V1 Gallery (DK)

V1 Gallery represents a select group of emerging and established artists and is committed to introducing art, in all media, to an international audience. Seeing art as a profound and competent media for social and political discourse, the gallery aspires to serve as a platform for art that interacts with the surrounding society. Today the gallery has two locations in the central meatpacking district of Copenhagen.

V1 Gallery
Flæsketorvet 69
1711 Copenhagen
Denmark
(+45) 33 31 03 21

Curated for
CHART

For CHART 2022, V1 Gallery is pleased to present a curated booth with new works by Marco Pariani, Alicia McCarthy and Thomas Øvlisen. Under the title 'Surface Tension' the artists present three distinct contemporary positions concerned with the development, anchored in art history, of radical visual languages. In addition, V1 Gallery will also be presenting new works on paper by Troels Carlsen in the entrance area leading up to the fair.

Marco Pariani, Floating with My Dog, 2021, oil, acrylic and spray paint on canvas, 84x62 in

Alicia McCarthy, Untitled, Acrylic and spray-paint on canvas, 183x183 cm

Thomas Øvlisen, Feeling Floating Fearing Floating Falling, 2016, polystyrene, fabric, epoxy and auto lacquer, 90x95x100 cm

Troels Carlsen, Lime Riddicule, 2021, Acrylic on collaged vintage archival material in wenge frame with UltraVue glass, 223x161 cm (framed)

Marco Pariani (IT)

The work by Marco Pariani is in constant flux between abstraction and figuration. Titles offer keys to possible doors in the paintings. Gestures, marks, layers, maps, and colour associations encourage mental expeditions. Creation, destruction, beauty, banality, rhythm, and void converge on canvas. A vivid, intuitive language building on deep tradition but offering eclectic and radical possibilities for the future of painterly expression. Subject and object disintegrate, and the works appear as fragmented contemporary contemplations.

Marco Pariani, (b. 1986, Busto Arsizio; IT) lives and works in Brooklyn, NY; US. Recent exhibitions include Screenshot, V1 Gallery, Copenhagen, DK (2021); I Care Because You Do, The Mass Gallery, Tokyo, JP (2021); Marco Pariani, The Journal Gallery, NY, US (2021), and Accrochage, Ribordy Thètaz Gallery, Geneva, CH (2020).

Alligator Pool Boat

Oil, acrylic and spray paint on canvas, 213.5x157.5 cm
2021

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Bird

Oil, acrylic and spray paint on canvas, 183x127 cm
2021

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Old School Dog

Oil, acrylic and spray paint on canvas, 198x150 cm
2021

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Installation view Marco Pariani at V1 Gallery

© V1

 

Floating with My Dog

Oil, acrylic and spray paint on canvas, 84 x 62 in
2021

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INFLATABLE KILLER WHALE

Oil, acrylic and spray paint on canvas, 80 x 64 in
2021

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Installation view Marco Pariani at V1 Gallery

© V1

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"I don’t like to say too much, and I like to put the point of view on something that’s just a part of the painting, it’s fun!"

Marco Pariani

Marco Pariani, Installation view at V1 Gallery

Alicia McCarthy (US)

Alicia McCarthy’s energetic works weave together house paint, colour pencil, liquid graphite, spray paint, and occasional lyrical or understatedly profound phrases. Drawn to the discarded, everyday items sheared from their original intent are appropriated and abandoned wood is scouted and repurposed as a foundation. Combining various abstract gestures while maintaining a very physical presence, they are subtle, radiant, complex and emanate an immediate and honest energy. McCarthy is one of the core figures of what is known today as “The Mission School” together with Barry McGee, Margaret Kilgallen, Ruby Neri and Chris Johanson, named after San Francisco’s Mission District where the artists lived and worked in the 1990s. The group came together around independent music, skateboarding, graffiti, community driven projects, queer politics and zine publishing, and was perpetuated in the seminal traveling exhibition Beautiful Losers (curated by Aaron Rose and Christian Strike), now also a documentary of the same title.

Alicia McCarthy (b. 1969, Oakland, CA;US) McCarthy received a BFA from San Francisco Art Institute in 1994 and an MFA from the University of California at Berkeley in 2005. McCarthy has exhibited across America and internationally. Recent major exhibitions include Jack Hanley, New York, US (2021); Berggruen Gallery, San Francisco, US (2020); Alice Gallery, Brussels, Belgium (2019); Wexner Center for the Arts, OH, US, (2019); The Berkeley Art Museum, CA, US (2018), and SFMoMa, SF, US (2017). Her works have been permanently acquired by MIMA the Millennium Iconoclast Museum of Art in Brussels, American Academy of Arts & Letters in New York City, Facebook Headquarters in Menlo Park, CA and Oakland Museum of California.

Untitled

Acrylic and spraypaint on panel, 61 x 61 cm

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Untitled

Acrylic and spray-paint on canvas, 183x183 cm
2022

Photo by Jan Søndergaard

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Untitled

Acrylic and colored pencil on panel, 120 x 120 cm

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Untitled

Acrylic and coloured pencil on panel, 120x120 cm
2022

Photo by Jan Søndergaard

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Installation View

V1 Gallery
2022

Photo by Jan Søndergaard

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Installation view

at V1 Gallery
2022

Photo by Jan Søndergaard
Courtesy of V1 Gallery

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Installation View

V1 Gallery
2022

Photo by Jan Søndergaard

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Alicia McCarthy, Installation view at V1 Gallery, 2022
Photo by Jan Søndergaard
Courtesy of V1 Gallery

Thomas Øvlisen (DK)

Thomas Øvlisen works in the interstices between painting, sculpture and installation, often using discarded materials in combination with industrial metals, plastics and lacquers. Deploying figuration and abstraction in equal measure, Øvlisen’s practice of gestural mark-making pits symbols of nature against the indexes of postindustrial life, transforming our cultural and material detritus into timely, and at times humorous and even optimistic comments on contemporary culture.

Thomas Øvlisen, (b. 1974, Copenhagen; DK) He holds a BFA from Rhode Island School of Design. Recent exhibitions include Anden stjerne til højre, 2021, Nikolaj Kunsthal, Copenhagen, DK; Variations in Blue, 2019, V1 Gallery, Copenhagen, DK; See A Penny, 2017, Klaus Von Nichtssagend Gallery, NY, US; Techno Fossil Tumbleweed, 2017, Eighteen, Copenhagen, DK, and Knud, 2016, Sade, Los Angeles, CA, US.

Falling Feeling Fleeting Fearing Floating

Polystyrene, fabric, epoxy, and auto lacquer, 90 X 95 X 100 CM
2016

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Feeling Fleeting Fearing Floating Falling

Polystyrene, fabric, epoxy, and auto lacquer, 90 X 95 X 100 CM
2016

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Techno Fossil Tumbleweed

Installation view
2017

Photo by Jan Søndergaard

 

THE POWER OF THE UNIVERSE (back)

Polystyrene foam, fabric, fiber glass, epoxy and auto paint, 245 x 60 x 5 cm
2013

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THE POWER OF THE UNIVERSE (front)

Polystyrene foam, fabric, fiber glass, epoxy and auto paint, 245 x 60 x 5 cm
2013

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Thomas Øvlisen, Anden Stjerne til højre, 2021, Nikolaj Kunsthal, installation view with the artist, photo by Jan Søndergaard

Troels Carlsen (DK)

Over the last two decades, Troels Carlsen has developed a painting- and collage practice, in which canonical art historical subjects are transferred to otherworldly realms. Incorporation 19th century anatomical drawings into his work, Carlsen’s collages are visceral assemblages of hybrid figures – too intentional and deliberate to be labeled Surrealist. Carlsen’s archival impulses which connect seemingly disparate references spring from his nearly forensic interest in how images are made, and how our understanding of the world is constituted by images in a symbolic as well as a literal, bodily sense. Carlsen’s interest in image creation explores how we recognize- and idealize both ourselves and others.

Troels Carlsen (b. 1973, Copenhagen; DK) Recent exhibitions include Bloomerang, Eighteen, Copenhagen, Denmark (2021); Comedia, Jarmuschek + Partner, Berlin, Germany (2020); Reverie, Eighteen, Copenhagen, Denmark (2019); Atlas, Jarmuschek + Partner, Berlin, Germany (2018); From the Well of Components, Politikens Forhal, Copenhagen, Denmark (2017); Otherworld, Eighteen, Copenhagen, Denmark (2017); The Remains of Disappearance, Fondazione Aldega, Amelia, Italy (2015), and Insight & Illusion, Skive Museum, Skive, Denmark (2015).

The Banana Split

Acrylic on collaged vintage archival material in wenge frame with UltraVue glass, 223x161 cm (framed)
2021

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Lime Riddicule

Acrylic on collaged vintage archival material in wenge frame with UltraVue glass_223x161 cm (framed)
2021

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Lived Experience II

Acrylic on collaged vintage archival material in wengé frame with Ultravue glass_68x66 cm (framed)
2021

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Bloomerang

Installation view at Eighteen
2021

Photo by Jan Søndergaard

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Bloomerang

Installation view at Eighteen
2021

Photo by Jan Søndergaard

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Troels Carlsen, Bloomerang, 2021, Installation view at Eighteen

Photo by Jan Søndergaard