MERTZ+

Curated by Peter Holst Henckel

Mertz+ should be seen as a modest attempt at introducing some new aspects of Albert Mertz's artistic oeuvre. Specifically, it is the first time that some of the exhibited works are presented in public. Other of the exhibited works have previously been exhibited, but are here presented from a new angle. Parallel to the exhibition, 24 pages in the shape of a catalogue will be published, supplementing and supporting the perspective that the exhibition outlines through images, text, and layout.

In the exhibition as well as in the catalogue, three perspectives or vanishing lines are laid down that each try to encircle important aspects of Mertz and his art. In the exhibition, this circumscription is demonstrated in the way the works are hung and the way the space is distributed. Both the catalogue and exhibition have been prepared by the artist Peter Holst Henckel (b. 1966).

Peter Holst Henckel writes about Mertz:

Upon his death on December 30th, 1990, Mertz left behind an extensive production of gouaches, montages, collages, and paintings, besides an important body of sketches, writings, and notes. It has been a very special experience to discover this by all measures extraordinary oeuvre. In particular, the correspondence between Mertz's production of works and his theoretical reflections have been enlightening. Combined, they have given an amazing insight into one of the great persons in Danish art. As minute and bashful as he was in stature, as important and inevitable he was, and is, in modern Danish art and – I maintain – international art.

Albert Mertz was a very productive artist. He started early – was admitted to the fine arts academy when only 16 years old – and until the very end of his life he stubbornly continued to investigate and challenge art. His artistic practice extended itself to all genres, media, and forms. His attitude was that art was not restricted to any definite appearance, to any specific object, but rather that it was identical to the effect that it had on the spectator. Art must therefore always relate to the contemporary and dare to challenge it. It is well known that at an early stage he started to work with film. Later, video and TV followed. He always managed to add something more – qualitatively as well as quantitatively. In that sense, he was a generous artist. An artist+.

Gallery Shows New Sides of Mertz

Blue-red paintings, collages, and photos by Albert Mertz can be seen starting Saturday at Galleri Kirke Sonnerup.

Kirke Sonnerup: Gallery owner Sam Jedig will open the doors on Saturday to an exhibition of one of the great names in modern Danish art – Albert Mertz, who lived from 1920–1990.

"The exhibition should be seen as a modest attempt to introduce new facets of his work. Some of the works are being exhibited for the first time, while others have previously been shown in different contexts and are now being presented in a new way," explains Sam Jedig.

He has invited artist colleague Peter Holst Henckel to curate the exhibition, as he is known for being inspired by Albert Mertz. Holst Henckel has had free rein to choose from Mertz's production with the permission of his widow, Lone Mertz.

"Albert Mertz, from the 1930s until his death, made significant breakthroughs in art. He worked with Dadaism, Fluxus, and conceptual art," explains the curator.

Mertz is best known for his blue-red paintings, which he began in 1968 and where he experimented with geometric figures that create a sense of space and depth – something also on display at Kirke Sonnerup.

"It’s a kind of dogma. His idea was that by limiting his freedom, he could experiment more freely with forms, spatial understanding, etc. His work, in general, dealt a lot with our perception of objects," says Peter Holst Henckel, who has divided the exhibition into three areas that remain relevant today.

In the central room, there are photographs where Mertz worked with his surroundings in his hometown of Skælskør, such as a photo series from 1978, focusing on solar systems, for example.

Mertz was also a pioneer in the use of video, and this is reflected in the exhibition room facing Englerupvej. Here, collages with motifs, postcards with architecture, and more are displayed.

Local Gallery Presents Albert Mertz

 Galleri Kirke Sonnerup will host the opening of the exhibition Mertz+.

"The exhibition should be seen as a modest attempt to introduce new facets of Albert Mertz's artistic practice. Some of the exhibited works are being presented to the public for the first time, while others, previously shown in different contexts, are now being presented from my perspective," says Sam Jedig from Galleri Kirke Sonnerup.

Parallel to the exhibition, 24 pages in a catalog format will be published to supplement and support the exhibition's perspective through images, texts, and graphic layout.

Both the exhibition and catalog are structured around three perspectives or focal points, each seeking to outline essential aspects of Mertz's art. The exhibition demonstrates this structure through spatial and hanging arrangements. Both the exhibition and catalog have been curated by artist Peter Holst Henckel.

Albert Mertz: A Life in Art

Upon his death on December 30, 1990, Mertz left behind an extensive production of gouaches, montages, collages, and paintings, as well as sketches, writings, and texts. "It has been an extraordinary experience to explore this remarkable body of work. Particularly striking is the connection between Mertz's artistic output and his theoretical reflections, which have provided incredible insight into his creative process. Together, they offer a unique understanding of one of Danish art's great figures," says Peter Holst Henckel.

Albert Mertz was a highly productive artist. He began early—admitted to the Fine Arts Academy at age 16—and continued to innovate and challenge the boundaries of art until his death. His work encompassed all genres, media, and forms of artistic practice. He believed that art should not be confined to a particular form or object, but rather defined by its effect on the viewer.

Mertz's work is characterized by its constant dialogue with contemporary art and its willingness to challenge it. It is well known that he began working with film at an early stage, followed later by video and television. Mertz always managed to contribute something new—both qualitatively and quantitatively. In that sense, he was a generous artist.