Divi div ide, 2024Installation view of silkscreen prints with Sebastar L751 luminescent paint that glows in interaction with an art installation of UV-lit insect-killing lamps.
Divi div ide, 2024
Installation view of silkscreen prints with Sebastar L751 luminescent paint that glows in interaction with an art installation of UV-lit insect-killing lamps.
Divi div ide, 2024Installation view of silkscreen prints with Sebastar L751 luminescent paint that glows in interaction with an art installation of UV-lit insect-killing lamps.
Divi div ide, 2024
Installation view of silkscreen prints with Sebastar L751 luminescent paint that glows in interaction with an art installation of UV-lit insect-killing lamps.
Divi div ide, 2024
Silkscreen prints of digitally interpreted blueprints from various theaters. The prints are made on blue paper with Sebastar L751 luminescent paint, which only glows under UV light.
Divi div ide, 2024
Silkscreen prints of digitally interpreted blueprints from various theaters. The prints are made on blue paper with Sebastar L751 luminescent paint, which only glows under UV light.
Divi div ide, 2024
Installation view of silkscreen prints with Sebastar L751 luminescent paint that glows in interaction with an art installation of UV-lit insect-killing lamps.
Divi div ide, 2024
Installation view of silkscreen prints with Sebastar L751 luminescent paint that glows in interaction with an art installation of UV-lit insect-killing lamps.
Divi div ide, 2024
Silkscreen prints of digitally interpreted blueprints from various theaters. The prints are made on blue paper with Sebastar L751 luminescent paint, which only glows under UV light.
Divi div ide
04.10 - 26.10.2024
StudyforArtPlatform
Stockholm, Sweden
Instagram
In his practice, Lars Nordby often draws inspiration from the condition of the theater, which he means is very similar to the gallery space, as their very existences rely on the relationship between the spectator and the spectatee, whether it be an object or a subject. This mutually dependent yet separate relationship is employed to delve into humanity’s deep-rooted obsession with identity and its desire for connection, acceptance, and belonging.
The exhibition ”Divi div ide” further explores two previous exhibitions combined: ”Restaging Parallax” (ICA—Institute of Contemporary Art in Sofia, 2022) and ”Blue Seats” (Centralbanken in Oslo, 2024). In the exhibition, five silkscreen prints, reminiscent of blueprints of theatre halls, are mounted on the walls. The prints are done with luminescent paint, which is activated by an insect-killing UV light. The metaphor of the insect-killing UV light serves as a reflection on the seductive and potentially destructive forces that shape us as individuals and as societies, particularly in relation to how we engage with narratives, ideologies, and the allure of certain truths. The theatre, like the gallery space, reminds us of the situation in which the spectators often finds themselves — how we passively consume information, narratives, and rhetoric that shape our reality, often without realizing the consequences.
The exhibition is supported by OCA - Office of Contemporary Art Norway.
Photo documentation: courtesy of the artist and StudyforArtPlatform
Many thanks to Benjamin Savi.
04.10 - 26.10.2024
StudyforArtPlatform
Stockholm, Sweden
In his practice, Lars Nordby often draws inspiration from the condition of the theater, which he means is very similar to the gallery space, as their very existences rely on the relationship between the spectator and the spectatee, whether it be an object or a subject. This mutually dependent yet separate relationship is employed to delve into humanity’s deep-rooted obsession with identity and its desire for connection, acceptance, and belonging.
The exhibition ”Divi div ide” further explores two previous exhibitions combined: ”Restaging Parallax” (ICA—Institute of Contemporary Art in Sofia, 2022) and ”Blue Seats” (Centralbanken in Oslo, 2024). In the exhibition, five silkscreen prints, reminiscent of blueprints of theatre halls, are mounted on the walls. The prints are done with luminescent paint, which is activated by an insect-killing UV light. The metaphor of the insect-killing UV light serves as a reflection on the seductive and potentially destructive forces that shape us as individuals and as societies, particularly in relation to how we engage with narratives, ideologies, and the allure of certain truths. The theatre, like the gallery space, reminds us of the situation in which the spectators often finds themselves — how we passively consume information, narratives, and rhetoric that shape our reality, often without realizing the consequences.
The exhibition is supported by OCA - Office of Contemporary Art Norway.
Photo documentation: courtesy of the artist and StudyforArtPlatform
Many thanks to Benjamin Savi.