition of 3 + 1 AP

Nicholas Grafia, I See, You See, We Scream (Fear in the Eye of the Beholder II), 2017, Acrylics on Wood, 42 x 29,7 cm

Esben Weile Kjær, Money (Floating Signifier), 2021, Polished polyester, mirrored plinth, H: 200 cm (incl. base)

Esben Weile Kjær (DK)

Spanning sculpture, video and performance, Esben Weile Kjær's work draws on the history of pop culture and pop music to explore themes of nostalgia, authenticity, and generational anxiety. In an attentive though reckless visual language, he investigates today’s event economy, often focusing on the aesthetics of the entertainment industry. His work attempts to not only mimic other cultural modes of performance (such as those found at raves, protests, press conferences) but becomes a performative iteration of pop culture in its own right.

Esben Weile Kjær (b.1992) lives and works in Copenhagen. Kjær is currently enrolled at the Royal Danish Academy of Fine Arts, from which he is due to graduate in 2022. Esben Weile Kjær has exhibited internationally, with recent performances taking place at a number of major European art institutions and festivals.

Money (Floating Signifier)

Polished polyester, mirrored plinth H: 200.00 cm (incl. base)
2021

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Stop (Floating Signifier)

Polished polyester, mirrored plinth H: 200.00 cm (incl. base)
2021

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Mirror (Floating Signifier)

Polished polyester, mirrored plinth H: 200.00 cm (incl. base)
2021

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Untitled

Hand-sawn nylon flags, 160 cm (unframed)
2020

Photo by David Stjernholm

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Performance

Lithography, 37 x 55 cm (framed)
2020

Photo by David Stjernholm

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Power Play

installation view, GL. Strand, Copenhagen, Denmark
2020

Photo by Tobias Valentin

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Campaign

installation view, Museet for Samtidskunst, Roskilde, Denmark
2020

Photo by David Stjernholm

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Hardcore Freedom, installation view, 2020, Copenhagen Contemporary, Copenhagen, Denmark

Christian Falsnaes (DK)

Falsnaes’s works extend from a German-Austrian performance tradition in which radical formats place both the artist and viewers at the centre of the work. His works touch on themes of identity and authority, participation and subjugation as well as power and impotence. He often involves the audience in his works as co-creators of situations, pictures, or videos. The idea being that the audience experience themselves as others see them and adopt a reflected approach to their own behaviour and reactions.

Danish artist Christian Falsnaes (b.1980) lives and works in Berlin. Formerly studying philosophy at the University of Copenhagen, he graduated from the Akademie der bildenden Künste, Vienna, in 2011. Christian Falsnaes’s primary activities are performances in the public space and in exhibition contexts. Quite often, his performances are documented via film footage and later made into video works.
Christian Falsnaes is represented in several collections and has shown internationally. Recent solo shows include Kunstmuseum Krefeld, Bielefelder Kunstverein, Kunstverein Braunschweig, and Kunsthalle Mannheim, all in Germany, ДINAMIKA, Moscow, Russia, arteBA and the Juan & Patricia Vergez Collection, Buenos Aires, Argentina, the Yarat Contemporary Art Space, Baku, Azerbaijan, the 1646, the Hague, the Netherlands, and, at home, at Andersen’s Contemporary and the National Gallery of Denmark, both in Copenhagen.

Time - Line - Movement

Performance, marker on paper, photo 30 x 42 cm
2018

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Lilibeth Cuenca Rasmussen (DK)

Lilibeth Cuenca Rasmussen’s practise is based on performance art, also transformed to different materials and medias as video, photography, sculpture and installations. Cuenca’ productions involve the body, scripted texts, songs; composed music as well as intricate visual elements as costumes used for set design. She gathers, adapts and universalises her narratives in both a critical and humorous approach in regards to issues such as identity, culture, religion, gender and social relations.

Lilibeth Cuenca Rasmussen represented Denmark at the Venice biennale in 2011 with the work Afghan Hound. She lives and works in Copenhagen, Denmark. Lilibeth Cuenca Rasmussen is represented in the following public collections: Horsens Kunstmuseum, Horsens, Denmark; Museet for Samtidskunst Roskilde, Denmark; HeART; Museum of Contemporary Art, Herning, Denmark; KIASMA, Museum of Modern Art, Helsinki Finland; ARoS, Aarhus, Denmark and Statens Museum for Kunst, Copenhagen, Denmark.

Hybrid Rituals# 3: Gynophobia

Epson Premium Luster, Photo Paper, 260g on dibond, 70 x 103 cm (framed), Edition of 3 + 1 AP
2020

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Hybrid Rituals# 2: Hybrid Alt er kun til låns (Everything is for loan)

Epson Premium Luster, Photo Paper, 260g on dibond, 70 x 103 cm (framed), Edition of 3 + 1 AP
2020

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Hybrid Rituals# 1: 23,5°

Epson Premium Luster Photo Paper 260g on dibond, 70 X 103 cm (framed), Edition of 3 + 1 AP
2020

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Nicholas Grafia (DE)

The use of absurdist aesthetics, as well as a theoretical focus on writings on postcolonial issues, the uncanny, the monstrous and post-humanism, have helped Grafia to find a visual language to contemplate his artistic ideas on those matters. Employing non-linear dialogue styles, theatrical disguise, masks and ambiguous physical shapes, throughout his multidisciplinary practice, the work of Grafia aims to irritate and subvert established power relations and conventions within his heteronormative western surrounding.

Nicholas Grafia (b. 1990, Angeles City, Philippines) lives and works in Düsseldorf, Germany. He holds a MFA from the Kunstakademie Düsseldorf and has previously studied at the Kunstakademie Münster, the School of Arts and Cultures in Newcastle, United Kingdom as well as British, American and Postcolonial Studies at the University of Münster. His works and performances were recently exhibited at Shoot the Lobster (New York, US), Museum Ludwig (Cologne, Germany), Tramway (Glasgow, UK), Kunstverein für die Rheinlande und Westfalen Düsseldorf (Düsseldorf, Germany), Dortmund Kunstverein (Dortmund, Germany), Museum of Modern Art (Warsaw, Poland) and BOZAR (Brussels, Belgium).

"I See, You See, We Scream (Fear in the Eye of the Beholder II)"

Acrylics on Wood, 42 x 29,7cm
2017

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Andersen's (DK)

Curated forCHART