From September 2019 to February 2020, artist Emil Rønn Andersen will develop his practice at Primer.
Since 2014, artist Emil has been developing a technical arrangement relating to the production of images. The technology can emulate traditional photographic light shaping tools and enable the automation of a series of photographic processes. Furthermore, the arrangement shows potential to produce complex atmospheric light and simulations of environments. On October 4th, 2019, he received the patent for the technology from the Danish Patent and Trademark Office.
At Primer he will develop the next prototype of the technology. His work will consist of technical experimentation and upgrades, alongside artistic processes and outputs. Throughout the period he will have dialogues with Aquaporin scientists, IP consultants and engineers as well as Primers network of collaborators.
A feed of images produced during the period will be presented in the exhibition Mud Muses at Moderna Museet, Stockholm, as part of Primer’s contribution.
‘The future hides that it hides nothing’ investigates the production of imaginaries and scenarios of the future. With climate change rendering the future increasingly volatile, the project posits futurity as a crucial site of artistic engagement, one undertaken in constant dialogue with other fields. Set in the context of the water technology company Aquaporin, the project explores the parallel temporalities produced by artists, filmmakers, authors, scientists, corporations and non-governmental organizations.
The project combines an exhibition, public conversations, podcasts, workshops, partnership development and texts. From this base of research and development, a long-term engagement with the subject will be developed, informing coming projects and partnerships of Primer.
Bjarke Hvass Kure is curatorial lead on the project.
Strata presents new work by Kristine Kemp, developed for Primer and the factory space of Aquaporin.
Strata departs from an interest in the act of seeing as a process of construction, understood as an act that is always already imbued with desire. When seeing becomes manifest as technologies, technologies in turn generate new ways of seeing. Through a quasi-fictional photographic documentation of the factory, the exhibition seeks to warp the image of the site and the question of artistic agency within it. The tactics deployed are those of the kaleidoscopic, of delirium, rummaging, exhaustion and sleep.
“Take for example cherries, when ripe and sweet, the skin will act like a membrane between the sugary water inside and the drops outside, from rain lets say. Osmosis will suck the water into the berry. Sometimes they explode.”
Ripe presents a new body of work by Nanna Abell. Sculptural images appearing as fountain, logo, smell, furniture and gifs populate the project. Material becomes sign and back again through vaporization, flow, and condensation. The work suggests a new liquid blueprint of the site.
In addition to the work of Abell, the project includes three collages by Franciska Clausen made in 1937 and recent work by artist Cecilie Skov. Cloud studies around mount Fuji by Japanese scientist Masanao Abe recorded between 1929 and 1938, is presented in a video by Helmut Völter. The Water Conflict Chronology compiled by The Pacific Institute, presents a overview of conflicts related to water throughout history. A text by philosopher Anne-Françoise Schmid concerning contemporary objects, completes the curatorial selection.
Life Without presents a new body of work by Michala Paludan. Using the many layers of industrial history inscribed in the building of Aquaporin as a point of departure, Paludan has created a potential scenography exploring notions of work past, present and future.
In addition to the work of Paludan, the project presents a work by Susanne Ussing and Carsten Hoff, produced under the moniker Atelier Cyberspace in 1969. A series of documents by Artist Placement Group, explores the indirect effects of artists working in industry and government throughout the UK in the period between 1965 and 1989.
Synthetics is an exhibition that explores histories of print technologies and their effects. It includes a page from one of the first publications to integrate illustrations and text, the Liber Chronicarum from 1493, as well as works by Rembrandt van Rijn and Hercules Segers, Dora Maar, Ben Laposky, Charlotte Johannesson, Karl Otto Götz, Jakob Jakobsen, Kasper Hesselbjerg, Lea Porsager, Masar Sohail, Sidsel Meineche Hansen, Morten K. Jacobsen and Till Mycha.
The exhibition speculates on printed matter’s ability to shift the focus from origin to historical effect. Situated in the context of Aquaporin’s membrane coating technology – which immobilizes proteins onto a polymeric multilayer structure – Synthetics explores the interdependence of technology, semiotics and the human nervous system.
In navigation, dead reckoning is the process of calculating one’s position by estimating the direction and distance travelled from one’s known starting point, without reference to external observations. The further you get from your point of departure the more uncertain the measurements become.
Dead Reckoning showcases new work developed for Primer by Fredrik Tydén. Magnus Thorø Clausen, art writer and curator, has written a text for the exhibition based on Tydéns practice. Additionally Primer have curated work by artist Kristine Kemp, artist Ib Braase, textile artist Berit Hjelholt, philosopher Reza Negarestani, digital media artist Karl Sims and select passages from the publication “A Report on the Art and Technology Program of the Los Angeles County Museum of Art 1967-1971”.
Primer’s first project, Self Passage, takes its title from the work of Rasmus Røhling, who we invited to develop a new body of work. In addition, we have curated a selection of works by artists Rachal Bradley, Vilhelm Hammershøi and Man Ray, science fiction author Peter Watts, and material by the global healthcare company Novo Nordisk and America’s space agency NASA.