Peter Bangs vej 75
Frederiksberg 2000
+ 45 40 57 18 04
salon75@info.dk

Opening hours
Wednesday 14.00 - 18.00
Saturday 12.00 - 14.00
Sunday 12.00 - 15.00

Associated curators:
Theodor Præst Nymark Jensen, Sofus Keiding Agger, Christine Dahlerup, Hedvig Tygstrup Greiffenberg, Adam James Hommel Varab & Frej Volander Himmelstrup.


A Few Words With Bob

- Interview with Bob Bicknell-Knight.




Present:

The Tired Mask of Spring

Past:

Bawl Screen: A Topography
Bow
Staff Only
‘Yours To Keep’ by Johannes Arvidsson
From Green To Grey
State of Affairs
APXIV

Homesick Gallery
Urielle+
Lifepark

Emilie Viktoria KJÆR & SóLEY RAGNARSDóTTIR
Pine Sleeves
Ikea-Konglomeratet
Sentience is for Losers and Nerds
Honeyland Festival
Figures of
Speech//Functional Escape

Nye Rør i Salon 75!
DON’T FEED THE TROLL
COMPRESSION
In Between And After
Squinting At What Appears To Be Almost There
Ingen Jury, Ingen Præmier
I Am Responsible For All Living Beings’ Happiness


Mark
 


The Tired Mask of Spring

An exhibition by MARTIN AAGAARD HANSEN


Most uncanny of all was a mysterious phenomenon that began with the animal invasion, increased rapidly,
and led to the Dream Kingdom's complete collapse — the crumbling process. It attacked everything.
Buildings made of all sorts of materials, objects collected through the years, everything that the Master had
spent his gold for, all this was doomed to destruction. Cracks appeared simultaneously in all the walls, wood
rotted, iron everywhere turned to rust, glassware grew muddy, cloth disintegrated. Valuable works of art fell
irremediably victim to an inner decay, for which no adequate cause could be found.
A sickness of lifeless matter. Mould and mildew invaded the best-kept houses. There must have
been an unknown, destructive substance in the air, for fresh food, milk, meat, and later on eggs became sour
and rotten in a few hours. Many houses began to collapse and had to be quickly abandoned by their
tenants. On top of that came the ants! They were found in every crevice and fold, in clothes, in wallets, and in
people's beds The biggest, the green, were in every crack in the walls and in the open country, wherever one
set one's foot. The white, by far the most dangerous, transformed woodwork into powder. The most irritating,
beyond question, were the red, for they elected to make their homes on the human body. At first, scratching
was considered bad form and was carried on only in private. But what can one do when one itches? In the
French Quarter everyone had been scratching for a long time. We had laughed at them — and soon were
doing the same thing.

- Alfred Kubin, The Other Side


Salon 75
Peter bangs vej 75, Frederiksberg
Opening 12. June 18.00 - 21.00
13/6/2020 - 26/6/2020




“Knotted Figure by Window” 2020
60 x 37 cm
Oil on canvas, artist frame


“The Tired Mask of Spring” 2020
141 x 107 cm
Oil on canvas, artist frame


“Dragging Bell” 2020
35 x 27 cm
Monotypi på papir


“Knotted Figures” 2020
40 x 55 cm
Oil on canvas, artist frame


“The Janitor” 2020
55 x 40 cm
Oil and gouache on canvas, artist frame

BOW


Salon 75
Peter bangs vej 75, Frederiksberg
Opening 28. February 18.00 - 21.00
28/2/2020 - 15/3/2020


A duo exhibition by BEATRICE ALEXANIAN & STEPHANIE BECH



STAFF ONLY


Salon 75
Peter bangs vej 75, Frederiksberg
Opening 17. January 18.00 - 21.00
18/1/2020 - 5/2/2020

As the years have passed, from 2017 until now, many wonderful beings have been through the cultural canal which is Salon 75. The clock is ticking, time went by and some of these beings hung on, those who did are now close friends. As anyone already might know, its fun to hang out with friends, especially if they share the same interest as you, which is art. So for the coming season of 2020, we intend to kickstart it all with a selection of works by the newly associated artists, or should I say, curators, of Salon 75. Whatever, it's a group show, you get the drill. We hope to see you all for a glass of something and hopefully a blue sky!

Sincerely,

Theodor Præst Nymark Jensen
Adam James Hommel Varab
Christine Dahlerup
Sofus Keiding
Frej Volander Himmelstrup
Hedvig Tygstrup Greiffenberg


Adam Varab
“rosie o’ donnel principal. mass action. subordinate. tuesday 09:30 am. sunday
the 20’s. past barbeque.
treat. me. ordain.

this is what we do. as you like. how we did it. tasty preserve.
sugar coded walk. lets go for a pituitary need.”
Resin, artichoke, wood, metal, plastic
2020


Hedvig Tygstrup Greiffenberg
“EDEMA
(Edema
I heard her sing vibrating
and growing her body limbs, eyes
expanding everywhere into me
I saw her Feeding
on Gaia
and swelling from love)”

Soil, glue, bronze
2020

Hedvig Tygstrup Greiffenberg
“Permea (Transpass and I will split open)”
3 etchings
Coated copper plates

2019


Sofus Keiding Agger
“Changing scenery; building bricks”
Model bricks, wood, photo print, pins
2020


Theodor Præst Nymark Jensen
“Christopher Fen-Dweller (Hostbody)”
Iron, Styrofoam, faux moss, leaves and branches, Taxidermy European mole
2019



Christine Dahlerup
“For the walls not to collapse they need support from a large round ball”
Muslin, cardboard, pillow-filling, sewing thread
2020


Frej Volander Himmelstrup
Navigate me through and then again”

2-channel video with sound
2019

Hedvig Tygstrup Greiffenberg
“ROOT
(Root
pointing out of this world and into
underworlds of foreign songs were you frightened my love I heard you sing)”
Bronze
2019


Yours To Keep


En soloudstilling af J.G. Arvidsson
 
Aktuelt fra d. 23 november - 13 december






A Few Words With Bob



I invited Bob to come to show his works in our space Salon 75 (Peter Bangs vej 75) half a year ago. We spoke on Instagram, as you do nowadays, and agreed that it would be interesting to present a new body of work in the space. The profile of Salon 75 has always sought to be diverse and experimental, and the works of Bob appealed to me as being multimedia and driven by a speculative pseudo fictitious narrative that fits perfectly in the small 4 by 4-meter room.
Young as he is, Bob still stands strong in his way of composing a show and creating a melancholic atmosphere around his odd and surreal objects and pictures.With that in mind, his critics of a futuristic vision of culture are important in these times of our rapidly changing globalized society, something that is both seen within the fields of technology and the digitalized scene of contemporary art.

During the period of installing the exhibition by and with Bob Bicknell-Knight, we had some great talks about his practice and I thought that it would be suited to ask him some questions again for the internet, in which he operates around as a topic, to read.


- Theodor Præst Nymark Jensen




Theodor Nymark: How do you manage to balance between the different levels of understanding within your works. Are you creating the pieces with an intent to attach the description of the work, for people to grasp the concept fully and as a whole? Or do you open up the hermetics and maybe esoteric aspect, having the abstraction of the concept to be experienced solely through the obvious symbols and narraters?

Bob Bicknell-Knight: The majority of my work does begin with an initial concept, before I start making a sculpture or editing a video, although that original idea can distort and change during the making process, which it often does. I do like my work to be understandable and have a severe dislike of work that’s solely abstract or conceptual, so at times the ideas that I’m generating can be a reaction to that type of artwork. I think the works on show for the exhibition at Salon 75 are on the more overt end of the scale, depicting Mark Zuckerberg as a trophy hunter. I think, at this point, Zuckerberg is a very familiar face, on the news and everywhere you look on the internet. I think (hope) that most people who use Facebook know who he is. That idea, combined with the activity of trophy hunting (hunting animals for sport and posing with their corpses) makes the work, at least at a base level, simple to understand. Of course, there’s research involved in the work and more to it than a humorous image, as I like to make work that’s accessible on a number of levels, but I think that initial draw is important. That’s how you usually get people involved in a piece, the initial aesthetic. That’s how I’m normally drawn in anywhere, aside from if the artist is famous and you already know their work.

“I don’t think artists have to change their medium in order to keep up with consumer culture.”


TN: Dealing with the notion of craftsmanship in the arts in the 21st Century. How do you position yourself as an artist working with found material, 3D printing, digital manipulation etc. How do we in these times, navigate in the field of arts, with this particular aspect in mind, if the consumer culture dictates the fast evolving accessibility? Should we as artists follow that exact same pace or should we negotiate on this conservative term?

BBK: I don’t think artists have to change their medium in order to keep up with consumer culture. It does dictate the accessibility of these new mediums, like 3D printing, which you can now do in your own home due to the reduced cost of the machines, but I don’t think artists are going to stop painting anytime soon just because a machine can do the same thing. Consumer culture drives the creation of new things for us, as consumers, to consume. As artists we are free to utilise these new tools and technologies, but not necessarily for their intended purpose. I think it’s a rarity for consumer culture to evolve because of what an artist wants or needs. My biggest problem with artists using these new technologies is the fetishization of the tech, only using 3D printing, VR, etc because they can, rather than because it makes sense to do so and is in line with the concept of the work.

TN: As an artist working with actual personas in the narratives that you construct, do you ever face any moral or ethical complications?

BBK: I think this is the first time that I’ve made a whole body of work concerning one specific person. From my point of view, I think Zuckerberg has distorted the world and society as a whole, and not necessarily for the better, making him an incredibly problematic and disturbing person who wields a huge amount of power. So, to answer your question, I’m not worried about portraying him in this way, as a trophy hunter who hunts and kills animals for sport, as I believe that he’s done far worse, both in public and private situations.

TN: Like the concept of craftsmanship, how do you deal with the idea of working as a multimedia artist, not practicing any particular medium, and thereby not having a certain go to material dictating the evolvement of your general body of work?

“I think and hope that my work is directed at the present or the future, but definitely not the past.”


BBK: For me it’s a fantastic way to work, focusing on concept rather than any specific medium. Being a multimedia artist allows me to physically make anything for any situation, and not to be constricted to any particular material. As I said before, allowing the idea to come first is quite important within my practice, so

being open to working in any medium suits my way of working well. It’s also great in relation to exhibition opportunities, as I have a work for every medium. So, if I’m in a show in America I can just show a video, for example, or if they have a bigger budget I could send a sculpture. I like to be adaptable and able to produce work for any situation that may present itself.

TN: How do you position yourself in the history of art as a contemporary artist? Are you concerned with your work being directed towards, and not backwards, futuristic exploration?

BBK: I think and hope that my work is directed at the present or the future, but definitely not the past. I think that’s something I’m less concerned with, connecting my work to the history of art making, etc. I’m more interested in the now, and what’s happening in this moment. Obviously that doesn’t mean I don’t appreciate art, made in the past but also about the past, but for me and my work it’s not something I am particularly concerned with at the moment.

TN: Okay Bob, last question for now. Maybe it is a bit tricky. How would you describe the tendencies of the young British art scene in these days, and is there actually any tendencies which isn’t just as global as national?

BBK: I don’t really know, and am probably not the best person to ask! Everything seems to be broken in the UK at the moment, from Brexit and racist politicians to tuition fees increasing, making it more and more difficult to gain a college education. I think everything becoming fragmented isn’t just happening in the UK. The world also seems to be slowly collapsing. In terms of art, who knows, that’s something I’m less concerned about at the moment!