| | | |  | | | Sofie Bird Møller: untitled (from the series "interactions"), 2015
180 x 120 cm, acrylic on found photo material
Courtesy ALEXANDER OCHS PRIVATE | | | | | | PICTURES INSTEAD | | | | 23 June – 2 September, 2017 | | | Opening: Thursday, 22 June, 7-9pm
The artist is present.
Artist Talk: Wednesday, 5 July, 7pm
Benita Meißner, director of the DG Gallery (German Society for Christian Art, founded in 1893) in conversation with the artist.
Due to very limited space a reservation is needed to assistenz@alexanderochs-private.com or +49 (0)30 4508 6878. | | |  | | | | | | | | | |  | | | Sofie Bird Møller: untitled (from the series "interactions"), 2015
180 x 120 cm, acrylic on found photo material
Courtesy ALEXANDER OCHS PRIVATE | | | | | | | The artist Sofie Bird Møller was born in Copenhagen, Denmark, studied in London and Copenhagen, was a master student at Günther Förg at the Akademie der Bildenden Künste in Munich, and is now working in Berlin-Kreuzberg. These geographic coordinates seem to define her work: the city of Munich, rich with Catholicism; Berlin, fractally organized; Copenhagen, cheerful and bright; and the expanse of the horizon above the Baltic Sea. | | | | | |  | | | Sofie Bird Møller: Down the Line, 2012
Film still
Courtesy ALEXANDER OCHS PRIVATE | | | | | | | Sofie Bird Møllers' art touches our iconographic brain, the thousands and thousands of stored hard drives and millions of pictures, and her art touches our bodies, often unpleasantly, as if cutting our own flesh. Instead of painting images, Møller paints over images that already exist: prints, advertisements, posters, newspapers and journals, historical engravings, pages from a Bible printed in 1855. The collector and curator Wilhelm Schürmann's words hold true: "No more skin in the picture. Everything carefully removed and retouched." Or added: the artist cuts, tears, glues together on paper and on the computer; she alters, alienates and paints, paints with a brush, a hand, with her own paint-covered body, with her breasts, her legs, her forehead, her hair, all on existing images she has found elsewhere. | | | | | |  | | | Sofie Bird Møller: Down the Line, 2012
Film still
Courtesy ALEXANDER OCHS PRIVATE | | | | | | | Her paintings, as Anders Kold writes, "are rigorously based on the premise that they would never arise on a white canvas." Thus, radical new images emerge, those we seem to recognise without having already actually seen them. Fragments - the paintings of Arnulf Rainers, collages of the Berliner artist Hannah Höch, born in Berlin in 1889, the corporeality of Käthe Kollwitz's sculptures, the first video by the Chinese artist Zhang Peili, Fashion Photography, City Light posters, Luther's bibles, the surrealism of a Salvador Dali, works by Max Ernst, the Readymade and Pollock's Action Paintings - appear and vanish, as does I Ching as a method in the works of the American composer and artist John Cage. But there is no reference or quote in the works of Møllers, no comparison to art history. Her work does not seem to come from any history, although indeed, it becomes history at the moment of its realization. The artist shows us enigmatic pictures, or, as Benita Meißner, director of the DG Gallery (German Society for Christian Art, founded in 1893) writes: "Independently interpreted ... the enigmatic pictures stimulate an examination of portraiture." | | | | | |  | | | Sofie Bird Møller: untitled (from the series "interactions"), 2015
180 x 120 cm, acrylic on found photo material
Courtesy ALEXANDER OCHS PRIVATE | | | | | | unsubscribe here
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