The Boiler Room
Galleri for samtidskunst.
Galleri for samtidskunst.
The exhibition Walls takes on the actual shape of the gallery room and transforms it into a miniature version of itself. Working with modeling compound and plaster, Lønne’s interpretation of the space is not just a miniature copy of reality, but a reversed replica where the space has been replaced with solid mass and vice versa. Lønne’s sculptures reflect the room in the same way a negative is connected to its photo, showing the opposite.
The exhibition Walls takes on the actual shape of the gallery room and transforms it into a miniature version of itself. Working with modeling compound and plaster, Lønne’s interpretation of the space is not just a miniature copy of reality, but a reversed replica where the space has been replaced with solid mass and vice versa. Lønne’s sculptures reflect the room in the same way a negative is connected to its photo, showing the opposite.
The exhibition Walls takes on the actual shape of the gallery room and transforms it into a miniature version of itself. Working with modeling compound and plaster, Lønne’s interpretation of the space is not just a miniature copy of reality, but a reversed replica where the space has been replaced with solid mass and vice versa. Lønne’s sculptures reflect the room in the same way a negative is connected to its photo, showing the opposite.
The exhibition Walls takes on the actual shape of the gallery room and transforms it into a miniature version of itself. Working with modeling compound and plaster, Lønne’s interpretation of the space is not just a miniature copy of reality, but a reversed replica where the space has been replaced with solid mass and vice versa. Lønne’s sculptures reflect the room in the same way a negative is connected to its photo, showing the opposite.
The exhibition Walls takes on the actual shape of the gallery room and transforms it into a miniature version of itself. Working with modeling compound and plaster, Lønne’s interpretation of the space is not just a miniature copy of reality, but a reversed replica where the space has been replaced with solid mass and vice versa. Lønne’s sculptures reflect the room in the same way a negative is connected to its photo, showing the opposite.
The exhibition Walls takes on the actual shape of the gallery room and transforms it into a miniature version of itself. Working with modeling compound and plaster, Lønne’s interpretation of the space is not just a miniature copy of reality, but a reversed replica where the space has been replaced with solid mass and vice versa. Lønne’s sculptures reflect the room in the same way a negative is connected to its photo, showing the opposite.
The exhibition Walls takes on the actual shape of the gallery room and transforms it into a miniature version of itself. Working with modeling compound and plaster, Lønne’s interpretation of the space is not just a miniature copy of reality, but a reversed replica where the space has been replaced with solid mass and vice versa. Lønne’s sculptures reflect the room in the same way a negative is connected to its photo, showing the opposite.
The exhibition Walls takes on the actual shape of the gallery room and transforms it into a miniature version of itself. Working with modeling compound and plaster, Lønne’s interpretation of the space is not just a miniature copy of reality, but a reversed replica where the space has been replaced with solid mass and vice versa. Lønne’s sculptures reflect the room in the same way a negative is connected to its photo, showing the opposite.
At the invitation of The Boiler Room, Paris-based L’inlassable Galerie conceives an exhibition echoing this first co-operation between France and Scandinavia. Thought like an expedition, La Rechêrche brings together the contemporary work of three European and one Scandinavian artist who share the sentiments inspired by this aesthetic of exploration while nourishing a certain fascination for the territories of the Far North.
The Boiler Room is proud to present a comprehensive exhibition of Preben Holst (b. 1974). The exhibition “The Silent Hummingbird” is the culmination of several on-going artistic projects and present key works in the artist’s production with entirely new material.
The Boiler Room is proud to present a comprehensive exhibition of Preben Holst (b. 1974). The exhibition “The Silent Hummingbird” is the culmination of several on-going artistic projects and present key works in the artist’s production with entirely new material.
The Boiler Room is proud to present a comprehensive exhibition of Preben Holst (b. 1974). The exhibition “The Silent Hummingbird” is the culmination of several on-going artistic projects and present key works in the artist’s production with entirely new material.
The exhibition «Moments» consists of a series of small oil painted renditions of 19th century photographs in various stages of dissolution, barely recognisable to the eye. Along with a suite of drawings, which on close examination are revealed to be miniature diary notes, so dense and minute that they are illegible to the eye, these works become an intense study into the deepest limits of human memory.
The exhibition «Moments» consists of a series of small oil painted renditions of 19th century photographs in various stages of dissolution, barely recognisable to the eye. Along with a suite of drawings, which on close examination are revealed to be miniature diary notes, so dense and minute that they are illegible to the eye, these works become an intense study into the deepest limits of human memory.
The exhibition «Moments» consists of a series of small oil painted renditions of 19th century photographs in various stages of dissolution, barely recognisable to the eye. Along with a suite of drawings, which on close examination are revealed to be miniature diary notes, so dense and minute that they are illegible to the eye, these works become an intense study into the deepest limits of human memory.
The exhibition «Moments» consists of a series of small oil painted renditions of 19th century photographs in various stages of dissolution, barely recognisable to the eye. Along with a suite of drawings, which on close examination are revealed to be miniature diary notes, so dense and minute that they are illegible to the eye, these works become an intense study into the deepest limits of human memory.
The exhibition «Moments» consists of a series of small oil painted renditions of 19th century photographs in various stages of dissolution, barely recognisable to the eye. Along with a suite of drawings, which on close examination are revealed to be miniature diary notes, so dense and minute that they are illegible to the eye, these works become an intense study into the deepest limits of human memory.
The exhibition «Moments» consists of a series of small oil painted renditions of 19th century photographs in various stages of dissolution, barely recognisable to the eye. Along with a suite of drawings, which on close examination are revealed to be miniature diary notes, so dense and minute that they are illegible to the eye, these works become an intense study into the deepest limits of human memory.
The exhibition «Moments» consists of a series of small oil painted renditions of 19th century photographs in various stages of dissolution, barely recognisable to the eye. Along with a suite of drawings, which on close examination are revealed to be miniature diary notes, so dense and minute that they are illegible to the eye, these works become an intense study into the deepest limits of human memory.
The exhibition «Moments» consists of a series of small oil painted renditions of 19th century photographs in various stages of dissolution, barely recognisable to the eye. Along with a suite of drawings, which on close examination are revealed to be miniature diary notes, so dense and minute that they are illegible to the eye, these works become an intense study into the deepest limits of human memory.