Dansk
Ferdinand Ahm Krag

FORCEFIELD CLIMBER

28. Mar 17. May 2015

Technological developments and forms of communication like the Internet mean we are no longer bound to a specific location in space and time, and in addition manmade changes to the ecosystem have left clear traces on the surface of planet earth.

In other words, we currently find ourselves in a new form of landscape where the traditional boundaries between local/global, culture/nature and inner/outer are getting blurred. These changed conditions for existence form the background for Ferdinand Ahm Krag’s solo exhibition at Overgaden, which includes drawings, paintings, animation and sound.

Forcefield Climber is Ferdinand Ahm Krag’s version of a speculative cartography of the changed geography of today and some of the opportunities it provides for rethinking the way we demarcate and orientate ourselves as subjects in the world. In the first room of the exhibition, two series of works explore human existence beyond personal, cultural and territorial concepts from different perspectives. A series of large red and blue paintings is central, with geometrical forms that evoke associations with the human head. Formed as a complex network structure of lines that collapse the classical art-historical distinction between figure and ground, the faceless heads open themselves as psychological or virtual landscapes; as inner infrastructures and energy levels created and traversed by consciousness.

Whilst the paintings open the body towards the psyche, a series of drawings opens it outward towards the world. With sources of inspi- ration that include the physicist James Clerk Maxwell’s illustrations of electromagnetism, human beings are depicted – in a mathematical and formally stringent register – as pure force fields. This perspective is developed in an extensive series of sketch-based works in the next room, entitled Force-Field-Notes, where force fields radiate from human figures like expressive and at times aggressive vortexes that mesh with their surroundings and other beings. Several of them include visual references to natural history in the form of organisms and vegetation, whereby Ferdinand Ahm Krag connects them to an evolutionary narrative of the development and coexistence of species.

The last room of the exhibition contains a monumental wave animation that fills the entire back wall like a pulsating breath, accompanied by a sculptural soundscape made in collaboration with the musi- cian Sune TB Nielsen. Dispersed around the room the string frames of three pianos produce a drone sound, which like the wave forms a figure of infinity. With this auditory and visual boundlessness the artist incites a greater receptiveness to the deeper layers and borderlands of existence, which hold the potential for new possibilities to navigate in and interact with the world.

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