Fredrik Værslev: Pyramid SchemeWhat happens when we walk across the floor of a studio, gallery, or museum in the direction of Fredrik Vrslevs pyramidal paintings? We see something that is a bit unexpected: paintings extending far beyond the wall and their own wooden stretchers, each one culminating in an apex like the pyramidal textile roof one sees in small party tents, or in the campaign tents used by the generals of antiquity when visiting a battlefield. When we position
The world of plants has accompanied them as inspiration in both content and form
Albert Oehlen’s examination of Hans Josephsohn’s creative process—the handling of the material
We see something that is a bit unexpected: paintings extending far beyond the wall and their own wooden stretchers
A cathedral of commerce that opened in 1929 and unwittingly morphed simultaneously into a golden calf
Featuring contributions from Suzanne Ciani
Her research and compositions are invariably driven by an examination of the human voice
reflecting on the conditions of image production
Within the layered orders of the world
or in the campaign tents used by the generals of antiquity when visiting a battlefield
the photographs exemplify Jiří’s approach
which illustrated the classic Silva Verlag handbooks Pilze 1 and Pilze 2 (1972)
While the experiences and expressions of the prisoners and refugees possibly overlap
