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Louise Lawler, Fredrik Værslev -
Conceived as a catalogue and an artist's book, the publication offers a deeper insight into the eponymous 2022 exhibition staged at Indipendenza Roma, and explores tensions that can be generated between artworks and their surrounding architectural context, raising questions of taste, value, function and decoration.
Louise Lawler's incisive practice brings to the fore the very means by which value and significance are conferred upon artworks. Her critical strategies reveal the mechanisms by which art is produced, reproduced, consumed to question how we understand issues of authorship, connoisseurship, and meaning. Through emblematic interventions belonging to the series Tracings (2013-present), Adjusted to fit (2010-present), and Paperweights (1988-present) within Indipendenza's rooms, that once served as an apartment, Lawler's works draw our attention to how we organize and present our lives to others.
Deeply invested in the relationship between painting, architecture, and both urban and suburban environments, Fredrik Værslev's serial practice reflects on the conventions, styles, and limits of abstract painting. For this exhibition, Værslev has created a series of site-responsive paintings (2021-22), which are sized to match the doorway dimensions and informed by the palette, materials, texture, and imagery that characterize Indipendenza's spaces. These trompe l'oeil terrazzo paintings mimic the pattern and treatment of the gallery floor designs, yet are marked with drips and swirls suggestive of the ceiling frescoes that interrupt the all-over treatment, playing on the tension between background and foreground, function and decoration, real and faux.
Seen together, works by Lawler and Værslev point beyond their own limits, drawing our eyes to their surrounding spaces, asking how an artwork's context can frame its meaning and vice versa.
The work of Louise Lawler (born 1947 in Bronxville, lives and works in New York) has focused on the presentation and marketing of artwork. Much of this work consists of photographs of other peoples' artwork and the context in which it is viewed. Examples of Lawler's photographs include images of paintings hanging on the walls of a museum, paintings on the walls of an art collector's opulent home, artwork in the process of being installed in a gallery, and sculpture in a gallery being viewed by spectators. Along with photography, she has created conceptual and installation art. Some of her works, such as the "Book of Matches", are ephemeral and explore the passing of time, while others, such as "Helms Amendment (963)", are expressly political.
Louise Lawler's work is presented in an ostensibly clear program, as work on the conditions, procedures, instances of presentation, framing and circulation of works of art. She photographs art and its spaces, but to disturb her skillfully channeled economy of attention span and attachment. Her photographs, her diversified interventions, are defined by defocusing the viewer's attention on the works and drawing it to what surrounds them: an ensemble of set or supple relationships, both persistent and inconsistent, which, although unnoticed as such, in their opaque, elusive interactions, full of contingent contiguities, nevertheless point to specific types of authority and institutional power.
Fredrik Værslev (born 1979 in Moss, Norway, lives and works in Drøbak, Norway) studied at the Staatliche Hochschule für Bildende Künste in Frankfurt and at the Malmö Art Academy, Sweden. He is the director and founder of the Landings Project Space in Vestfossen, Norway. He exhibited in numerous museums and institutions worldwide.
One of the most original voices of contemporary painting, Norwegian artist Fredrik Værslev navigates between different painterly traditions. His practice demonstrates an insistent focus on the painting process that demonstrates the possibilities and relevance of the medium today. His works stem from the meeting between architecture and painting, and take form as painted renderings of motifs from the artist's daily life. He treats his paintings as objects, often created through more or less laborious, serial, or deterministic processes where time itself, as well as various external factors, become active co-creators in the making of the piece. In several series he left his paintings outdoors for long periods of time, allowing the weather and external wear to complete them. Other works employ apparently clichéd techniques, motifs, or art historical quotations (i.e. dripping and splattering). Værslev also challenges the process of painting by freely collaborating with fellow artists or making use of untraditional painting tools, such as spray cans or equipment used to paint roads and sports arenas. Værslev's paintings often shift between abstraction and representation, as can be seen in his breakthrough series, the “terrazzo” paintings, that imitate the visuality of Italian stone floors and at the same time call upon the expressivity and spontaneity of abstract expressionism. The “Canopy” series is reminiscent of modernism and its stripe paintings, but they stem rather from the awnings at the artist's childhood home.
Edited by Pavel Pyś.
Essay by Pavel Pyś.
 
published in November 2024
English edition
22 x 28 cm
 
28.00
 
ISBN : 979-12-80579-49-2
EAN : 9791280579492
 
in stock


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