Dominic Michel
Chambers, 2022
Silkscreen ink on packaging boxes




Chambers are accumulations of abandoned packaging cases. Minimalist hieroglyphs that have been veiled in monochrome. This transformation brings a new focus to the scene. Michel’s interest lies in the interstices and transitional processes in a world of goods. Gaps as capacities, where he locates the fact that not only material objects but also bodies, desires, and relations are part of a valorising system and are fetishised in their supposed uniqueness.

25.10.24 — 10.12.24
Vijay Masharani
Give me that fucking content, Universe. 2023 
single channel video, r/t 1:53,



I spent my first days in New York in October 2017 wande- ring South Asian enclaves in the outer boroughs, hoping to visit neighborhoods similar to Kingsbury, where my grand- mother lives in North West London; for me, locating myself in a diaspora was a sort of stopgap against a creeping sense of post-college abeyance and formlessness. I spent an hour and fifteen minutes on the trains without an exact desti- nation. The homes were decorated for Halloween, when private residences acknowledge the slim commons of the sidewalk and preen for it. The goblins, ghouls, zombies, dismembered figures, skeletons, black cats, ghosts, spiders, spiderwebs, jack-o-lanterns, witches, pumpkins, today remind me that Indian religious art was first received in

the West as depicting demons, as described in art historian Partha Mitter’s book Much Maligned Monsters. Hegel, in his Lectures on the Philosophy of History, said that these artworks betrayed a somatic form of consciousness: the In- dian is “lost in a dream,” sees god everywhere, and through this ubiquity, quote “the Divine is thereby made bizarre, confused, and ridiculous ... degraded to vulgarity and senselessness.” For Hegel, Indian art depicts not monsters, but funhouse gods of a culture stuck in a hallucinatory reverie that can’t really impose cogent categories to divi- de up reality, instead smearing everything together into a single divine substance: “Sun, Moon, Stars, the Ganges, the Indus, Beasts, Flowers — everything is a God.” The fact of cultural difference posed a challenge to Hegel’s integra- tive system, stretched it to its limit, at which he resorted to caricature. However his failure is also a success: projected onto the Hindoo is something that would later be affirmed by psychoanalysis: that fantasies aren’t discrete from wa- king life, but are threaded into our relationships with each other and the world. In the past, I’ve described my haptic interventions into video sequences—augmenting, rotosco- ping, re-scoring, and compositing them—as an attempt to amplify, coax out, or herald the social abstractions, discou- rse, unconscious thought, and discarded sense data that are invisible and overlay our world.

And yet, sometimes I find the world already augmented as was the case with these houses outfitted with memento mori. I found the whole situation funny, a day trip daydream spent seeking capital-C Culture only to find capital-S Spirit. Later, a friend introduced me to Cameron Jamie’s photo book Front Lawn Funerals and Cemeteries, in which the artist took flights from Paris to LA in the mid 80s to take silver gelatin photographs of what he called “The American Grand Guignol,” and I related to his humo- rous, somewhat anthropological presentation of the holiday. A year later, in 2018, I returned with a helmet camera rig I fashioned out of a plasti-dipped motorcycle helmet, a tripod head, and a 360 ̊ action cam, and shot the opening sequence of Mourning in advance (2019), in which a camera rotates on a digital turntable, momentarily pausing on my face, and the houses at which I’m nervously staring. This video en- ded up establishing some coordinates within which I’m still working today: most of my work comes from traversing the city and happening upon scenes that crystallize broader dynamics, in this case, the soft horror of everyday life.

Five years later, upon returning to New York from London, where I completed my MA, I had an inkling to revisit this sequence and make a sequel. In part, it was a way to let go of the pressure to always come up with something novel, and experiment with working serially. However, a lot had changed in that interval, namely, life had become much more difficult and painful, and now for the most part, the decorations now struck me as generic and empty. The work that came from those shoots Give me that fucking content, exemplifies this shift: a manic, panicked, searching mecha- nical gaze frenetically scans the surrounding environment while the titular phrase is repeated with increasing derange- ment in voice notes I recorded between shots. Banal street scenes are rendered ravaged, spiky, saturated with aggressi- ve emptiness, and a demand balloons into a threat.

Vijay Masharani
2024
Drafts of Ecology: Das Irrlicht (Dank) is a publication, project, and conceptual prism that, endeavours to employ ecological thought as a means to construct an atmospheric and intellectual synthesis, connecting the banks between the realms of industrial and scientific development and the domains of spirituality and sensibility.

This prism seeks to shed and scatter light to investigate and illuminate the intricate interplay between these seemingly disparate spheres, positioning itself at the junction of tangible environmental impacts and the intangible dimensions of human experience and understanding. From this vantage point, the project aspires to foster a multifaceted dialogue that radically evaluates the dynamics at play between technological advancement and our spiritual and perceptual engagements with the surrounding environment, thereby advocating for a more integrated and comprehensive approach to ecological consciousness. The work initially aims to explore to what extent historical conceptions of land, predating and following the advent of agriculture and the evolution of industry, influenced our temporal continuum, and how these changing perceptions of the environment paralleled the cultural and artistic manifestations of our societies.

The compilation features contributions from scholars and practitioners who share a common interest in exploring similar ideas. It aims to reexamine the ways we distinguish and separate different areas of thought, suggesting that rethinking these divisions could be key to creating a more unified understanding across various belief systems.

Contributors: Theodor Nymark, Morten Fischer Mortensen,
Ireen van Dolderen & Jamie Walker, Kasper Opstrup,
Sara Mering, Soo Ryu.

The book is still available at the bookstore of Kunsthal Charlottenborg and in the office of Salon 75.
Soon also available in various book shops and online. 


1st edition, 150 copies.
Custom and unique silkscreen algae pigment cover

Salon 75 Publishing
ISBN: 978-87-975229-0-5
Copyright © Theodor Nymark, 2024
All rights reserved the author and Salon 75 Publishing.





The Citadel of Copenhagen

Adrian Cadan

22.02.24— 24.03.24

Adrian Cadan (b. 1995) makes a notable return to Salon 75 after seven years. Cadan, distinguished as the gallery's first exhibiting artist in 2017, presents a new selection of paintings that explore the landscape of Copenhagen's Citadel. Drawing on the expressionist tradition, his work gesturally aligns with the painterly practices of German and American artists from the 20th century. By employing both figurative and abstract approaches, Cadan reexamines the essence and history of modern painting and image-making. His meticulous exploration and practice reflect a thorough historical engagement and introspection into the traditions of painting, highlighting the inherent challenges and opportunities it presents.



The Citadel (abstract) 2024
Charcoal on canvas

By the Citadel (in moonlight) 2024
Oil on canvas

By the Citadel, wood fantasy 2024
Oil on canvas



SHOW SHOW
03.02.2023 - 06.01.2024

Nicoleta Auersperg, Nadine Lemke, Jürgen Münzer, Mara Novak, Noushin Redjaian, Marit Wolters, Hui Ye.

Curated by: @gomoartspace

“With a broad artistic gesture, SHOW SHOW casts concepts such as empowerment, self-staging and selfoptimisation into the exhibition space and brings to question exclusivity of artistic creation as well as authority and expertise in art. In recent decades, the DIY movement has become increasingly influential in digital culture as well as in the art scene. The democratisation of artistic processes can no longer be denied; online resources antutorials in all areas are a reality. The exhibition scratches the surface of this supposed democratisation of art production through DIY and tutorials and humorously questions the dogmas of authority and expert knowledge in art production. DIY was once a punk movement, clearly positioned against commercialisation and in favour of democratic participation. By comparison, the majority of today’s DIY endeavors have been completely commercialised. SHOW SHOW makes these contradictions a subject and object of artistic exploration.