NATHALIE DJURBERG & HANS BERG
Nathalie Djurberg & Hans Berg (2016, Oslo)
Gió MARCONI @ GERHARDSEN GERNER (2013, group show)
Nathalie Djurberg & Hans Berg The balcony (2015) Wood, wire, acrylic paint, plasticine, clay,fabric, synthetic hair approx. 73 x 41 x 45 cm
Nathalie Djurberg & Hans Berg A Thief Caught in the Act (Blue Pelican) (2015) Wooden table, lamp, metal wire, aluminium foil,
canvas, modelling clay, acrylic paint Table: 82.2 x 199.8 x 90 cm; Blue Pelican: approx. 75.5 x 125 x 103 cm
Nathalie Djurberg & Hans Berg Box (2015) Card, canvas, metal wire, acrylic paint, wood, epoxy putty
approx. H 63 x L 83 x x T 60 cm
Nathalie Djurberg & Hans Berg Red Giant (2013) Pants: canvas, acrylic, silicone, wood, wire, carton; birds: canvas, metal
wire, acrylic paint, wood, epoxy putty Pants: approx. 192 x 135 x 54 cm; birds: approx. 40 x 20 x 10 cm
Nathalie Djurberg & Hans Berg A Thief Caught in the Act (Dirty Owl) (2015) Wooden table, lamp, metal wire, aluminium foil, canvas, modelling clay, acrylic paint
Table: 82.2 x 180 x 90 cm; Dirty Owl: approx. 74.5 x 81 x 68 cm
Nathalie Djurberg & Hans Berg
Exhibition duration: January 14 – February 2016
"The inner experience of eroticism requires no less great a sensitivity to the fear that justified the ban than to the desire that leads to its transgression." (Georges Bataille, Eroticism)
In 2006 Djurberg & Berg showed their video works at the fourth Berlin Biennale, curated by Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick. Although they were shown in an inconspicuous area, the three videos were among the most present of the artistic work exhibited at the former Jewish Girls' School. The unusual clay animations of edgy erotic fantasies regarding psychological violence and perversion touched the very point of oppressive unease – which is what made them so fascinating. Today Nathalie Djurberg & Hans Berg count among the world's most important contemporary artists.
Nathalie Djurberg films the clay animations in an almost old-fashioned, stop-motion technique. For these films, Hans Berg composes crystal clear and razor sharp music. Through dissonance and intelligent arch of tension, the compositions sonically reinforce the disturbing images, which are often based on sadomasochistic sex games and to all kinds of sexual practices involving other people, animals, children, or even physical and psychological violence and brutal, dismembering murders. In short, it addresses that which we do not dare speak about – excess in all its fascinating facets.
The films seem to know no bounds in their extremes. They regularly get out of hand. Djurberg indicates that she does not set any final script for her animations. One exhilaratingly nightmarish scene follows the next.
In an intermedial context, Djurberg & Berg allude to literature and other film genres. Among other references, they use the aesthetics of fairy tales: in which euphemistic images – in parallel to the apparent innocence of the clay animation otherwise known from children's films – initially only hint at the full extent of these fantastic atrocities. Or the artists draw on visual elements from avant-garde splatter films such as those by Rob Zombie.
For the exhibition with Gerhardsen Gerner in Oslo, Djurberg & Berg will present new sculptures and animations. On a monitor, traversed by blocks of color, rippling waterfalls splash through a mysterious, monochrome forest landscape. The forest is untouched nature, yet, demonized just like in a fairy tale, it also harbors dark secrets. The continuation of this idea, however, is up to the viewer. The music becomes a medium, which influences and guides his imagination. These new animations are once again in stop-motion, but are more reduced than the clay animations, because the basis is charcoal drawings.
In the main room, colorful bird sculptures contort on tables under theater lights. They have been caught while stealing seductively colorful pills. The act seems pointless, the birds seem cute and not dangerous at all. Yet an inquisitorial spotlight is directed towards them, from which they anxiously flee.
The video "The Clearing (The Winner)" (2015) shows two women on a balcony, wearing historical costumes. The film focuses on dependence on demonstrations of love and appreciation in order to rise above others and only thereby become bearable to oneself. The animation switches between text and the moving image, which adopts the aesthetics of silent movies. Here again, Djurberg & Berg explore the contradictions of psychological sensitivities in a terse and oppressive manner.
Nathalie Djurberg (b. Lysekil, Sweden, 1978) and Hans Berg (b. Rättvik, Sweden, 1978) live and work in Berlin.
In 2009, Nathalie Djurberg & Hans Berg participated in the 53rd Venice Biennial “Making Worlds” curated by Daniel Birnbaum wherefore they had been awarded the Silver Lion for Best Emerging Artists.
Solo exhibitions, amoung others, comprise: ACCA - Australian Centre of Contemporary Art, Melbourne (2015); „A Thief Caught in the Act“, ARoS Museum, Aarhus (2015); “Maybe this is a Dream”, Koelnischer Kunstverein, Cologne (2014); “The Black Pot”, Garage Center for Contemporary Culture, Moscow (2013); “The Parade: Nathalie Djurberg with Music by Hans Berg”, New Museum, New York (2012) and Walker Art Center, Minneapolis (2011); “A World of Glass”, Camden Arts Centre, London (2011); “Snakes know it’s Yoga”, Museum Boijmans Van Beuningen, Rotterdam (2011) and Kestnergesellschaft, Hannover (2010); Kristianstad Konsthall, Kristianstad (2010).
Most recent group exhibitions: “The great Mother”, Fondazione Trussardi, Milan (2015); “An Introduction”, Fondazione Prada, Milan (2015); “Arts and Foods”, Triennale di Milano, Milan (2015); “sense (Un)Certainty: A Private Collection”, Knsthaus Zurich, Zurich (2015); “DlectriCITY - Nuit Blanche Detroit”, Detroit Institute of Arts, Detroit (2014); “Inside”, Palais de Tokyo, Paris (2014); “Broken. Slapstick, Comedy und schwarzer Humor”, Haus der Kunst, Munich (2014); “In the Heart of the Country”, Museum of Modern Art, Warsaw (2013).
Upcoming solo shows: PICA, Perth Institute of Contemporary Art, Perth (2016); Wanås Konst - Sculpture Park - The Wanås Foundation, Vanås (2016).
Public collections: Hammer Museum, Los Angeles; Kunsthaus Zurich, Zurich; Malmö Konstmuseum, Malmö; Moderna Museet, Stockholm; Museum of Modern Art, New York; Queensland Art Gallery, Gallery of Modern Art, Brisbane; Borås Konstmuseum, Borås; Solomon R. Guggenheim
For further information please contact Marina Gerner-Mathisen, Gerhardsen Gerner, Oslo: T: +47 21 91 01 91, firstname.lastname@example.org
or Maike Fries, Gerhardsen Gerner, Berlin: T: +49-30-69 51 83 41, email@example.com or visit our website at http://www.gerhardsengerner.com