Torkil Visby Funder
Curated by Anne Mette Schultz
30th April - 19th June
Rul ned for dansk
Shit Digitalis is a show that fabulates about the ceramic tradition as such.
It does so by displaying fired clay in both its domestic and artistic versions, alongside a rather large collection of dried animal excrements.
This gesture points back at the malleable material’s inherent quality of taboos and erotics.
Finally the show presents a set of unstable transitions from this narrative into a trilogy of language, figure and the digital - in the form of print, painting and film.
Shit Digitalis er en udstilling der fabulerer over ler og den keramiske tradition som sådan.
Udstillingen præsenterer således både keramik i sin dagligdags- og kunstneriske form.
I udstillingen indgår en større samling tørrede dyreekskrementer som intuitivt eller barnligt peger på det modulerbare materiales iboende erotiske og tabubelagte konnotationer.
Foruden disse præsenterer udstillingen et sæt af ustabile overgange til
sproget, figuren og det digitale i form af print, maleri og film.
Institut Funder Bakke programmet 2022
er generøst støttet af
Knud Højgaards Fond
Det Obelske Familie Fond
Aage og Johanne Louise Hansens Fond
Boy George, 1984
Brigidas bord/Paradis er et evigt veldækket bord, 2014
Malice in Wonderland, 1982
Animated short film
A jet-propelled white rabbit flies through the vulva of a supine woman into a wonderland where people and objects turn inside out, changing shapes and identities at warp speed. Events roughly follow Lewis Carroll's "Alice in Wonderland." The caterpillar and the queen make appearances, as does Alice. Images and symbols are often sexual. At the end, Alice asks, "Who has had such a curious dream?
Det Stjålne Alfabet, 2001
film about the painter
Bogstavbilleder, 2020 - 2022
The shown included a small selection from the big collection
of dung belonging to and collected by
Torkil Visby Funder
In Comparison, 2009
A documentary about contemporary brick production. Spanning continents and cultures, In Comparison focuses on the brick — that very basic unit of foundation — and traces its contexts, from the collective efforts of a community building a clinic in Burkina Faso, through semi-industrialized mouldings in India, to industrial production lines in Germany, France, Austria and Switzerland
Mavis and Kosmas, 2020.
Hardly noticed, cleaning staff at the art academy mop and scrub the corridors and rooms, five days a week, from 6 a.m. to 9:30 a.m. They also ensure that the trash in the artists’ studios is removed. Much of what is left of making art is thrown into the bins - unless it is recognizable as a work of art or too heavy to carry away. The film puts the cleaners Mavis Adu-Gyamfi und Kosmas Gavranidis in the center of attention: it looks over their shoulder at their work and lets them speak.
Photos by: Felis Dos