[DANSK]

 

SERMON / THE PASSAGE OF THE HEIFER

 

DA: Den 2. oktober 2015 åbner duo-udstillingen “Sermon / The Passage of the Heifer” af Tiril Hasselknippe og Marie Kølbæk Iversen på projektrum D7. Udstillingen præsenterer to parallelle spor og er et procesnedslag i de to kunstneres aktuelle arbejde inden for henholdsvis skulptur og digitale medier. Det er første gang de udstiller sammen.

Tiril Hasselknippe (*1984) er uddannet fra Malmø Art Academy og Cooper Union Scool of Arts i New York, og Marie Kølbæk Iversen (*1981) er uddannet fra Det Kongelige Danske Kunstakademis Skole for Tidsbaserede Medier.

 

 

 

 

 [ENGLISH]

 

SERMON / THE PASSAGE OF THE HEIFER

 

 

On October 2nd the exhibition “Sermon / The Passage of the Heifer” by Tiril Hasselknippe and Marie Kølbæk Iversen opens at D7. The exhibition consists of two parallel tracks and is a processual condensation of the two artists’ current work in sculpture and digital media respectively. It is their first exhibition together.

Tiril Hasselknippe (*1984) received her MFA at the Malmø Art Academy and the Cooper Union School of Arts in New York, and Marie Kølbæk Iversen (*1981) received her MFA at the School of Time-based Media at the Royal Danish Academy of Fine Arts.

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The filmic sunsets of Southern California are cinematic because of two things. Firstly because of the smog that laces the area making the particles break off light closer to the sun than other locations, and two, because so many of sunsets in films have been shot on location here, making this specific kind of light the right light and look in our collective mind for what the sunset should be. The smog lets the filmmaker closer to the sun than places without smog as it works much like light filters like spun and frost do when lighting a set, and the light disperses more evenly and more softly, hugging every object and person and cliff with extra care and in a rounded motion. The rays are diverted by pollution and left to bounce onto and away from the horizon, giving more space for each color to cover, and in many ways the ocean is newly blue anyways. The smog is a blanket or a vortex or a screen that is especially well-translated through the lens of the camera, as it develops in the camera house, and makes the axis of air and distance more tangible. You cannot touch the stars but the rigs close to Bolsa Chica Beach blinks back to you in morse, and the gradients are extended three-dimensionally making the air a sculptural object, much like the entity of the ocean. The ocean greets you with endlessly spiralling steps towards the darkness and the palms of the ocean are open and flying towards you hard. Only the shore loves the ocean like the ocean loves itself. The sand whirls around every second of the day waiting for you to come home. And so here you die. Or rather there, but this location looks better for dying. I write your eulogy. And screenplay. Death noir tints the wine coloured water. You are buried on the beach, face down. I stand close to lifeguard house number 28, watching.

 

This is the sermon then.

 

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Io/I consists of 3D-animations of images of Jupiter’s moon Io, taken by the Galileo and Voyager spacecrafts between 1996 and 2011, and presented on 1990s box monitors. 

Io was discovered in 1610 by Italian astronomer Galileo Galilei and was named after Hera’s priestess Io. ‘Io’ is also the Italian word for ‘I’.

 

Chorus: Is there a report that once in this land Io was ward of Hera's house?

King: Certainly she was; the tradition prevails far and wide.

Chorus: And is there some story, too, that Jupiter was joined in love with her?

King: This entanglement was not secret from Hera.

Chorus: What then was the result of this royal strife?

King: The goddess transformed the woman into a cow.

Chorus: And while she was a horned cow, did not Jupiter approach her?

King: So they say, making his form that of a bull lusting for a mate.

Chorus: What answer then did Jupiter’s stubborn consort give?

King: A sting, torment of cattle, constantly driving her on.

Chorus: They call it a gadfly, those who dwell by the Nile.

King: Well then, it drove her by a long course out of the land. And mortals there shook with pallid terror at the terrible sight of a being fearsome, half-human, part cow and part woman; and they were astonished at the monstrous thing.