Galleri Susanne Ottesen (DK)

Galleri Susanne Ottesen was founded in 1983 by Susanne Ottesen and is one of the pioneering galleries in Denmark to champion a generation of local and international contemporary artists, each with a radical and distinctive approach to the possibilities of art.

Curated for
CHART

For CHART 2022, Galleri Susanne Ottesen is proud to present a group exhibition focusing primarily on painting and sculpture. The booth is carefully curated to reflect the gallery’s nearly four decades-long history of representing and collaborating with both well-established and emerging artists, with Nordic as well as international profiles. Exhibited artists will include Nanna Abell (b. 1985, DK), Jean-Marc Bustamante (b. 1952, FR), Jiri Georg Dokoupil (b. 1954, CZ), Helmut Federle (b. 1944, CH), Olav Christopher Jenssen (b. 1954, NO), Nina Nowak (b. 1984, PL/DE), and Marie Søndergaard Lolk (b. 1981, DK).

Jean-Marc Bustamante, Folle esparance, 2021, ink, colour pigments, acrylic, varnish, on gesso coated panel, 140 x 198 cm. Photo by Stine Heger

Jiří Georg Dokoupil, Untitled, 2016, acrylic, soap and pigment on canvas, 145 x 96 cm

Nanna Abell, THERE IS NOTHING A PERSON CANNOT LOVE (*Ariana Reines), 2021, oil barrel, 10 x 62 x 105 cm. Photo by David Stjernholm

Nina Nowak, A Timeline Starting on the Surface, the material world part 2, 2020, marl, copper oxid, galvanized steel pipes, powder coated steel, plastic basin, water, plastic bags, soil, dimensions variable. Photo by Stine Heger

Olav Christopher Jenssen, Another Pale Afternoon – The Post-Rubicon Paintings No. 20, oil on canvas, 2021, 275 x 255 cm. Photo by Stine Heger

Helmut Federle, Ohne Titel, 1982, pencil on paper, 25,4 x 20,2 cm. Photo by Markus Wörgötter, courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder

Marie Søndergaard Lolk, Untitled, 2021, acrylic, marker pen and textile on foamboard and canvas, 140 x 310. Photo by Malle Madsen

Nanna Abell (DK)

Nanna Abell’s sculptural practice is often astonishing. Bringing together over-, mis-, or unused objects, Abell builds up assemblages of ready-mades that are filled with contradiction and surprise. The artist appropriates objects, removing existing context by altering their forms. In doing so, the sculptural elements enter a dialogue with each other while maintaining references to their original context. With this method, Abell often explores themes of contemporary consumer culture, luxury, and seduction. Abell will also present a site-specific work at Tivoli Gardens, Copenhagen for CHART 2022.

Nanna Abell (b. 1985) lives and works in Vordingborg, Denmark. In 2014, Abell was awarded a grant of from Nils Wessel Bagges Kunstfond. Besides Denmark, she has exhibited in Belgium, Germany, Sweden, the UK the USA, and Mongolia. The artist is represented in the public collections of Horsens Kunstmuseum, New Carlsberg Foundation, and Copenhagen Municipality, Denmark.

DIFFERENCE IS MEANT TO BE COMEDY (*Ariana Reines)

Hay turner, 122 x 450 x 150 cm
2021

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Galassia

Magazine page, studio foliage, 35 x 26 cm
2020

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This side of PARADISE

Magazine page, studio foliage, 43,5 x 37 cm
2020

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21°C

Extractor head, down jacket, 75 x 60 x 50 cm
2018

Photo by Mimesis foto

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Flâneur Forever

Swimming suit, mortar mixer, magazine, 135 x 28 31 cm
2018

Photo by Mimesis foto

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B-LOONY

Site specific installation at University Collage Copenhagen
2019

Photo by Kim Høltermand

 

B-LOONY

Site specific installation at University Collage Copenhagen
2019

Photo by Kim Høltermand

 

Nanna Abell, THERE IS NOTHING A PERSON CANNOT LOVE (*Ariana Reines), 2021, oil barrel, 10 x 62 x 105 cm. Photo by David Stjernholm

Jean Marc Bustamante (FR)

Jean-Marc Bustamante is acclaimed for his large-scale landscape photographs and semi-conceptual works though in recent years, however, the French artist has turned towards painting. Bustamante has produced an impressive body of work, some of which the gallery proudly presents for CHART. His latest paintings carry a sense of immediacy and lightness, much like his drawings do. At the same time, the works, painted on gesso coated panels, have an especially tactile, almost sculptural quality to them.

Jean-Marc Bustamante (b. 1952) lives and works in Geneva, Switzerland. He represented France at the Venice Biennale, 2003, and participated in the Sao Paolo Biennale, 1994 and in Documenta 8, 9, and 10. He is represented in the public collections of Louisiana Museum of Modern Art, Denmark; Centre Pompidou, France; and the MET, USA.

Calme Blanc

Ink, colour pigments, acrylic, varnish, on gesso coated panel, 98 x 140 cm
2020

Photo by Stine Heger

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Triple victoire

Ink, colour pigments, acrylic, varnish, on gesso coated panel, 98 x 140 cm
2020

Photo by Stine Heger

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Le soleil qui se noire dans son sang qui se fige

Ink, colour pigments, acrylic, varnish, on gesso coated panel, 98 x 140 cm
2020

Photo by Stine Heger

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T.11.01 (Japan)

C-print on aludibond, 120 x 280 cm
2001

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Amazone T.C.B.2.02

C-Print, 230 x 180 cm
2003

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Jean-Marc Bustamante, Folle esparance, 2021, ink, colour pigments, acrylic, varnish, on gesso coated panel, 140 x 198 cm. Photo by Stine Heger

Jiří Georg Dokoupil (CZ)

Being part of the German “Jungen Wilden” movement in the late 1970s, Czech artist Jiří Georg Dokoupil has developed radically distinctive approaches to non-figurative painting, without restricting his practice to one coherent style. Dokoupil’s “Soap Bubble-Paintings” are an excellent example of his diverse and innovative image-making techniques. The artist makes the pigment-filled soap bubbles burst on the surface of the canvas producing an almost photographic quality which becomes animated by the changing light.

Jiří Georg Dokoupil (b. 1954) lives and works between Berlin, Germany, Prague, Czech Republic, Madrid, Spain, and Rio de Janeiro, Brazil. In 2012, he was awarded the Lovis-Corinth-Prize. He is represented in the public collections of Hammer Museum, USA; CAC Málaga, Spain; Centre Pompidou, France; The National Museum of Contemporary Art, Korea and Horsens Kunstmuseum, Denmark.

Untitled

Acrylic, soap and pigment on canvas, 145 x 96 cm
2016

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Untitled

Acrylic, soap and pigment on canvas, 50 x 60 cm
2013-2016

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Green bubbles on white

Acrylic, soap and pigment on canvas, 200 x 145 cm
2013

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The very last remains

Acrylic, soap and pigment on canvas, 115 x 95 cm
2013

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Untitled

Acrylic, soap and pigment on canvas, 115 x 95 cm
2013

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Untitled

Acrylic, soap and pigment on canvas, 200 x 145 cm
2014-2018

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Jiří Georg Dokoupil, In love, 2013, acrylic, soap and pigment on canvas, 95 x 115 cm

Helmut Federle (CH)

Helmut Federle’s artistic practice is informed by philosophy, spirituality, and a fascination with nature. The Swiss painter has long worked within the tradition of geometric abstraction and often explores the relationship between balance and imbalance, symmetry and asymmetry, and order and disorder. Most recently, Federle has produced a series of modestly sized canvases which carry a more diffused and hazy quality.

Helmut Federle (b. 1944) lives and works between Vienna, Austria and Camaiore, Italy. He represented Switzerland in 1997 at the Venice Biennale, 1997. He is represented in the public collections of Tate Modern, UK; Museum of Modern Art, USA; Centre Pompidou, France; Louisiana Museum of Modern Art, Denmark; National Gallery of Australia and Moderna Museet, Sweden.

Ohne Titel

Pencil on paper, 25,4 x 20,2 cm
1982

Photo by Markus Wörgötter, courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder

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Frau mit Halbmond und heraushängender Zunge (For Picabia)

Acrylic, silver paint on paper, 28,7 x 20,8 cm
NY 82, Nov. 30, Genève, Juli 83, 1982-1983

Photo by Markus Wörgötter, courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder

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Two Men; one with an erection

Pencil, colored pencil on paper, 28 x 21,5 cm
1982

Photo by Markus Wörgötter, courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder

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Nachbarschaft der Farben (23.8.96) Struktur

Crayon on paper, 29,5 x 41 cm
1996

Photo by Markus Wörgötter, courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder

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Wild Geese by a Marshy River

Acrylic on canvas, 70 x 50 cm
2008

Photo by Markus Wörgötter, courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder

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Helmut Federle, Nachbarschaft der Farben (22.9.97), 1997, crayon on paper, 29,5 x 41 cm

Photo by Markus Wörgötter, courtesy Galerie nächst St. Stephan Rosemarie Schwarzwälder

Olav Christopher Jenssen (NO)

Olav Christopher Jenssen is one of Norway’s most acclaimed and exhibited contemporary artists with a broad international audience. The artist is especially renowned for his renewal of abstract painting. Abundance, excess and saturation characterise Jenssen’s latest series of canvases, titled Another Pale Afternoon/The Post-Rubicon Paintings. The smaller landscape paintings are especially dense and expressive, while the larger works from the series unfold a specially contemplative universe of painterly opulence.

Olav Christopher Jenssen (b. 1954) lives and works between Berlin, Germany and Lya, Sweden. He is represented in the public collections of MoMa, NY, USA; Moderna Museet, Sweden; The National Museum of Art, Architecture and Design, Oslo, Norway; The National Gallery of Denmark (SMK), Denmark; Kiasma, Helsinki, Finland; Preussischer Kulturbesitz, Germany; Centre Pompidou, France, among many others.

Another Pale Afternoon – The Post-Rubicon Paintings No. 20

Oil on canvas, 275 x 255 cm
2021

Photo by Stine Heger

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Another Pale Afternoon – The Post-Rubicon Paintings No. 02

Oil on canvas, 195 x 185 cm
2021

Photo by Stine Heger

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Another Pale Afternoon – The Post-Rubicon Paintings No. 03

Oil on canvas, 195 x 185 cm
2021

Photo by Stine Heger

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Another Pale Afternoon – The Post-Rubicon Paintings No. 08

Oil on canvas, 51 x 86 cm
2021

Photo by Stine Heger

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Another Pale Afternoon – The Post-Rubicon Paintings No. 16

Oil on canvas, 51 x 86 cm
2021

Photo by Stine Heger

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Another Pale Afternoon – The Post-Rubicon Paintings No. 19

Oil on canvas, 51 x 86 cm
2021

Photo by Stine Heger

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Another Pale Afternoon – The Post-Rubicon Paintings No. 11

Oil on canvas, 51 x 86 cm
2021

Photo by Stine Heger

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Olav Christopher Jenssen, Another Pale Afternoon – The Post-Rubicon Paintings No. 15, oil on canvas, 2021, 51 x 86 cm. Photo by Stine Heger

Nina Nowak (DE/PL)

In her artistic practice, Nina Nowak explores the relationship between animate and inanimate matter. Nowak is especially drawn to what she refers to as the “borderlands”, the distinction between living and non-living matter. Informed by anthropology, literature, history and biology, Nowak has developed a practice that is at once research based and materially dedicated. The installation as a functional set-up for different processes of material transformation, and the functional object as an extension of the human body, are recurring themes in her work.

Nina Nowak (b. 1984) lives and works between Belin, Germany, Maastricht, The Netherlands and Copenhagen, Denmark. In 2018, Nowak was awarded a one-year grant program by Stiftung Kunstfonds Bonn. In 2017, the Ministry of Culture and Science of the State of North-Rhine Westphalia supported her work with an individual working grant. The artist is represented in the collection of Horsens Kunstmuseum, Denmark.

A Timeline Starting on the Surface, the material world part 2

Marl, copper oxid, galvanized steel pipes, powder coated steel, plastic basin, water, plastic bags, soil, dimensions variable
2020

Photo by Stine Heger

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Vertical Timeline, HypoReh.tB3000 (machine part 2/3)

Print on architectural paper, powder coated metal bar, 107 x 183 cm
2021

Photo by Stine Heger

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Untitled (machine part 3/3)

Powder coated steel, galvanized pipes, water tank, fuel, vulcanizing tape, hoses, 410 x 245 x 260 cm
2021

Photo by Stine Heger

 

And Now, Up in the Air! (machine part 2/3)

Powder coated steel, concrete, pneumatic pump, foil, tape, 57 x 67 x 371 cm
2021

Photo by Stine Heger

 

Protesen

Pigment, polyester cast, 15 x 19 x 13 cm
2013

Photo by David Stjernholm

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Meet me at the Beach/MMAB

Series of silkscreen prints, puff-ink and sand printed on organza fabric, 500 x 135 cm
2021

Photo by Morten Jakobsen

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Meet me at the Beach/MMAB

Series of silkscreen prints, puff-ink and sand printed on organza fabric, 500 x 135 cm
2021

Photo by Morten Jakobsen

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Nina Nowak, A Timeline Starting on the Surface, the material world part 2, 2020, marl, copper oxid, galvanized steel pipes, powder coated steel, plastic basin, water, plastic bags, soil, dimensions variable. Photo by Stine Heger

Marie Søndergaard Lolk (DK)

Marie Søndergaard Lolk primarily works with painting and does so with a radically unconventional approach to the medium. Through exploring and combining unexpected materials and textures, her newer works often carry a special paleness and opacity with them. The images thus composed are fragile and elusive, yet they simultaneously constitute a peculiar universe which is still and attentive.

Marie Søndergaard Lolk (b. 1981) lives and works in Copenhagen, Denmark. In 2017, Søndergaard Lolk was awarded the Franciska Clausen Medal; in 2013, the Danish Art Council’s 3 Year Work Grant; and in 2010, the Carnegie Art Scholarship Award. The artist is represented in the public collections of The National Gallery of Denmark (SMK), New Carlsberg Foundation, and Copenhagen Municipality, Denmark; and Malmö Kunstmuseum, Sweden.

Untitled

Acrylic, marker pen and textile on foamboard and canvas, 140 x 310
2021

Photo by Malle Madsen

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Untitled

Acrylic on self-adhesive paper, 100 x 140 cm
2020

Photo by David Stjernholm

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Untitled

Acrylic on self-adhesive paper, 9,5 x 58, 5 cm
2020

Photo by David Stjernholm

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Untitled

Acrylic on wooden board, 149 x 127 cm
2016

Photo by Anders Sune Berg

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Untitled

Painted card paper, 60 x 65 cm
2020

Photo by David Stjernholm

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Untitled

Painted mdf and painted foam board, 140 x 100 cm
2020

Photo by Stine Heger

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Untitled

Acrylic on board, 273,5 x 103 cm
2020

Photo by David Stjernholm

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Marie Søndergaard Lolk, Untitled, 2020, acrylic on foam board, 40 x 100 cm

Photo by David Stjernholm