Danske Grafikere

Sarah McNulty & Flore Nové-Josserand

DeepMaster – Fernisering fredag 5 april 2020, kl 17-20

Åbningstider og fernisering afhængig af COVID-restriktioner – hold øje på hjemmesiden/sociale medier.

Åbningstider: torsdag-fredag kl 13-17, lørdag-søndag kl 11-15

Taking cue from physical points of contact with technology, investigating the intersection of digital gestures and the materiality of surface, Flore Nové-Josserand & Sarah McNulty will construct and deconstruct processes of image-making at Danske Grafikere. DeepMaster, referring to fake ‘master’ fingerprints, which can effectively fool smartphone sensors and other devices, draws connections to the limits of human singularity in the manipulation of our current tools.

Through the lens of ‘tryk’, interpreted in its most basic sense of physical push, print or pressure, the work and processes in the show propose an enriched definition of images and their construction, in an oversaturated visual climate. The artists will present a series of new works, individual and collaborative, embracing various techniques: printing, sewing, painting, projection and manipulation. Together they will create an installation spanning across the 2 floors of Danske Grafikere dividing up image-making processes, from provisional tools to self-contained works.

Sarah McNulty has been developing a series of large-scale lithographic works printed on various household fabrics, wallpapers, fiberglass, rubber mats; using a number of fingerprinting pattern forms and various gestures of painterly ‘contact’ as a starting point for each stone. Using a variety of experimental print methods and materials to explore the possibilities of the medium, based around stone, grease and water, she has exploited the process’ sensitivity and reproduction of physical contact.

Flore Nové-Josserand’s new work reflects on gestures and technology alongside the materiality of image. She is currently exploring how we represent technology in a bodily sense and how feelings of ownership over our actions change as technology becomes dematerialized. In a new series of wall-hangings and prints using cross-over technologies (a laser cutter and a traditional print press), she explores what comes to mind when we think about the expanded capabilities and problematics that tools provide.

The starting point of the show, both thematically and materially, is physical forms of contact and the human/machine interface. In our new pandemic reality, the works’ meaning attracts new layers. Works that focus on the materiality of touch – what it feels like – might relate to the how we process our experience of social distancing, while works that explore how touch is modified and mediated by machines question what meanings lie in our bodily interactions with ‘bodyless’ technology.

A double sided print in collaboration with Platform Publication, Kbh will be produced for the occasion of the exhibition and available upon visit.

Flore Nové-Josserand is a pluri-disciplinary artist working in Copenhagen and London. In a process that allows room for improvised solutions, absurdity and humour, she investigates possible tensions and overlaps between social and aesthetic space, drawing attention to our perception of the objects that surround us on a daily basis, and where and when we look at them. Nové-Josserand (b. France) received an MFA from the Slade School of Fine Art, London, a DNAP from the Ecole Nationale Supérieure d’Art de Paris-Cergy, France and a BSc in Biology from Imperial College of Science, Technology & Medicine, London. Recent exhibitions include Yorkshire Sculpture Park, Baltic 39, (Newcastle), IMT Gallery & Zabludowicz Collection (London) as well as a public sculpture commission Paintworks (Bristol). Nové-Josserand runs the WAï, a collaborative research platform and Eye-Eye, an art production and curation duo with Thorbjørn Andersen.

Sarah McNulty’s practice explores physical relationships with surrounding environments, as well as the reception of visual information in an era of targeted experience. The contingent nature of painting and its history are fundamental in her work, with focus on points of rupture and collapse. It is a cyclical process in which the works are suspended in various states and networks, often as a provisional archive of a specific place, time and action. McNulty (b. USA, based in Copenhagen) received her MFA from the Slade School of FineArt, London, and BA at Georgetown University, USA. Recent exhibitions & projects include Terrace Gallery (London), Beton 7 (Athens), Jir Sandel (Copenhagen), Sydhavn Station Billboard (Copenhagen) and Alteria Art at HEART Museum (Herning). She is a co-founder of exhibition & project spaces Tørreloft and Kiosk 7, Copenhagen.

Mange tak til: Grosserer L.F. Foghts Fond, Københavns Kommune & Statens Værksteder for Kunst.