14.10.14 – 29.11.14

Chain on Chain

 

There is that often quoted line by Buckminster Fuller, typically cosmic in its outlook, which declares that ‘there are no straight lines in the universe’. Oscar Niemeyer wrote something similar about his ambivalence to the hard angle in his Poema da Curva. The difference between constructed form - that is those made industrially at the initiation of man - and organic form, lies at the heart of Camilla Løw’s modular, often playful, concrete and steel, glass and fabric sculptures.


Recently the Glasgow-educated, Oslo-based, artist has begun to make this interest explicit. Take the 2013 installation One Night Only, a series of cast concrete floor-based objects, each taking a different simple angular shape as its form — a trapezoid for example, a pentagon — all smooth in polished surface, bar a small hollow on the top. They are aesthetically pleasing, tactile, blocks in there own right: they ask one to consider the space that their heftiness is taking up. They are both blocks and blockages of space.

 

Yet Løw glosses such meditations on the innate physicality of the sculptures with a further, social, humanistic, layer. Brightly, gaily, sprouting from the top of one concrete lump is a huddle of planted flowers. The delicate, organic variation of their petals, and messiness of their untameable stalks, grow at odds with the precision lines of the container. The flowers give the sculpture a pragmatic purpose: a suggestion of the municipal furniture of the city, of public space and human desire. The flowers elevate the work beyond minimalism and into everyday life.


It is with this understanding that we can evaluate much of Løw’s recent work. Take her solo exhibition in 2013 at Elastic Gallery, Malmø. As well a series in which similar concrete blocks are rested on wall-hung oak frames, inducing thoughts of the domestic design, the exhibition also included Fever, a floor-based metal sheet leant on the gallery wall. Yet the pleasing pristine spray-painted yellow surface has being disrupted by a series of gauged incisions. It’s a violent, perhaps passionate work, purposely at odds with the lineage of art history the unharmed sheet might have sought after.

 

The artist will frequently use cord too — teasing the viewer with the imprecision of the material — strung up with different types of knots. In Joy (2009) for example, in which a platted multicoloured rope droops low in a loop from a white frame, the question of the artist’s control arises. The exact, immobile placement of the latter; placed with purpose, at odds with the seeming arbitrary hang of the latter. It’s this minimalist aesthetic and formalist materiality, combined with an interest in human interaction; that marks the artist out.


For her forthcoming exhibition at Belmacz, London, Løw will take this theme further, utilising this unique setting to experiment with lines of sight and the demarcation of space, to question how we interact with objects within a spatial environment. Hanging planes of colour - both opaque and transparent - will colonise the space, alternatively obstructing and revealing the interior architecture of the gallery. As the viewer manouvers around the sculptures, looks through them, looks around them, the work gives rise to the fundamental question of whether art lies within the intrinsic object, or within the viewer’s activation of the material.

 

Camilla Løw was born in 1976 in Norway. She graduated from Glasgow School of Art in 2001, and is currently living and working in Oslo.

 

Recent solo exhibitions include The Space of Shape-Time at the National Museum of Art, Architecture and Design, Oslo and Spring Rain, ELASTIC Gallery, Malmö (2013), New Ruins, Bergen Kunsthall No.5 (2008) and Straight Letters, Dundee Contemporary Arts / Piers Arts Centre, Orkney (2008). Recent group shows are Dumb Rocks, Belmacz Gallery, London (2013), The Thing (2009), curated by Dieter Roelstraete, MuKHA, Antwerp, Constructivismes, Almine Rech, Brussels (2009), Almost Always is Nearly Enough, Standard, Oslo (2009), Idealismussstudio, Grazer Kunstverein; Standard Sizes (2008) and Dump: Postmodern Sculpture in the Dissolved Field, The National Museum of Art, Architecture and Design, Oslo (2007).

 


The Glasgow School of Art Development Trust

 

Belmacz & Camilla Løw are passionate about Glasgow School of Art from where Camilla graduated in 2001. Anyone who would love to help can contribute to the collection for the historic Mackintosh building.

 

Donations can be made in the following ways:

 

Cheques can be made out to:

The Glasgow School 
of Art Development Trust

 

Donations can be made via The Big Give:

https://secure.thebiggive.org.uk/projects/view/21296&run-search&search=de798379-2bc9-45f2-8520-70487fabf845

 

Other ways to support can be found here:

http://www.gsa.ac.uk/support-gsa/the-mackintosh-appeal/how-to-support-the-mackintosh-appeal

 

 

 

 

 


10.09.14 – 07.12.14

Fourth Drawer Down at The Small Collections Room, Nottingham Contemporary

 

Julia Muggenburg is pleased to announce the exhibition Fourth Drawer Down which was conceptualised for The Small Collections Room.


Muggenburg is interested in how art, self-adornment, objects of virtue or general use, historic and archaeological finds inform one another to give a kaleidoscopic view of life in what she terms as eccentric Britain.


The title of the show stems from the second album of the Scottish band The Associates, released in 1981.


Muggenburg explores the notion of constructed identity through her personal collection as well as the mechanism of the Wunderkammer as a contemporary idea and method of display. The collection reflects upon the intersection between art and anthropology, where historically the Wunderkammer was seen as a microcosm of the world beheld by a single person.


Showing diverse arrangements Muggenburg is highlighting their use, symbolism, cultural and historical meanings. From the anthropomorphic Mayan painted terracotta Mother and Child Whistle or an English hand-turned Blue John Bell Pulley, to silver Mast Coins used on warships as a maritime tradition to act as motivation and reward for canonnier; the show intends to engage the viewer.


Ancient materials and shapes are an influence on the Belmacz jewels Muggenburg creates, often using special materials like Whitby jet or fossilized dinosaur bone.


Muggenburg’s keen interest in innovative artists of today drives her to seek art works that strike her as interesting and a catalyst for change.


The artists who have contributed works to Fourth Drawer Down are:

 

Jonathan Baldock

Dan Coopey

May Cornet

Coco Crampton

Magdalena Drwiega

Annie Freud

Paul Housley

Massimo Nordio

Phil Root

Joel Tomlin