Press Release

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ON PAPER
A project at Stalke Galleri

Stalke Galleri has the pleasure to show the project, "ON PAPER," - an exhibition presenting works on paper only.

The 75 artists presented at the show are mainly connected to galleries with whom Stalke Galleri has a relation, or a closer cooperation. The exhibition has also provided the challenge to invite rather young artists.

As a result of the large number of artists participating at "ON PAPER," it is possible to show some of the many directions in the young contemporary international art today.

One other reason for showing "ON PAPER," is to draw more attention to this media.

During the exhibition Stalke Galleri will produce a 36-page "ON PAPER" catalogue. The major part of the illustrations in the catalogue will be taken directly from the exhibition.

The catalogue will be available in December.

Curator: Sam Jedig

Hanging: Nils Erik Gjerdevik

Reviews:

The Paperwork is Done

"Working on paper" is probably not a headline that would immediately make an art enthusiast jump out of bed on a Saturday morning. And yet—because before completely new art arrives, there is an increasing focus on the paper medium.

Recently, several younger Danish artists exhibited their works on paper at North, and now a follow-up exhibition is being held at Stalke Gallery. Here, 74 artists of both international and Danish origin have presented an impressive array of works, all personally interpreting and working with the paper medium.

In the international section, world-renowned names such as Jim Shaw, Gert Rappenecker, Monique Pristo, Thomas Hirschhorn, and Kai Althoff can be found.

In the Danish section of paper works, Niels Bonde showcases various pieces, such as full calendars, photographs of those same calendars on slides, as well as the slides displayed in a small viewer placed directly on the gallery floor. "Give me your calendar, and I'll tell you who you are" could be a description of modern humanity.

Olafur Eliasson has been out sailing and created a specially designed apparatus to record and transfer water movements onto paper. Martin Bjerk contributes extremely delicately with unique works rendered in shades of gray, spanning kilometers away from his otherwise so characteristic painting style.

The artist Nils Erik Gjerdevik exhibits two works but has also played a significant role in organizing and hanging this comprehensive and diverse exhibition. It has been carefully curated and excitingly staged, making the exhibition unique.

Politiken 1.10.1999

The Life of Lines

75 young international artists fill Stalke Gallery with a godsend of drawings.

By Ole Nørlyng

There is still a great deal of drawing happening—art on paper or doodles on a notepad. It bursts with energy, playfulness, creative proposals, and individual drawings “as sweet as in the good old days.”

Stalke on Vesterbro has filled the basement rooms with 1990s art on paper by 75 international artists from 15 different countries. The result is a fun exhibition that invites visual exploration.

While the 1990s have largely been marked by experimental concepts, videos, and installations, drawing has also been pursued more privately. Mostly as a kind of daily confrontation and regular notes about everything under the sun. To emphasize the process-oriented and ephemeral nature, curator Sam Jedig asked the visual artist Niels Erik Gjerdevik to handle the hanging of the works, and it hasn’t become less interesting as a result.

Firstly, you notice that there are many series. The drawing series, as such, has left its mark, both in terms of expression and content. The series are hung up near the ceiling or down by the baseboards. In other words, you’re almost standing on your head. Not a bad starting point.

Many of the works reveal what could be called self-examinations or reflections. Everyday experiences. Seeing oneself in the mirror, being passionate, exploring oneself in all possible and impossible situations. This results in small surprises. A typical example of this is Kaspar Bonnén, who simultaneously cultivates fragmentation. Creating excerpts and assembling them together, resulting in completely absurd situations that still have roots in reality.

Alongside this self-dialogue is the broader philosophical dialogue on art. Two works, for example, are purely conceptual commentaries, such as a piece of paper simply framed with the inscription, “I wish I could paint.”

The exhibition spans the field between meticulously crafted works, such as those by Johannes Spehr, to the extremely loose, where it almost threatens to disappear—e.g., Chris Johanson’s brushstrokes.

With so many exhibiting artists, it is impossible in this context to delve into each one individually. What matters is the kaleidoscopic entirety. An exhibition that seems to be built around the idea, “Give us this day our daily drawing.”

By Ole Nørlyng

Berlingske Tidende

ON PAPER

73 artists

Stalke Gallery

Try walking through the gate between VideoNetto and Den Danske Bank on Vesterbrogade and head down the stairs at the modest end of a small alley. There, one of the best art experiences Copenhagen has to offer this month awaits.

Stalke Gallery has impressively gathered 73 Danish and international artists’ paper-based works and compiled an exhibition designed to be confusing, enriching, and to allow the individual works to stand out in a way that both challenges and delights visitors who diligently study the pieces.

From the list of names, some will expect a playful use of "dropping" techniques, and individual works do indeed highlight this aspect. The English artist Louise Hopkins has crumpled and folded paper into a framework, while Swedish artist Eva Larsson’s miniature inkjet prints draw attention to their unique and differentiated use of imagery. Similarly, there are smaller contributions from familiar artists like Suzette Gemzøe and Lilibeth Cuenca, while their cultural backgrounds and hand-drawn expressions provide depth and new perspectives to the media. The exhibition’s most iconic work is Niels Bonde’s “Calendar from '98,” photographed and made interactive for the public, who can browse through it via a self-operated device.

The risk with an exhibition that explores a medium as basic as paper is self-evident—that the material might feel uninspired. But this is happily avoided at Stalke, as the individual contributions interpret and process paper in creative ways. The medium becomes the foundation for various techniques ranging from collage, drawings, and sculpture to white paper airplanes, which Stalke has strategically placed on the wall.

What’s great about working on paper is that it’s an honest genre—neither the artists nor their works come across as half-hearted sketches or pretentious conceptual exercises. And best of all, it’s refreshing to see a curated catalog text where concepts like “pure lines” are interpreted in American punk aesthetics rather than over-the-top theoretical jargon.

On Paper is an exhibition that provides insight into the creative processes of 73 artists and their unique interpretations of paper. It offers an exciting overview of how works created in various corners of the world can meet in one place—showcasing the works of 73 internationally acclaimed artists.

Camilla A. Stockmann