For his first solo exhibition at an art institution in Copenhagen, Rasmus Nilausen presents site-specific paintings, linking the analogue painting on canvas and walls with a familiar technology in common use while, at the same time, sending a historical nod to one of our most legendary ancestors.
For his first solo show at a Copenhagen art institution, Rasmus Nilausen presents new works, linking painting on canvas, walls, and floors with a technology in common use for wireless connection of electronic apparatus.
Rasmus Nilausen addresses painting as a separate language, capable of initiating a dialogue between artist and viewer. Nilausen examines the connectedness emerging between the works in the artistic creational process as well as in the finished exhibition installation. He is especially interested in the relation emerging when the audience encounter the symbolic universe of the works and, themselves, create personal narratives based on this.
With Bluetooth, Nilausen taps into the interrelationship between communication, symbols, language, and affiliation. The exhibition title has a central and a lead-in significance for the exhibition, coupling analogue painting and the narrative about king Harold Bluetooth with the term ‘bluetooth’, the wireless communication technology which is used by everybody and is part and parcel of everyday life.
Through Nilausen’s examinations of the historical Bluetooth and our present-day bluetooth invention, an odd coincidence took place. An interrelationship between the myth about Bluetooth, who brought together various peoples to form the Kingdom of Denmark in the tenth century, and the mobile phone tech company Ericsson’s invention of the wireless short-wave technology, named after king Harold because of the latter’s talent for persuading people to communicate without using weapons. The logo of this technology is even made up of the runic signs for H and B.
In Bluetooth, this merging of symbolism and polysemantic references becomes the starting point for a new series of paintings with a mutual interrelationship and narrative, extending beyond the canvas to form a fresco-like mural.
As a new addition to his practice, Nilausen also works with floor ornaments in the form of mosaics. Between the exhibition galleries, visitors walk through a painted portal shaped like a large-scale typographical symbol – the so-called paragraph mark (¶). A shape that most people know as the hidden symbol marking paragraphs in a text, appearing when we hit the formatting key on our computer keyboards.
With Bluetooth, Rasmus Nilausen uncovers the invisible connections which often go unnoticed but, when examined more closely, are interrelated, illustrating that subtle links and narratives exist in our midst if we care to look for them.
Rasmus Nilausen (b.1980) studied at the Faculty of Fine Arts, Barcelona, and graduated from Chelsea College of Art and Design, London, in 2011. His international exhibitions include the Institute of Contemporary Art (ICA), London, and the Chisenhale Gallery, London, as well as La Capella, Antoni Tàpies Foundation and Suñol Foundation, Barcelona. In Denmark, he has had solo shows at the exhibition venues Tranen and Christian Andersen.
Opening reception: Friday September 20th, 5 – 8 pm
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