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Nevin Aladağ | Dorothee Diebold 2019
 
Kunsthal 44Møen is pleased to present two Berlin-based artists in the first chapter of Møn’s 2019 Summer Festival - a trilogy of double-presentations titled Exercises in Harmony.

From June 8 to July 21, the main space of Kunsthal 44Møen will host parallel solo exhibitions of Neven Aladağ and Dorothee Diebold. Both artists have been shown already last year in 44Møen’s very successful 10th anniversary group exhibition “Møenlight Sonata”. They will now be given the opportunity to expand their work spatially (Diebold) and to present a survey of works of the past years (Aladağ) " each in a first solo exposure in Denmark.

Nevin Aladağ will show examples of her complex body of work titled “Social Fabric” (2017/18). For these textile works, Aladağ collages pieces of carpets of different origin and production conditions - from knotted kelims, virgin wool and silk carpets to industrially produced Tretford, Sisal and wool carpets. These patchwork-like fabrics create crystalline patterns reminiscent of the colourful glass windows of churches, combining elements from different cultures and periods as well as aesthetic concepts of East and West, from Islamic abstract patterns to Cubism and Bauhaus. She also shows a set of her “Jali Sculptures” (2018) that are assembled of light- and sight-permeable three-dimensional tiles, similar to those that are used in southern cultures as decorative architectural elements for walls and windows. Aladağ had custom-made them in ceramic glazed in pastel colours, merging different historical styles into geometric patterns. Their hexagonal shape allows endless variations of the assembly into paravent-like structures of virtually unlimited dimensions, reminiscent to chemical compounds. Additionally, Kunsthal 44Møen presents two of Aladağ’s earlier video works that are part of a trilogy exploring different cities as sonic landscapes. “City Language / Şehir Sesi I”(2009) is a single-channel video split into four segments - a sound portrait of Istanbul that takes the city itself as an instrumental body: the wind plays a flute that is held out of the window of a driving car, resonant woods tumble down a rolling street in Beyoğlu, pigeons pick on a Saz (a traditional Turkish string instrument), and a tambourine attached to a motorboat resonates with the pounding waves of the Bosporus.

In the big hall, Dorothee Diebold shows her latest set of “volume paintings” (2018/2019). These hybrids between sculpture and easel painting proliferate beyond their stretchers and into the space like deformed body-parts, mushrooms or clouds. Their amorph shapes literally grow out of the flowing structures that evolve on the soft fabric. Through treatment with ink, acrylic paint and water, Diebold creates cosmic spheres in various shades of grey and glitter, structures that oscillate between the look through a microscope or into the vastness of the universe. Taking the idea of the shaped canvas on another level, Diebold radically breaks up the square of the wooden stretcher into three-dimensional frames and further stuff the elastic canvas (actually, jersey sheets) with cushioning. These semi-soft forms may be attached to the walls like traditional canvases, they may sit on the floor like sculptures, or be fitted into corners - yet they resist being fitted into traditional art historical categories. With their shady greyness and floating forms, they also remind of heaps of dirty snow, as if they could slowly disappear or further grow like fungi. Despite this aura of the uncanny, the use of fine glitter dust makes them look precious and appealing - leaving us slightly insecure how to approach them.

In their use of materiality both artists playfully explore states of embodiment and flexibility, stretching the means of traditional genres and craftsmanship and pushing their media to new limits. They consciously employ decorative elements not without a sense of humour, seducing us to engage with beauty even if it doesn’t necessarily follow the customary rules.

Dorothee Diebold (born in 1988 in Offenbach, Germany, lives in Berlin) recently participated in Berlin Masters and in group exhibitions at Frankfurter Kunstverein, Bundeskunsthalle Bonn and Nassauischer Kunstverein Wiesbaden. She has upcoming solo exhibitions in Städtische Galerie Nordhorn and Haus am Lützowplatz, Berlin.

Nevin Aladağ (born in 1972 in Van, Turkey, lives in Berlin) recently participated in international group shows at Bundeskunsthalle Bonn, Kemper Museum of Contemporary Art, Kansas City, Staatliche Kunsthalle Baden-Baden, Hamburger Kunsthalle, Istanbul Modern, Neues Museum, Nuremberg, Museum Tinguely, Basel, as well as Documenta 14, Athens and Kassel, and the 57th Venice Biennial. Her solo exhibitions include Albertinum - Staatliche Kunstsammlung, Dresden, Salzburger Kunstverein, Lentos Kunstmuseum Linz, Kunstmuseum Stuttgart and Kunsthalle Basel.

Supported by:
Statens Kunstfond, Augustinus Fonden, Knud Højgaards Fond, Spar Nord Fonden, Vordingborg Kommune










Nevin Aladağ

Dorothee Diebold, Photo: Dorothee Diebold






Norroen-trilogy 2018-2020
 
The project for 2020 will be dedicated to the cultural landscape of Møn with more than 100 megalithic giant graves and the medieval church murals, which have been uniquely preserved and recently refurbished to their full beauty.

In 2019, the topic is Møn as a Biosphere. Since Møn, with its chalk-white cliffs and surrounding archipelago of islands has been designated Denmark's first Biosphere reserve by the UNESCO in 2017, this privilege must be extended and protected. The attempt to highlight Møn's unique role as a cultural landscape and ecological system could involve a number of artistic projects conceived for the outdoor space that reflect on the nature and are embedded in it in a sustainable manner.

Joseph Beuys' oak sculpture (part of his landmark project "7000 Oaks", 1977-1982), or Bjørn Nørgaard's natural mural (2017) have already exemplified this approach on the island in the past.








Nevin Aladağ

Dorothee Diebold, Photo: Dorothee Diebold











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