Ivan Andersen. Troværdige løgne / Credible Lies

Transkript

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2 Ivan Andersen Troværdige løgne / Credible Lies

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4 TL17, 2014 [IAM ]

5 Ivan Andersen Troværdige løgne Udstillingen Troværdige løgne står som et vidnesbyrd om Ivan Andersens lyst til at kaste sig ud i nye eksperimenter og gentænke maleriets potentiale til at skabe rum og samtidig rykke ved betragterens på forhånd etablerede forestillinger om rumlige konstruktioner. Det har altid været kendetegnende for Ivan Andersen at arbejde i spændingsfeltet mellem figuration og abstraktion, og udstillingens komposition rummer også kunstnerens særegne motiver, der blander monokrome farveflader med kontorbygninger og andre genkendelige elementer fra byrummet. Alligevel markerer Ivan Andersens tredje soloudstilling i Galleri Bo Bjerggaard med sine værker en ny retning. Ivan Andersen har søgt at luge ud i sine motiver, og en kender af denne kunstners tidligere produktion opdager med det samme, at de nye værker peger i en anden retning. Værkerne adskiller sig eksempelvis markant fra de meget vildt voksende motiver, som man tidligere har set fra Ivan Andersens hånd. Udstillingen Troværdige løgne består af en række malerier, der måler 60 x 80 cm, hvilket er betydeligt mindre end i hans tidligere værkproduktion. Motiverne er fundet på vejen mellem kunstnerens atelier og hans hjem, under kunstnerens residency på Mallorca i vinter eller under en for kunstneren vanlig surftur på nettet. Motiverne er ikke imposante, men viser storbyens mere anonyme sider som trappeopgange, anonyme boligkomplekser og baggårde. Ivan Andersen har altid haft et mellemværende med virkelighedsrepræsentationer og de forventninger, de skaber hos beskueren. Det er derfor særdeles vanskeligt at skabe sig et overblik over Ivan Andersens motiver ved første møde. Dertil er hans billedrum for komplicerede og komplekse. Et andet karakteristika ved Ivan Andersens malerier er det markante fravær af menneskeskikkelser. Man møder ikke per soner i Ivan Andersens motivkreds, da afbildningen af et menneske formentlig straks ville påkræve vores fulde opmærksomhed og skabe en intim og genkendelig relation mellem værk og beskuer. Ivan Andersens billeder afsøger grænsefeltet mellem det abstrakte og det figura - tive, mellem maleriet som et lystbåret samt frit fabulerende medium og maleriet som en repræsentation, der har afsæt i den genkendelige verden. Grundsubstansen i de nye værker på Troværdige løgne er dermed stadig den samme som i Ivan Andersens tidligere værker. I udstillingens værker fornemmes det fotografiske forlæg i maleriernes komposition såvel i deres dimensioner, der angiveligt mimer den mest hyppige dimension for billeder på nettet, såvel som i deres motivkreds. Vi genkender de malede

6 TL13, 2014 [IAM ]

7 TL04, 2014 [IAM ]

8 motiver som motiver, der også kunne optræde på fotografier. Men forholdet til omverden er ikke ligefremt. Det, man ved første øjekast finder hjemligt, bliver ved nærmere eftersyn forvrænget som en art hvid støj, der slører de klare referencer til omverdenen. Ivan Andersens værker har nok et afsæt i figuration der ligger altså altid et lag af genkendelighed, som vi kan skimte og søge at kradse ind til men den genkendelige forbindelse til et landskab eller en genstand af - skæ res også. Det er nemlig ikke den umiddelbare genkendelse eller 1:1-forhol - det mellem motivet og forlægget, der interesserer Ivan Andersen. Hans forhold til figuration er måske bedst beskrevet i nærværende udstillingstitel: Troværdige løgne. Ivan Andersen forklarer sit valg af titel med, at en løgn fungerer bedst, hvis den indeholder et gran af sandhed. På samme måde benytter Ivan Andersen figurationen i denne udstilling. Den er med til at opbygge og understøtte den sikre grund, som vi beskuere langsomt føler, forsvinder under os. Det figurative bliver et nødvendigt redskab i Ivan An dersens billeder et redskab, som skaber den forståelse af indholdet, der netop tydeliggør figurationens blinde punkter. Med andre ord den figuration, vi normalt så blindt stoler på, er i sig selv en konstruktion. Et af udstillingens værker TL04 hænger skråt i øvrigt det eneste maleri, der afviger i størrelse fra de andre centralt i maleriet ses et billede, der har samme størrelse som de resterende værker på udstillingen. Med denne lille ironiske intervention bliver dette værk en kommentar til den endeløse kunsthistoriske diskussion om maleriets forhold til den virkelighed, der findes uden for rammen. Det at understrege, at det figurative maleri er en konstruktion, og at maleren træffer aktive til- og fravalg i sine værker, bliver i Ivan Andersens værker tydeliggjort ved, at han ofte vælger at lade dele af lærredet stå ubemalet hen, således at enten helt ugrundede lærredsområder er synlige for betragteren, eller at om - råder i forgrundede lærreder for lov at træde nøgent frem. De pludselige skift i rytme fra noget meget malerisk til at lade lærreder stå bart tilbage skaber en in teressant kontrast til vores opfattelse af billedkultur og vores evige jagt efter at skabe orden i de mange billeder, vi dagligt møder. Et stykke ugrundet lærred, der står alene, eller en lap fra et tidligere brugt værk, der sættes ovenpå det figurative lag som et collage-element, kortslutter vores forventninger til maleriet, og vi er nødsagede til at forholde os til de figurative elementer velvidende, at vi ikke nødvendigvis skal søge efter en betydning. De figurative lag i Ivan Andersens malerier på udstillingen skrælles af ved, at de manipuleres og fordrejes, så den figurative referent tømmes for betydning og frem står abstrakt. Et særdeles interessant eksempel på dette er den abstrakte modernistiske skulptur, der optræder som motiv på TL13. Det er en skulptur som så mange andre, der er placeret i vores byrum, uden at man har tænkt nærmere over dens forhold til det sted, hvor den er placeret. Ivan Andersen spiller på

9 skulpturens ikke-betydning og laver derved en dobbeltprojektion ved at lade den indgå i værket som et figurativt lag. Det er denne gradvise processuelle op løsning af figurationen, der medfører, at billedrummet fremstår fragmenteret i en sådan grad, at det er op til den enkelte betragter at finde betydning i Ivan Ander sens rumlige reorganisering. En reorganisering der er så radikal, at den modsætter sig ellers alminde lige logikker for opbygningen af et billedrum. Malerierne på udstillingen skaber en ubestemmelig rumlighed, hvor abstrakte form eksperimenter med monokrome overflader svæver rundt mellem genkendelige mo tiver med klare referencer. Disse modsatrettede elementer blandes yderligere med skulpturelle elementer, der sættes på lærredet både som lærredsstykker, der mon teres som collagestykker, og som ujævne gipsflader, der som en trompe-l'œil-effekt udvider figurationen til et tredimensionelt element. I et af udstillingens værker ser vi f.eks. en vippe ved et svømmebassin TL05. Billedet er holdt i en mørk melankolsk palet og har en filmisk karakter. I værket kan vi iagttage, hvordan penselstrøgene har forandret karakter i forhold til Ivan Ander - sens tidligere værker. Førhen var hans malerier prægede af, at der blev arbejdet med store pensler, da kunstneren ved at skabe en så glat overflade som muligt søgte at skjule sine spor. I TL05 kan vi derimod se, at der er arbejdet med en meget mindre pensel end sædvanligt. Dermed træder penselstrøgene tydeligt frem, og maleriet får en anden karakter. Det er tydeliggjort, at motivet er malet. Den bagvedliggende skabelsesproces er afsløret. En stilhed og eftertænksomhed har erstattet de hallucinerende rumligheder, hvor synet i en nærmest åndeløs centrifugering blev kastet rundt mellem de mange kom plekse rumligheder, der normalt har været et fast element i Ivan Andersens male rier. I dem kunne vi se et væld af motiver, der var genkende - lige fra vores hverdag, blive penetreret af en række rumlige konstruktioner. Ivan Andersen har ofte arbejdet med at skabe et alternativt ordningsprincip i den ellers voldsomme billedvirkelighed, vi alle befinder os i. Men i stedet for at sløre eller dække over det massive antal af billeder, vi konstant bombarderes med, lader han det udfolde sig for øjnene af os ved at placere beskueren midt i orkanens øje. Det er en anderledes leg med beskuerens synsevne, som de nye værker på Troværdige løgne skaber. Kompositionerne er mere rolige, og vi kunne ledes til at tro, at Ivan Andersens ellers så velkendte legesyge er forsvundet. Det er dog heldigvis ikke tilfældet. Ivan Andersen arbejder forsat med motiver, der sprænger vores al mindelige forståelse af rummet, der dog er forskudt og forandret, og med de tyde lige penselstrøg understreges oversættelsen ligeledes fra fotografi til maleri, fra et snapshot af virkeligheden til en malerisk langsom bearbejdning af den omkringliggende virkelighed.

10 TL05, 2014 [IAM ]

11 Ivan Andersen benytter sig af en række originale forlæg. Om det er sammenkrøllede papirstykker eller et foto fra hans atelier, hvor værkets udgangspunkt er et fotografi af et andet tidligere maleri, bliver værket en metarepræsentation af maleriets forhold til virkeligheden, samtidig med at Ivan Andersen opstiller en række svært gennemtrængelige rumligheder. I produktionen af værkerne til udstillingen har Ivan Andersen lagt vægt på at kunne forfølge en pludselig indskydelse. På den måde adskiller de nye værker sig fra de tidligere, hvor arbejdsmetoden har været langt mere langsommelig. Og hvor det for Ivan Andersen tidligere var et spørgsmål om hele tiden at lægge nye rumligheder ind i billedet, fornemmer man i de nye værker, at processen mere har handlet om at skære elementer fra. Udstillingen giver et unikt indblik i en arbejdsproces, hvor kunstneren ikke nødvendigvis ved begyndelsen kender det endeligt afsluttede værk, og hvor den kunst neriske proces, der for Ivan Andersen ofte har handlet om luge ud i sine motiver for derigennem at finde frem til nye motiver, i sig selv bliver vigtig. Vi møder på Troværdige løgne anderledes mere simple og nedtonede kompositioner. På overfladen virker motiverne stilfærdige, men ved nærmere eftersyn synes billedernes motiver at skurre. Der er noget galt. Vi kan f.eks. ikke helt få facadespejlingen til at gå op i det klassiske boligbyggeri TL07 eller få bestemt blik retningen i et storbyprospekt, hvor der er zoomet ind på byens rendesten TL14 et motiv, der er typisk for Ivan Andersen, og et motiv, der rummer for - melle problematikker, hvori farvefelter og geometriske former på en gang holder billedet sammen og samtidigt synes at opløse det. Maleriet udfordrer beskuerens fore stilling om konstruktionen af rum og dermed også vores måde at erkende den nære virkelighed på. Ivan Andersens nye malerier peger mod en ny motivkreds, men ikke mod en ny grundsubstans. Penselstrøgene træder måske tydeligere frem, og maleriernes multiplicerende rum er måske blevet færre, men Ivan Andersens værker handler stadig om at finde frem til et formsprog, der ikke er fastlåst i en traditions dogmer, men i stedet åbner sig op, så de genstande og steder, der optræder på maleriets flade, sættes fri til at kunne indgå i nye relationer. Jakob Vengberg Sevel Museumsinspektør, KUNSTEN

12 TL07, 2014 [IAM ]

13 TL14, 2014 [IAM ]

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15 TL09, 2014 [IAM ]

16 TL08, 2014 [IAM ]

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18 TL12, 2014 [IAM ]

19 TL15, 2014 [IAM ]

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21 TL01, 2014 [IAM ]

22 TL02, 2014 [IAM ]

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24 TL03, 2014 [IAM ]

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26 TL19, 2014 [IAS ]

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28 TL11, 2014 [IAM ]

29 TL10, 2014 [IAM ]

30 TL06, 2014 [IAM ]

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32 TL18, 2014 [IAS ]

33 Ivan Andersen Credible Lies The exhibition Credible Lies [Troværdige løgne] stands as a testimony to Ivan Andersen s desire to throw himself into new experiments and rethink painting s potential to create space and at the same time shake the viewer s preconceived notions of spatial constructions. It has always been Andersen s hallmark to work in the tension between figuration and abstraction, and the exhibition s compositions also include the artist s peculiar motifs, blending monochrome colour surfaces with office buildings and other recognisable elements from the cityscape. In any case, Ivan Andersen s third solo exhibition at Galleri Bo Bjerggaard marks a new direction in his work. Andersen has tried to weed out his motifs, and a connoisseur of his previous production will immediately discover that the new works point in another direction. The works differ significantly from the wildly growing motifs we have previously seen from Andersen s hand. The Credible Lies exhibition consists of a series of paintings measuring 60 x 80 cm, considerably smaller than in his earlier formats. The motifs were found on the route between the artist s studio and his home, during his residency on Mallorca in winter or during one of his customary surfing-tours online. The motifs are not imposing, but show anonymous sides of the big city, such as stairwells, anonymous residential complexes and backyards. Ivan Andersen has always had an ambivalent relationship with realistic representation and the expectations it creates in viewers. It is therefore extremely difficult to get an overview of his motifs at first viewing as his pictorial space is too complicated and complex. Another characteristic of Andersen s paintings is the striking absence of human figures. One does not find people among Andersen s motifs, since a human figure would probably draw out full attention immediately and create an intimate and recognisable relationship between the work and the viewer. Andersen s images explore the frontier between the abstract and the figurative, between painting as a desire-borne, freely fabulising medium and painting as representation rooted in the recognisable world. The essence of the new works in Credible Lies thus remains the same as in Andersen s earlier works. In the works in the exhibition, one feels the photographic origin in the paintings composition, both in their dimensions which allegedly mimic the most frequent dimensions of pictures online as well as in their motifs. We recognise that the painted motifs could also appear in photographs, but the relationship with the outside world is not straightforward. What we find at first glance to be comfortably familiar, upon closer inspection becomes distorted, like a kind of white noise,

34 blurring clear references to an outside world. Ivan Andersen s works are indeed an chored in figuration thus there is always a layer of familiarity, which we can discern and try to dig into but the recognisable connection to a landscape or an object is also cut off. It is neither immediate recognition nor a 1:1 relationship between motif and model that is of interest to Andersen. His relationship to figuration is perhaps best described in this exhibition s title: Credible Lies. He explains his choice of title by saying that a lie works best if it contains a grain of truth. Ivan Andersen uses figuration in the same way in this exhibition: to help build and support the safe ground that we viewers slowly feel disappearing beneath us. The figurative becomes a necessary tool in Andersen s images one that creates an understanding of the content that clarifies figuration s blind spots. In other words, the figuration in which we normally have such blind faith is itself a construction. One of the works in the exhibition TL04 hangs obliquely and is the only painting deviating from the standard size of the others. In its centre there is a picture of the same size as the other works in the exhibition. This little ironic intervention makes the work into a commentary on the endless art-historical discussions about the painting s relationship to the reality outside of the frame. Ivan Andersen s works demonstrate that figurative painting is a construct and that the painter actively makes inclusions and omissions in his works via his frequent choice of leaving parts of the canvas unpainted, so that either completely unprimed areas of the canvas are visible or areas in primed canvases are allowed to stand nakedly forth. The sudden shift in rhythm from something very painterly to bare areas of canvas creates an interesting contrast to our notion of pictorial culture and our eternal quest to create order in the many images we encounter daily. A bit of unprimed canvas standing alone, or a scrap from a previous work set on top of the figural layer as a collage element, short-circuit our expectations about painting, and we are forced to relate to the figural elements knowing well that we should not necessarily be looking for a meaning. The figural layers in Andersen s paintings in the exhibition are peeled away by being manipulated and distorted, so that the figural referent is emptied of sig - nificance and appears abstract. A particularly interesting example of this is the abstract modernistic sculpture that serves as the subject of TL13. It is a sculpture like so many others in our cityscapes, placed there without consideration of its relationship to its location. Andersen plays on the sculpture s non-meaning, creating a double projection by letting it serve as a figural layer in his piece. It is this gradual procedural resolution of figuration that results in the pictorial space appearing fragmented to such an extent that it is up to the individual viewer to find significance in Andersen s spatial reorganisation, which is so radical that it opposes the otherwise ordinary logic of a pictorial space constitution.

35 The paintings in the exhibition create an indistinct space where abstract form experiments with monochrome surfaces floating around among recognisable motifs with clear references. These contrasting elements mix further with sculptural elements put on the canvas in the form of both canvas scraps fitted as collage pieces and uneven plaster patches, which in a kind of trompe-l'œil effect project the figuration into a three-dimensional element. In one of the show s works we see, for example, a diving board at a swimming pool TL05. The picture is limited to a dark melancholic palette and has a cinematic character. In the work we can observe how the brush strokes have changed character compared to Andersen s earlier works. In the past, his paintings have been characterised by large brush strokes, as the artist by creating as smooth a surface as possible sought to hide his tracks. In TL05, however, we can see that the artist has worked with a much smaller brush than usual. Thus the brush strokes clearly stand out, and the painting takes on another character, clarifying that the motif is painted. The underlying creative process is revealed. A silence and thoughtfulness has replaced the hallucinatory spaces in which the sight of an almost breathless centrifugation was tossed around among the many complex spatialities that have been standard fixtures in Andersen s paintings. In them we could see a host of motifs recognisable from our everyday lives penetrated by a number of spatial constructions. Ivan Andersen has often worked at creating an alternative ordering principle in the otherwise violent pictorial reality in which we all find ourselves. But instead of disguising or concealing the massive number of images we are constantly bombarded with, he lets it all unfold before our eyes by placing the viewer in the eye of the hurricane. The new works in Credilbe Lies create a different game with the viewer s vision. The compositions are calmer, and we could be led to believe that Andersen s well-known playfulness has disappeared. Fortunately, however, this is not the case. He continues working with motives that blast our common understanding of space, which has indeed been shifted and altered, and with the obvious brush strokes he also underscores the transition from photography to painting, from a snapshot of reality to a slow, painterly working over of the surrounding reality. Ivan Andersen makes use of a number of original models. Whether it is crumpled pieces of paper or a photo from his studio, where the work s point of departure is a photograph of a former painting, the work will be a meta-representation of the painting s relationship to reality, while Andersen sets up a number of difficultly penetrable spaces.

36 In the production of works for the exhibition, Andersen emphasised being able to pursue a sudden impulse. Thus, the new works are distinguished from the old, where the working method was far slower. And while it was previously a matter of constantly putting new spaciality into the picture, one feels that in the new works it has been more a process of cutting elements away. The exhibition provides a unique insight into a working process where the artist at the beginning does not know what the finally completed work will be, and where the artistic process which for Andersen has often been to weed out his motifs in order to find new ones has become important in itself. In Credible Lies we encounter different, simpler, more downplayed compositions. On the surface, all seems tranquil, but upon closer inspection the images seem to grate. Something is wrong. We cannot, for example, quite get the facade reflection to match the classic residential housing TL07 or get a certain gaze direction in an urban view zoomed in on the city s gutter TL14 a typical Andersen motif, presenting formal issues, in which the colour fields and geo - metric shapes at the same time hold the picture together and seem to dissolve it. The painting challenges the viewer s conception of spatial construction and thus our way of recognising the immediate reality as well. Ivan Andersen s new paintings point toward a new motif-field, but not toward a new basic substance. The brush strokes may be clearer, and the paintings multiplying spaces may have become fewer, but Andersen s works are still about finding an idiom that is not frozen in traditional dogmas, but instead opens itself up, so that the objects and places that appear on a painting s surface are set free to be able to enter into new relationships. Jakob Vengberg Sevel Curator, KUNSTEN

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41 Ivan Andersen Biography Born 1968 in Tåstrup, Denmark Lives and works in Copenhagen The Royal Danish Academy of Fine Arts, Copenhagen Lives and works in Berlin Selected Solo Exhibitions 2015 Rønnesbækholm, Næstved (upcoming) 2014 Troværdige løgne/credible Lies, Galleri Bo Bjerggaard, Copenhagen 2013 Works in at least Two Dimensions, Nosbaum & Reding, Luxemburg Teorier om det Krøllede Rum, Charlotte Fogh Gallery, Aarhus 2012 Ivan Andersen Fra Grunden, Skive Ny Kunstmuseum, Skive 2011 Tabte horisonter og forgotten masterpieces, Galleri Bo Bjerggaard, Copenhagen Ivan Andersen Paintings, Galleri Ismene, Trondheim 2009 Under Construction, Kunstverein Heidenheim, Heidenheim 2008 It s all downhill from here, Galleri Bo Bjerggaard, Copenhagen Follow my Directions, Galerie Frank Schlag, Essen 2005 Pina Colada, Traneudstilling, Gentofte Bibliotek, Gentofte 2004 Ondt er da på vej herned, Galleri Tom Christoffersen, Copenhagen 2003 Sci-Fi, Kragh og Halling Art, Hellerup Selected Group Exhibitions 2014 Medium Rare, Galleri Kant, Copenhagen 2013 Playgrounds, Galerie Leger, Malmö Stedet er Rummet, Den Frie Udstillingsbygning, Copenhagen 2012 Recollections of Willumsen, Galleri Bo Bjerggaard, Copenhagen Vores Kunst, KØS museum of art in public spaces, Køge Ude af Fokus Maleriet i en digital virkelighed, Holstebro Kunstmuseum, Holstebro 2011 Narrative billeder in the middle of fucking nowhere!, Galleri Salling, Roslev 2010 Album, V1 gallery, Copenhagen Kup, Hans Alf Gallery, Copenhagen A Formal Figure, The Forgotten Bar, Berlin 2009 In every Dreamhome a Heartbreak, Galerie Frank Schlag & Cie., Essen Copenhagen Spirit, Clausens Kunsthandel, Copenhagen The Party Groupshow deluxe, Beaver Projects, Copenhagen Friends IV, Galleri Gl. Lejre, Lejre Til Vægs, Kunsthal Charlottenborg, Copenhagen 2008 Copenhague en Cuenca, Sala Aguirre, Cuenca Teaching an old Dog New Tricks, Den Frie Udstillingsbygning, Copenhagen 2007 The stroke of the brush replaced by the digital touch (with Paint Over!), The Danish Cultural Institute, Edinburgh Match Race, Nordjyllands Kunstmuseum, Aalborg Odd Spaces, Galerie MøllerWitt, Aarhus No Resistance, Galleri Veggerby, Copenhagen 2006 Malerhjerne ungt dansk maleri, ARKEN Museum of Modern Art, Ishøj Accelerator (with Paint Over!), Kunstforeningen Gl. Strand, Copenhagen 2005 True Stories, Galerie Leger, Malmö Gæstfrihed, (with Paint Over!), Den Frie Udstillingsbygning, Copenhagen Charlottenborgs Efterårsudstilling, (with Paint Over!), Copenhagen Set, Galleri Tom Christoffersen, Copenhagen Exit05, Kunstforeningen Gl. Strand, Copenhagen Popop, (with Paint Over!), Fabrikken for kunst og design, Copenhagen Selvsving, Den Frie Udstillingsbygning, Copenhagen

42 2004 Charlottenborgs Efterårsudstilling, Copenhagen Realisme?, Den Frie Udstillingsbygning, Copenhagen Nyt Blod, Galleri Tom Christoffersen, Copenhagen Paint Over!, Museumsbygningen, Copenhagen 2003 Digitale Interventioner, Kunstakademiets udstillingssted Q, Copenhagen Selvsving, Roskilde Festival, Roskilde Urban Rituals, Jyllandspostens Galleri, Copenhagen Selvsving, KØS museum of art in public spaces, Køge Abscheidskonzert, Galleri Tom Christoffersen, Copenhagen 2002 Selvsving, Zoologisk have, Copenhagen Brøl (with Torben Ribe), Zoologisk have, Copenhagen Elmers Cut, Galleri Tom Christoffersen, Copenhagen Selvsving, Aix NV, Copenhagen Cop/Kop, Galleri Asbæk, Copenhagen 2001 One Night Stand, Galleri Tom Christoffersen, Copenhagen Charlottenborgs Efterårsudstilling (with Torben Ribe), Copenhagen Awards and grants CCA Andratx Artist-in-residence Program, Mallorca, 2014 The 3-year working stipend from the Danish Arts Foundation, 2010 Aage & Yelva Nimb s Honorary Grant, 2009 Working stipend from the Danish Arts Council, Honorary Grant, Niels Wessel Bagge s Arts Foundation, 2005 The small Grant from Jens Søndergaard and Wife s Memorial Grant, 2005 Public art commissions and decorations 2013 Vampyrspejl, Enghave Plads ( Metro/ Foreningen til Hovedstadens Forskønnelse Byens Hegn), Copenhagen TrygVesta, Ballerup 2011 Thy-Mors HF & VUC, Thisted 2008 Tivoli poster, Copenhagen 2007 Skive Seminarium, Skive Salling Bank, Skive Collections KUNSTEN Museum of Modern Art Aalborg, Aalborg Musée National d Histoire et d Art, Luxembourg Nykredit, Copenhagen Skive Kunstmuseum, Skive

43 Ivan Andersen Troværdige løgne / Credible Lies 28. marts 14. juni 2014 Works / Værker TL15, 2014 TL14, 2014 TL05, 2014 TL17, 2014 Oil and acrylic on canvas Oil, acrylic and spray paint Oil and acrylic on canvas Oil and acrylic on canvas 60 cm x 80 cm on canvas 60 cm x 80 cm 60 cm x 80 cm IAM cm x 80 cm IAM IAM IAM TL08, 2014 TL10, 2014 TL11, 2014 Oil and acrylic on canvas TL09, 2014 Oil, acrylic and plaster Oil, acrylic and spray paint 60 cm x 80 cm Oil and acrylic on canvas on canvas on canvas IAM cm x 80 cm 60 cm x 80 cm 60 cm x 80 cm IAM IAM IAM TL02, 2014 Oil, acrylic and spray paint TL03, 2014 TL01, 2014 TL16, 2014 on canvas Oil and acrylic on canvas Oil and acrylic on canvas Arcrylic and plaster on wall 60 cm x 80 cm 60 cm x 80 cm 60 cm x 80 cm 60 cm x 80 cm IAM IAM IAM IAN TL12, 2014 TL20, 2014 TL13, 2014 TL19, 2014 Oil, acrylic, spray paint and Oil, acrylic, spray paint and Oil, acrylic, spray paint and Oil and acrylic on canvas with canvas on canvas inkjet printed canvas on canvas plaster on canvas handmade frame of plywood 60 cm x 80 cm 60 cm x 80 cm 60 cm x 80 cm h: 63 cm n: 27,5 cm IAM IAM IAM IAS TL06, 2014 TL07, 2014 TL04, 2014 TL18, 2014 Acrylic on folded canvas Oil, acrylic and spar varnish Oil and acrylic on canvas Oil on canvas with 60 cm x 80 cm on canvas 140 cm x 110 cm handmade frame of plywood IAM cm x 80 cm IAM h: 63 cm n: 27,5 cm IAM IAS

44 TL20, 2014 [IAM ]

45 FLÆSKETORVET 85 A DK 1711 KØBENHAVN V TEL BJERGGAARD@BJERGGAARD.COM Ivan Andersen & Galleri Bo Bjerggaard Oversættelse fra dansk til engelsk: Wordmaster ISBN Tak til Rosendahls TUESDAY-FRIDAY 1 PM 6 PM SATURDAY 12 PM 4 PM

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