A World of Glass
October 7, 2011-January 8, 2012
The animated films Djurberg is best known for are made with a technique referred to as ‘claymation’. Though at first the work appears to be playfully naïve, the scenarios enacted are often disturbing, uncovering taboos or difficult aspects of the human condition such as vulnerability, desire and suffering. A World of Glass consists of four new synchronised films with a soundtrack produced by Djurberg’s collaborator Hans Berg, presented amongst an immersive installation of glass-like objects. Another new installation will flood the central space with luminous colour, and a series of earlier animations will be shown in the Reading Room.
Djurberg’s characters are painstakingly handcrafted and over recent years this crude materiality has expanded into immersive installations. At the Venice Biennale two years ago, Djurberg embedded her projections amongst a sprawling jungle of life-sized sculptures. This aspect of her practice is continued in A World of Glass, which will fill the galleries with luminous objects, made from a translucent man-made material that shares the apparent fragility and elegance of glass.
Each of the four films in A World of Glass addresses a shared theme of sexual discovery, exploring the untamed forces that drive desire and the fragile, precarious nature of this rite-of-passage. The dark and foreboding atmosphere of the installation links Djurberg’s work to the subversive imagination of Goya. Resembling folk- or fairy- tales, Djurberg’s stories do not carry moral judgement but rather place the viewer in a position where they can make their own assessment of the issues that are raised.
Some works in this exhibition touch on issues of a sensitive nature that may not be suitable for children.
September 8-December 31, 2011
In the hands of Nathalie Djurberg, the conventionally innocent technique of “claymation” becomes a medium for nightmarish yet wry allegories of human behavior and social taboo. Since 2001, the Swedish-born artist has honed a distinctive style of video animation, using the pliability of clay to investigate the dark recesses of the human mind. Set to music and sound effects by her partner and collaborator Hans Berg, Djurberg’s handcrafted cinematic tales explore the vicissitudes of revenge, lust, submission, gluttony, and other primal emotions with an unblinking eye.
This Walker-organized exhibition, the largest American museum presentation of the artist’s work to date, includes a significant body of new work drawing on the psychology and natural history of birds. Blurring the cinematic and the sculptural, she integrates moving images with related set pieces, using actual bird species as points of departure for her sometimes monstrous hybrid figures. Projected amid her objects is a sequence of short films, in which characters, situations, and settings migrate from one narrative to the next. The result is an immersive installation revealing Djurberg’s continued interest in pageantry and abjection, evolution and decay.
Snakes knows it’s yoga
August 27-November 13, 2011
Watch Me Move: The Animation Show
June 15-September 11, 2011
Future Generation Art Prize
Palazzo Papadopoli, Venice, Italy
June 3 – August 7, 2011
Zach Feuer Gallery is very pleased to announce that Keren Cytter and Nathalie Djurberg will be exhibiting during 54th Venice Biennale at the Palazzo Papadopoli as nominees of the Future Generation Art Prize, established by the Victor Pinchuk Foundation in Kiev, Ukraine. The exhibition will open on June 2, 2011, at 8 pm.
The Future Generation Art Prize is a worldwide biennial contemporary art prize to discover, recognize and give long-term support to a future generation of artists. The Prize will be a major contribution to the open participation of younger artists in the dynamic cultural development of societies in global transition.
The Palazzo Papadopoli is located at San Polo 1364, Venice, Italy.
March 25-July 31, 2011
See the work of Nathalie Djurberg (b. 1978), who uses claymation to craft and enact strange, dark tales of war, violence, and sexual exploitation in projections and installations that can be disturbing and dazzling at the same time.
The stop-motion animation technique of claymation is most commonly associated with children’s entertainment, which only serves to heighten the peculiar power of Djurberg’s work. The artist, who was born in Sweden but now lives and works in Berlin, executes the time-consuming process of the animation on her own, with composer Hans Berg providing the musical scores. She painstakingly makes the detailed sets, clothing, and props by hand to expressively depict varied figures and environments. Her videos and sculptures dramatize difficult social and political issues with unsettling directness, while her careful hand construction and painterly use of color infuse the works with a disconcerting beauty that underscores their emotional impact.
Djurberg often combines video and sculpture with Berg’s musical compositions in immersive gallery environments. This exhibition brings together four videos and a selection of sculptures from those and other projects, presenting a multifaceted introduction to a most intriguing artist.
Djurberg’s work has been featured in solo exhibitions at Sammlung Goetz Museum in Munich, Germany (2008), the Armand Hammer Museum at the University of California, Los Angeles (2008), and the Centre Pompidou in Paris, France (2009). She has also participated in group shows at the Tate Modern in London (2006), P.S. 1 Contemporary Art Center (2006) and the New Museum (2008) in New York, and the Venice Biennale (2009), where she was awarded the Silver Lion for Promising Young Artist.
Snakes knows it’s yoga
Rotterdam, The Netherlands
March 5-May 1, 2011
The Swedish artist Nathalie Djurberg (1978) is known above all for her animated films, which seem sweet and innocuous only at a first glance. In her art, Djurberg treats themes such as obsession, power, pleasure, desire, and violence. This ‘Snakes Knows it’s Yoga’ exhibition is the largest ever overview of their work.
Djurberg and Berg have created an installation for the 1,500m2 of Museum Boijmans Van Beuningen’s spacious Bodon Gallery. The ‘Snakes Knows it’s Yoga’ installation is a project composed of sculptures and projections of animated films, the air filled with experimental music by Hans Berg. The presentation includes ten earlier works from the period 2005-2010.
A video portrait of Djurberg and Berg that explores their collaboration and working methods can be seen as part of the exhibition and on ArtTube.
12th International Cairo Biennale
December 12, 2010-February 12, 2011
How Soon Now
Rubell Family Collection, Miami
December 1, 2010-August 26, 2011
Nathalie Djurberg with music by Hans Berg & Dasha Shishkin
Art Basel Miami Beach
December 2 – 6, 2010
The work of Nathalie Djurberg with music by Hans Berg and Dasha Shishkin may appear seemingly innocent at first glance but both address, with humor and irony, a sense of anxiety and unease through sex, violence and the macabre.
Nathalie Djurberg was born in 1978 in Lysekil, Sweden and received a master’s degree from Malmö Art Academy. Employing stop motion animation to bring to life a cast of crude Plasticine puppets that she models by hand, Djurberg creates films that are intense studies of human behavior which force one to confront their darkest nightmares and deepest fears. Using the familiar language of claymation and featuring the music of Swedish composer, Hans Berg, Djurberg’s work, neither censored nor sentimental, tackles revenge, violence, dominance, racism and the morbid. Djurberg has had solo shows at the Kestner-Gesellschaft, Hannover; Hammer Museum, Los Angeles; Prada Foundation, Milan; Kunsthalle Winterthur, Switzerland and Kunsthalle Wien, Austria. Her work has been featured in exhibitions at the 2010 Venice Bienale; Tate Modern, London; Solomon R. Guggenheim Museum, New York and Hamburger Bahnhof, Berlin. She was awarded the Carnegie Art Award Scholarship for a Young Artist in 2008 and the Silver Lion for a Promising Young Artist in the 2009 Venice Biennial. Djurberg lives and works with the composer, Hans Berg, in Berlin.
Dasha Shishkin was born in 1977 in Moscow and received her master’s degree from Columbia University. The artist’s economy of line, coupled with her use of bright blocks of color, create intricate compositions that vary from complex scenes of human interaction to patterning and design void of human figures. Using found material, the artist employs the existing imperfections of the canvas or paper to give shape to peculiar narratives of sensory overload. She has participated in exhibitions at the Denver Museum of Art; Museum of Modern Art, New York; P.S. 1, New York; the Kunsthalle Hamburg and the Kunsthalle Vienna. Her work is represented in the collections of the Whitney Museum of American Art, New York; the Pinakothek der Moderne, Munich; Hamburger Kunsthalle; The Dallas Museum of Art and the Museum of Modern Art, New York. Shishkin lives and works in New York.
Miami offsite exhibitions include:
Nathalie Djurberg with music by Hans Berg in How Soon Now at the Rubell Family Collection
95 NW 29th Street, Miami
Wednesday, December 1, 2010 – August 26, 2011
Alisha Kerlin at the De La Cruz Collection
23 NE 41st Street, Miami
Opens Tuesday, November 30
Kate Levant at The Island
Flagler Memorial Island, Miami Beach
Organized by OHWOW / LAND (Los Angeles Nomadic Division)
Friday, December 3
Snakes knows it’s yoga
September 3-November 7, 2010
Having become well known for her animated films, Nathalie Djurberg (*1978 in Lysekil, Sweden) has always dealt with themes such as obsession, power, lust, and violence. As with her contribution to the Venice Biennial in 2009, in the exhibition Snakes Knows it’s Yoga (2010) the viewer encounters not only animated films but also a sculptural ensemble. The vast spatial installation immerses a multitude of plasticine figures, displayed under plexiglass covers on over forty wooden plinths, in various shades of light, and not least in the ingenious, masterful music composed by Hans Berg that accompanies the two films belonging to the ensemble.
In one of these films the sentence “Snakes knows it’s Yoga,” which gives both work of art and exhibition their titles, appears on a stage where a yogi is being torn to pieces by a snake. The traditional practice of yoga aims at a release from the burden of physical life and an achievement of spiritual enlightenment. The recurring issue of violence and hence suffering and pain in Djurberg’s art takes a new turn in this regard. How and why is pain taken on and borne? In an exotistic manner the sculptural personnel of ascetics, shamans, mystics such as dervishes and fakirs, yogis, holy monks, and deities represents a notion of enlightenment and ecstasy. The second film points in this direction as well when a naked woman gets high by licking a frog—a shamanic practice to enter the spiritual world. Within all this, Djurberg does not miss the opportunity to give her work a wicked, black-humored twist with a scatological aesthetic.
This exhibition tours in 2011 to the Museum Boijmans Van Beuningen in Rotterdam and the Kunstforeningen GL STRAND in Copenhagen. A joint catalogue will be published in October 2010 by Verlag fuer Moderne Kunst Nuernberg with texts by Hans Berg and Kathrin Meyer, Pernille Fonnesbech, Florian Heesch, and Kristin Schrader.
Future Generation Prize 2010
PinchukArtCentre, Kiev, Ukraine
October 29, 2010-January 11, 2011
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The Moderna Exhibition 2010
Moderna Museet, Stockholm, Sweden
October 2, 2010-January 9, 2011
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Hareng Saur: Ensor and Contemporary Art
S.M.A.K., Gent, Belgium
October 31, 2010-February 27, 2011
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