Peder Lund (NO)

After a twenty-year period of art dealership, Peder Lund’s extensive work with institutions and collectors in Norway and Scandinavia have enabled him to foster lasting relationships between his clients and internationally acclaimed artists. In November 2009, the decision was made to establish an exhibition programme intending to broaden the dialogue with the general public and enhancing Oslo’s position in the global art consciousness.


Tjuvholmen allé 27
N-0252 Oslo
Norway
(+47) 22 01 55 55

Curated for
CHART

For CHART 2021, Peder Lund wishes to present a highly original, semi-narrative installation, inspired by one of the great photographic images of the twentieth century: Constantin Brâncuși's Vue d'Atelier from 1927. Peder Lund aims to create a kind of architectural setting for the fair to mimic the feeling of a master artist's studio, however, showcasing two- and three-dimensional pieces from some of the best artists to whom we currently have exclusive access in Scandinavia; Constantin Brâncuși (b. 1876, Romania; d. 1957), Liz Larner (b. 1960, US), Paul McCarthy (b. 1945, US), Lucas Samaras (b. 1936, Greece), Ida Ekblad (b. 1980, Norway), Roni Horn (b. 1955, US), Isa Genzken (b. 1948, Germany), Franz West (b. 1947, Austria; d. 2012), and Louise Bourgeois (b. 1911, France; d. 2010)

Ida Ekblad (NO)

Ida Ekblad is one of the most recognised contemporary artists of her generation working today. Her artistic practice comprises a variety of mediums such as painting, sculpture, performance, filmmaking, and poetry. Her work is inspired by a multitude of sources and one can recognise sub- and pop-cultural influences.

Ida Ekblad (b. 1980) participated in the Venice Biennale (2011, 2017), as well as in numerous solo and group exhibitions. Recent solo exhibitions includes Kunsthalle Zurich, Zürich, Switzerland (2019) and Museo Rufino Tamayo, Mexico City, Mexico (2019); Kunstverein Braunschweig, Braunschweig, Germany (2018); Kunsthaus Hamburg, Hamburg, Germany (2017); National Museum of Art, Design and Architecture, Oslo, Norway (2013). In the summer of 2021, Kunstnernes Hus, Oslo, will dedicate a major solo exhibition to Ida Ekblad.

THE GIRLS WILL BRING YOU NIGHTMARES

Oil on linen, in artist's frame, 185 x 145 cm (framed)
2020

Moderna Museet, Stockholm, Sweden
© Ida Ekblad/ BONO 21
Photo: Prallan Allsten © Moderna Museet

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INSECT OF HER EYE

Oil on linen, in an artist's frame, 225 x 185 cm (framed)
2020

Centre Pompidou, Paris, France
Musée national d’art modern
© Ida Ekblad/ BONO 21
Photo by Uli Holz © Peder Lund

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ICE GIRLS

Watercolor on cotton, in an artist's frame, 103 x 81 cm (framed)
2020

Collection of Michi Lund
© Ida Ekblad/ BONO 21, Courtesy the artist and Peder Lund
Photo by Uli Holz © Peder Lund

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METAL MOTHER / CLOTH MOTHER

Oil on linen, 180 x 140 cm
2021

© Ida Ekblad/ BONO 21, Courtesy the artist and Peder Lund
Photo by Uli Holz © Peder Lund

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OCEAN GIRLS

Oil on linen, in an artist's frame, 185 x 145 cm (framed)
2020

Louisiana Museum of Modern Art, Humlebaek, Denmark
© Ida Ekblad/ BONO 21
Photo by Uli Holz © Peder Lund

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BLOOD OPTICS

Installation view
2019

© Ida Ekblad/ BONO 21, Courtesy of the artist and Museo Rufino Tamayo
Galerie Max Hetzler, Karma International, Herald Street and Peder Lund
Photo: Omar Luis Olguin © Museo Rufino Tamayo

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FRA ÅRE TIL OVN

Installation View
2019

© Ida Ekblad/ BONO 21, Courtesy of the artist and Kunsthalle Zürich
Galerie Max Hetzler, Karma International, Herald Street, and Peder Lund
Photo by Annik Wetter © Kunsthalle Zürich

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FRA ÅRE TIL OVN

Installation View
2019

Collection of the National Museum of Art, Design and Architecture in Oslo, Norway
© Ida Ekblad/ BONO 21
Photo by Annik Wetter © Kunsthalle Zürich

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Tortoise With a Sail

Installation view
2019

© Ida Ekblad/ BONO 21, Courtesy of the artist and Museo Rufino Tamayo
Galerie Max Hetzler, Karma International, Herald Street and Peder Lund
Photo by Omar Luis Olguin © Museo Rufino Tamayo

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Champion of the Pacific surf riders and the roadside fast-food industry

Welded and power-coated steel, 100 x 60 x 80 cm
2016

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The simple orange became a huge blazing ball with a benign charm

Welded and powder-coated steel, 95 x 85 x 70 cm
2016

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Portrait of Ida Ekblad by Jacqueline Landvik, 2021 © Ida Ekblad/ BONO 21, Courtesy of the artist and Peder Lund

"I’m interested in the slippery slope that runs from the good taste, the sharp style, the cutting edge aesthetics to the overboard propositions, the tasteless gestures and a deep desperation. Down in the ditch where the all-out grotesque stuff lies. You could say that my work is trying to be all of those things in one go. Or, rather, that whole damn slope. I slide down it all the time, bumping into this and that on the way, going back to the top. Like a Helter Skelter of gesmäck. And paint is sort of the lube."

Ida Ekblad

2021

Installation view, Ida Ekblad, Schloss, 2015 © Ida Ekblad / BONO 21, Courtesy the artist and Peder Lund. Photo by Ida Ekblad

Paul McCarthy (US)

McCarthy's work has been shown in major exhibitions at renowned public institutions, including Hammer Museum, Los Angeles (2020); M Woods Museum, Beijing (2018); The Renaissance Society at the University of Chicago,Chicago (2015); Whitney Museum of American Art, New York (2008); Haus der Kunst, Munich (2005); and Tate Modern, London (2003). He has participated in many international events, including the Whitney Biennial (1995, 1997, 2004); and the Venice Biennale (1993, 1999, 2001). Works by McCarthy are held by major museums and public collections worldwide.

Paul McCarthy (b. 1945, US) is among the most widely influential and important artists of his generation. Since the 1960s, McCarthy has worked within a broad range of artistic expressions, spanning media such as video, performance, painting, drawing, and sculpture. McCarthy is often associated with Wiener Actionism and its brutal and relentless expressions, which sought to attack conformism, conservatism, and the contentment of society. He challenges both his own and the audience's boundaries and invites us to view the ordinary with fresh eyes to discover how illusory and relative our conception of reality is.

Shit Face

Enamel paint, bronze, 97.8 x 59.7 x 55.9 cm
2010-2017

© Paul McCarthy, Courtesy Peder Lund

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Roni Horn (US)

For more than 30 years, Roni Horn has worked with a wide range of media, ranging from photography, drawing, sculptural installations and performance, to artist’s books and text. Horn’s work concerns matters such as the mutable nature of identity and that of the natural world, and the relationship between subject and object in perception of art and nature. Across the multidisciplinary formal approaches she has employed throughout her oeuvre, Horn has remained focused and her subject matters well articulated.

Roni Horn (b. 1955, US) was featured in numerous solo exhibitions including shows organised by the Museum of Contemporary Art in Los Angeles (1990); Kunsthalle Basel (1995) and Centre Georges Pompidou, Paris (2003). A major retrospective was organised by Tate Modern, London, and travelled to Collection Lambert, Avignon, Whitney Museum of American Art, New York, and the Institute of Contemporary Art, Boston (2009-10). Horn’s work is featured in numerous major international institutions and collections including the Guggenheim Museum, New York; Museum of Modern Art, New York; Tate Modern, London; and Centre Georges Pompidou, Paris.

White Dickinson I KEEP AN OTTOMAN IN MY HEART EXCLUSIVELY FOR YOU—

Aluminium and solid cast white plastic, 96.25 x 2.00 x 2.00 in./ 244.47 x 5.08 x 5.08 cm
2006-2007

© Roni Horn, Courtesy Peder Lund

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Liz Larner (US)

Liz Larner received her BFA from the California Institute of the Arts in 1985. Selected solo museum exhibitions include Sculpture Center, Long Island City in 2021, which will travel to The Contemporary Austin and the Walker Art Center; Art Institute of Chicago (2015); Kunsthaus Graz, (2006); and Museum of Contemporary Art, Los Angeles (2001-02). She has been included twice in the Whitney Biennial (2006,1989). Work by the artist is held in prominent international collections, including the Albright-Knox Art Gallery, Buffalo; Dallas Museum of Art; Hammer Museum, Los Angeles; Collecion Jumex, Mexico City; and Los Angeles County Museum of Art.

Since the 1980s, the American installation artist and sculptor Liz Larner (b. 1960) has explored and expanded the possibilities of sculpture by combining geometric formalism with notions of movement and change. Her use of line, color, and shape work to modify and reinvent the formal language of Minimalism, producing new relationships between viewer, sculpture, and the surrounding environment. An inventor of new forms, Larner’s sculptures are not easy to categorize. Larner’s work evokes an exquisite tension through the use of unconventional materials, the manipulation of space, the presence of unexpected color, and the destabilization of monumentality and volume.

Blackbird (inflexion)

Ceramic, glaze, 21 x 34 x 6 in./ 53.3 x 86.4 x 15.2 cm
2020

© Liz Larner, Courtesy Peder Lund

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Blackbird (inflexion)

Ceramic, glaze, 21 x 34 x 6 in./ 53.3 x 86.4 x 15.2 cm
2020

© Liz Larner, Courtesy Peder Lund

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Constantin Brâncuși (RO)

Constantin Brâncuși’s work has been admired since the 1970s. His photographs have been shown at the Kestnergesellschaft in Hannover (2013), Centre Pompidou (2011) and as a central part of the group show at the Museum of Modern Art, New York, (2010). The crowded studio views, with their complexes of overlapping sculptures and chunks of material, as well as their emphatic use of light and shadow, justify the critic and photographer John Coplans’s 1980 view of the photographs as a kind of Cubism, a style antithetical to the compressed, single wholeness of Brâncuși’s sculpture.

Constantin Brâncuși (1876-1957) was a Romanian-born sculptor, who pioneered the extreme simplification of forms. He was born in Hobitza, a village in Romania, and studied at Craiova School of Arts and Crafts, which is where he learned how to carve stone and wood. He had already made a violin, and rapidly gained a reputation for his ability to work with wood. Soon after, he began making wooden furniture before going on to study sculpture at the National School of Fine Arts in Bucharest between 1898 and 1902. He set out for Paris on foot in 1903, and continued his studies at the École des Beaux-Arts in 1905-07.

Vue de l'atelier

Vintage gelatin-silver print (unique), 15 1/3 x 11 1/2 in./ 39 x 29 cm
1927

© Constantin Brâncuși, Courtesy Peder Lund

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Lucas Samaras (GR)

Samaras studied under Allan Kaprow at Rutgers University and at Columbia University, and became a key figure in the Happenings in New York in the late 1950s. Samaras has been the subject of numerous solo exhibitions at institutions including Museum of Modern Art, New York; Whitney Museum of American Art, New York; and Albright-Knox Art Gallery, Buffalo. His work has been represented at three editions of Documenta (1968, 1972, 1977); the Whitney Annual Exhibition (1965, 1968, 1970). He represented Greece at the Venice Biennale in 2009. Samaras’ work is included in more than forty public collections worldwide, including Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Tate Gallery, London; and Whitney Museum of American Art, New York.

Lucas Samaras (b. 1936, Kastoria, Macedonia, Greece), the vastly productive sculptor, photographer,
painter, filmmaker, writer and performance artist has worked in such diverse materials as Polaroid film,
acrylic and oil paint, pastel, aluminium, bronze, clay, fabric, precious metals and stones, razor blades and
pins. Across this large variety of media he has mastered to maintain a distinctively characteristic stylistic
expression over the past six decades, regardless of contemporaneous artistic tendencies.

Woman with Head on Neck III

Gold plated bronze, 13-1/2 x 8-3/4 x 8-1/2 in./ 34.3 x 22.2 x 21.6 cm, Edition 3 of 3
1980

© Lucas Samaras, Courtesy Peder Lund

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Isa Genzken (DE)

Genzken's work has been the subject of major traveling museum surveys, including a major retrospective, which the MoMA New York dedicated to the artist in 2013. Works by Genzken have also been chosen repeatedly to be presented at the Venice Biennale (2015, 2007, 2003, 1993, and 1982) and she also took part three times at documenta (2002, 1992, and 1982). Works by Genzken are held by major museums and public collections worldwide, including the Museum of Modern Art, New York; Rijksmuseum Kroller-Muller, and Otterlo and Stedelijk Van Abbemuseum, Eindhoven.

Isa Genzken was born in 1948 in Bad Oldesloe, Germany. While studying at the renowned Kunstakademie in Düsseldorf in the 1970s, she created large-scale stereometric wooden floor sculptures, which gained her international acclaim early on. In the 1980s, she began making sculptures in plaster and concrete, which have a wide range of sizes – some are small maquettes, while others are monumental in scale. Later, her practice also included painting, and from the 1990s on, she started to experiment with architectural forms in several mediums such as collages, assemblages, and artist books.

Untitled

Wood, mirror foil, plastic figurine, silk kimono, spray paint, brass propeller, 142 x 51 x 47 cm
2015

© VG Bild-Kunst, Bonn

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Franz West (AT)

The Austrian sculptor Franz West (b. 1947, Austria; d. 2012 )began his artistic career in the aftermath of the neo-avant-garde and performance tradition of the 1960s. In his hometown Vienna, the Vienna Actionists performed brutal happenings in the mid-1960s, trying to rid themselves of art’s media, and the material, technical and formal filter that they argued created a distance between art and life. The Vienna Actionists did so by using the body and objects from everyday life as their means of expression. West reacted to these gestures by reworking impulses from contemporaneous American art on the border between happenings, junk sculpture, and pop.

Franz West has had numerous solo and group exhibitions, along with a major survey exhibition opened at the Centre Georges Pompidou, Paris (2018) which travelled to the Tate Modern, London in 2019. His works are also included in numerous important institutional collections such as the Museum of Modern Art in New York, Museum Ludwig in Cologne, and MUMOK, Museum moderner Kunst Stiftung Ludwig, in the artist’s hometown of Vienna.

Paßstück (Adaptive)

Papier-maché, gauze, plastic, wood, 111x 37 x 33 cm / 84 x 10 x 10 cm
2007

© Franz West, Courtesy Peder Lund

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