Category Archives: Exhibitions

I have recently exibited outdoors more than indoors. Here are pictures from my most recent outdoor exhibitions.

Addiction and the Depris left in its wake – New Project

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Filed under Art, Exhibitions, Personal News

For over a year I’ve been working on paintings dealing with the nature of addiction and what it is like to love someone who is struggling with it. I am still learning about the way in which my life has been affected by this, both positively and negatively. These artworks are therefore a personal journey and an attempt to start a dialogue between myself as a co-dependant, (consumed by the plight of the addict), those with an addiction and anyone else who joins the conversation.

I will post pictures and sketches here in my blog for you to see, in anticipation of exhibitions in the latter stages of 2018.

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This is the first time I am showing the content of this door on-line. More about that in a moment. The door is my exhibition space. It originally was made to stand outside Den Frie/The Independent exibition, because they house KE – a Censored Exhibition – every year that I feel has a counterproductive way of ‘promoting’ up-and-coming artists. It costs between 550.1150kr to enter, with no need for accountability from the panel of judges. I therefore exhibit outside for free every year with the council’s permission and I’m sure that attracts more long-lasting attention than what is happening inside. It is quite entertaining really. Aloong the side of the door frame are the words; Den Friere – The More Independent, because my decision to use public space instead of Den Frie; The Independent, makes me freer!

 

 

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This is from the two week period the door stood outside Den Frie. The painting itself describes the feeling of having a scream inside that you cannot contain. It needs to be released and the only way is for you to rip yourself open to relieve the pressure. This emotion more specifically, came from the realisation that communication with someone dear to me was crumbling to dust and I seemed unable to stop the wrecking ball from swinging. A very painful period.

 

 

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The reason for the mask is that Den Frie’s Censored Exhibition KE give ‘faceless’ rejections; just a red dot on-line. So I thought I’d remain ‘faceless’. The word on the door “Censored” can have several interpretations: 1. That me and my painting are censored by Den Frie in terms of being rejected. 2. My painting being censored due to its naked horror. 3. I as a person feel rejected by another person, and the painting is an expression of that feeling of rejection. This is the main motivation for the word on the door. But the layered meaning is deliberate.

 

 

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With permission from the council, I moved the door to Kongens Nytorv in November 2017 and it has been there since then. It has been visited by hundreds if not thousands of tourists and locals throughout the past 4-5 months.

 

 

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Here is a letter someone wrote to me, thinking I was C. S. Lewis. But C.S Lewis is who I quoted under the painting, not me. It was nontheless very touching and I appreciate the words of comfort that were expressed to me here.

 

 

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I like this message! Teresa has understood that love is worth the risk, but that it is a risk.

 

 

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I like the juxtaposition of the gentleness expressed between this couple and the horror of what it is like when love goes wrong, which they are witnessing.

 

 

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Compared to outside Den Frie in Østerport where it might have had 5 visitors a day, the door is getting masses of attention in Kongens Nytorv. I think it is visited every 5 mins or so and I’ve had about 60 email addresses or messages in my postbox which is attached to the door. Unfortunately I’ve found the box open at times and I think many messages have blown away too :(

 

 

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As I say, this is the first time I am posting pictures of the content of the door, but it is almost certainly not the first time it has been shown on-line by others. You see friends being photographed as they open the door. I like the intimacy that having a painting behind a door which you have to open yourself creates.

 

 

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Then, in february someone took a knife to my painting and cut it out of its stretcher! Sabotage! the wires to the lightbulbs were also cut. BUT, when you meet resistance and have a creative streak, you don’t give up or bow out.

 

 

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The sabotuer did not take the canvas with them, so I decided to try sewing it back in. I pasted contact glue around the seam on the back to stop the seam from running as soon as I started to sew.

 

 

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I used a strong thread to pull the canvas seam tight once the glue was dry. It was impressively effective considering the amount of tension needed to close all of the seams. I deliberately used a red thread and a varied stitch to create what could look like a sewn together flesh wound.

 

 

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Back to the content: The painting is called “To Love” and deals with the vulnerability of love. Love is the strongest emotion and can lead to the deepest pain. The quote is by C.S. Lewis and says it like it is; love makes vulnerable. If you don’t want to be vulnerable, then don’t let your heart love anyone or anything. He is not saying, don’t love, he’s just explaining the natural cost.

 

 

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So here is the new improved version of what I presented originally, now with life-experience similar to the theme of the motif itself. Thanks to the saboteur. I couldn’t have done it without you! Maybe there is a story here about scars in life making us somehow more beautiful, if we are willing to take them and work with them.

 

Den Friere udenfor Charlottenborg kunstgalleri, og Det Kongelige Teater

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Siden slutningen af nov 2017 har Den Friere dør stået på Kongens Nytorv 3-5. Værket havde overstået voldsomt stormvejr foran Den Frie på Østerbro, men med sit nye beliggenhed og med den forkerte vinkel kom et vidstød mod værket, der væltede det, og knækkede dørkarmen. Jeg foretog reparationen ude på pladsen med PU lim, skruetvinge, varmedunke og plastik betræk for at beskytte reparationen for det fortsat voldsommen vejr. Da jeg så vejrudsigten, kunne jeg se det nødvendige i, at søge ly et stykke tid da jeg også ville forsegle værket bedre. Jeg fandt ly under en port i Snaregade, og med hjælp af en trækvogn fra Charlottenborg kunstskoles skulptur-afdeling, fik jeg transporteret værket i sikkerhed. Det har været en udfordring at være udendørs kunstner i denne kontekst af regn, kulde og blæst, men at opleve, at indenfor 1 1/2 time fik jeg skaffet mig ly til værket, en trækvogn, nogen, der var villig til at hjælpe mig få værket op på trækvognen og nogen til at hjælpe få værket af trækvognen igen, så følte jeg mig beæret af, den godhed jeg mødte. Her er nogle billeder fra Kongen Nytorv og fra reparationen.

 

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Den Friere udstilling foran Den Frie og senere tæt på Charlottenborg Kunstgalleri

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Som er blevet tradition for mig, lavede jeg endnu en gang, en udstilling foran Den Frie til Kunstnernes Efterårs Censureret udstilling i slutningen af oktober 2017. Her er nogle billeder fra opbygningsfasen af værket, jeg ville stille udenfor, som en slags modspil til det, der foregår inden på Den Frie. Jeg kalder udstillingen Den Friere, og på døren er der skrevet “Censureret”. Værket indeni døren er en blanding af en maleri, der omhandler det indre skrig, når man føler, at kommunikationen mellem ens selv, og en man elsker nedbrydes, og man er magtesløs, samt en citat af C. S. Lewis, om sårbarheden i kærlighed. De kommer ikke med her, men jeg skrever igen senere, om udviklingen af hvad der er foregået siden værket flyttede til Kongens Nytorv 5, tæt på Charlottenborg kunstgalleri.

 

 

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Preparing the door, installing lights that turn on when the door opens.

 

 

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The spiral that keeps the wires together is made from a hairband I bought from The Flying Tiger.

 

 

 

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Standing outside my artwork/exhibition in a mask of ‘anonimity’.

 

 

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The anonymity relates to the fact the Censored exhibition, KE is apparently judged without their knowledge of the applicants, so I thought I might as well continue being anonymous for those who are not interested in my work.

 

 

 

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Den Friere (The more Free/Independent) Exhibition outside Den Frie (The Free).

 

 

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Inside the exhibition. Some good works, but an outrageous amount of empty walls.

 

 

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A sneak peek at the artwork with one of my viewers.

Article in Amagerbladet about my Revolution painting

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Filed under Art, Exhibitions, Political Art

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This article relates to my painting about the USA presidential election with The Wall Street Bull placed symbolically in the centre. Bernie Sanders is trying to bring the symbol of power and wealth under control, while Trump is kissing it with fire protruding from his pants – a reference to his many lies. The painting can be seen in Christiania’s art gallery – Gallopperiet until the 26th March when all artworks are to be taken down.

Editorial mistake; the author of the article has been accredited as the artist by the editor, but the author has accredited me with the art in the article. A bit confusing but perhaps this increases curiosity 😉

 

 

Here is an overview of many of the people connected to the Revolution movement. See names on link below.

 

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Link to names:

Supporters of Bernie

 

 

Kunstkursus på Bellahøjvej 121 – Værkstedet Bella

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Flyer martsb copy

Den Friere/The More Independent opens!

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Welcome to Den Friere/The ‘more’ Independent!

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Since my Otto Frello portrait was rejected by Den Frie/The Independent, I’ve started creating my own Happenings outside.

First I stood in the central reservation and painted a ‘letter’. (Read about it under the title In the Red Corner/I det Røde Hjørne)

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The following year I brought a big board and made a protest where I quoted people who criticised the exhibition for being lacklustre.

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This year I opened Den Friere, which both means The Freer or More Independent because I really think there is something awry

with the snobbery of the elite art world.

 

Here is a sign showing the way to Den Friere/The more Independent exhibition. One thing that makes it very free is that I sought

permission from the council – which is free – and they don’t censor the content :)

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Two folks I know from Christiania’s Uncensored February exhibition came along and joined in my exhibition opening. I felt it was

appropriate with a rebel fist for the occasion 😉

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To the right is my friend and accomplice, who helped me set up the outdoor exhibition.

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Meagre beginnings, but definitely not meaningless. Due to the weather and difficulty transporting the original painting, I had to make

do with a frame high quality copy. The original is a good bit larger.

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At the end of the evening, one of the artists I had met last year turned up for some mulled wine. Between last year and this year, I

invited him to take part in an exhibition called The Missing Dialogue, which ran in Gallopperiet, Christiania in July ’16.

To the right of me there is a postbox people could put their contact details in if they wanted to hear more.

Interestingly enough, I got a lot of positive response for the Happening this year. More so than last year. As has been the case every year,

I  got a visit from some of the ‘insiders’ but they were friendly and listened to what I had to say. Maybe they even agreed…

Roll on next year for the next ‘exhibition’/happening :)

I’m free!

 

The Masked Painter Returned

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Filed under Art, Exhibitions, Personal News

Just a quick note and a few photos:

I did not enter Den Frie’s Open Autumn Exhibition (Kunstnernes Efterårsudstilling) this year because my absolute biggest art challenge that I could have undertaken was rejected in the first round – my Otto Frello portrait. So when that happens, you know that this is not a place you wish to exhibit. They are looking for something else and I will not feed that to them. Instead I found out that the ground in front of Den Frie belonged to the council and not the gallery, so I booked that space from the council and proceeded to do a LIVE performance, or happening for a week from the opening day. It was liberating being able to question the status-quo and use the council’s space to question the art world’s censorship. It must be said that I was difficult to overlook and there was a fair amount of interest in what I was doing.

Here are some photos from the Happening.

 

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Left. A photo of me talking to some of the people who came to the opening. Right. A portrait of Danish art critic Peter Michael Hornung who reviewed last year’s exhibition and gave it only 3/6 hearts. He wasn’t impressed. This year’s exhibition was, in my opinion better, but I agree with Peter that there are probably a great many people who art part- or full-time artists who do not enter for this exhibition because of its censorship style. He also said that getting into this exhibition is not credited with a public breakthrough like it used to. These were the kind of quotes I used on my board.

 

 

 

 

 

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Left. The weather was misty, rainy, windy, but not freezing cold, which was the one thing I had worried about. I was very grateful for my tarpaulin! Every morning of the week. I had to go and check for a lake in the tarpaulin. Every day except one, I found one. Right. Last year, Torben Sangild, one of the censors came over to where I was painting and engaged with me. He wrote an article and gave about 200 words to my critique of the censorship method, trying to explain why it is done the way it is done. I liked him for it as he helped put a focus on the issue which helped open up a debate on-line.

 

 

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Left. Den Frie can be seen behind me with some of the visitors on the opening night. Right. Jan Falk Borup commented on Sangild’s article. He pretty much stated that the censorship method in general wasted a lot of people’s money because they were already disqualified because their work just didn’t fall into the category of what either the censor board or the gallery is looking for.

 

 

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Left. Just before they closed the doors I and a friend managed to sneak in through the doors to have a quick look round the gallery. We took a few snaps. Right. A quote from an art blogger who stated that Den Frie doesn’t really introduce us to anything new and hasn’t done that for a long time. In fact this year’s exhibition looked more like a retrospective exhibition from the last 30 years.

 

It was a brave move to seek permission and work on something of this scale just outside the gallery. Brass-necked even. But I believe in asking questions like this of the art establishment because I will not be the only painter who feels ostracized. And I also wanted to make a statement that just because you can paint portraits that look like they belong in the Golden Age, doesn’t mean you can to performance art and the likes. See you next year :)

A Dialogue for Peace – 4th – 26th April in Christiania, Gallopperiet, Denmark

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There  are five days left to see an exhibition I have curated called A Dialogue for Peace. It has been an eventful couple of weeks with input from various artists all dealing with the subject of peace. Within this theme come knowledge and understanding, justice and love.

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This painting was painted outside the Danish parliament. It is based on the story of the sun and the wind who compete to get a man to take his cloak off.  http://www.english-for-students.com/The-Wind-and-The-Sun.html  My reason for painting this was that I had concerns about the repercussions of the shootings in Copenhagen on Valentine’s day this year. I wanted to create an artwork that encouraged dialogue and peace, not more aggression towards a group of people living in Denmark who are constantly associated with the acts of the few. Here I am with a group of Somalian refugees who were protesting outside the parliemant 24th March 2015 because their cases were taking too long to processed. There were about 100 demonstrators and I don’t believe any politicians came out to speak to them.

 

Midview and mask - a nod to my protest outside Den Frie

Midview and mask – a nod to my protest outside Den Frie

 

Leah with Somalian refugees outside the Danish parliament

Leah with Somalian refugees outside the Danish parliament

Leah with Somalian refugees outside the Danish parliament

Leah with Somalian refugees outside the Danish parliament

 

 

Sun and the wind painting hung at Gallopperiet, Christiania, Denmark

Sun and the wind painting hung at Gallopperiet, Christiania, Denmark

 

 

 

After meeting the refugees I decided to make a tribute installation describing their situation. There is a portrait of one of the demonstrators and other objects that are thrown in a pile. These objects could be useful, but don’t look it. There is also a ladder that is rotten and going nowhere special – the ceiling is low.

Installation representing the refugees' experience in Denmark

Installation representing the refugees’ experience in Denmark

A refugee painted on a chair seat in a pile of refuse

By Leah Robb – A refugee painted on a chair seat in a pile of refuse

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I was inspired by an artist called Michael Landy who made paper cutout people and had them all over the floor. They were ready for the People Shredder. http://www.tate.org.uk/art/artworks/landy-scrapheap-services-t07221 This installation is one of the most powerful works I’ve ever seen. Anyway, I decided to borrow his idea, but make more obvious differences to the people on the floor. Some people made a point of not standing on anyone, while others just walked right through not looking down.

People, by Leah Robb

People, by Leah Robb

 

 

 

This piece called Propaganda is about the way news has removed itself from serious journalism to ill-informed or outright deliberate misrepresentations of truth for the sake of selling the news. If you can see through the web of propaganda, you may see the truth.

Propaganda, by Leah Robb and Sandra Andersen

Propaganda, by Leah Robb and Sandra Andersen

Read More »

Fernisering, Foredrag og Underholdning nu på torsdag 28. aug i Filmby Aarhus!

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Filed under Art, Exhibitions, The Triangle Theory

FERNISERING: SKÆVE EKSISTENSER PÅ OLIE

– 19 PORTRÆTTER FRA CHRISTIANIA. FERNISERING OG FOREDRAG I FILMBY AARHUS TORSDAG 28. AUGUST.
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Leah Robb, Filmby Aarhus og Mediedokken inviterer til fernisering og foredrag i Filmbyen 23. Torsdag 28. august Foredrag kl. 15.30 Fernisering kl. 16.00 Underholdning: Ocean van Vleck, der selv er gammel Christianit

Leah Merete Robb er halvt skotte, 37 år, uddannet kunstmaler på Duncan of Jordanstone. For år tilbage satte hun sig for at portrættere menneskene, der lever på Christiania. Mødet med Christiania ændrede Leah Robb for altid. For at komme tæt på, var hun nødt til at leve sig ind i staden og være sammen med de portrætterede i deres dagligdag.

Projekt Christianiaportrætter er resultatet. En samling meget overbevisende oliemalerier af mennesker, der ellers aldrig ville stå model på den måde. Der er Syre Kim, der døde fem måneder senere, der er gymnasieeleven Theo, den grønlandske fisker Rink, og Christianias egen skæve præst, tømreren John Andersen. Men der er også folk som Bifrost-sangeren Ida Klemann, Grev Lyhne, der spillede trommer i punkbandet Parkering Forbudt og stadens ældste mand, den norske maler Laurie Grundt.

I alt 19 meget forskellige portrætter af christianitter, der er fremstillet på hver sin måde, i den kunstneriske stil, som nu passer til dem.

For Leah Robb har der været både en malerisk og filosofisk udvikling. Samtidigt skrev hun bogen ”The Triangle Theory – Objective Criticism of Art”, der tilbyder en metode til at vurdere et værks kunstneriske værdi – uanset om det er et kunstværk, et håndværk eller et nedlagt elværk som Filmbyen.

Foredraget handler om Leahs kritik af kunstkritikken. Andre har beskrevet Leahs bog som “en bombe, der springer kunstkritikernes urørlige borg i luften,” og “modigt har som mål, at finde fast grund i den subjektive sump af meningsløse kunstkritik … dog uden at udelukke det skøre eller chokerende”. Foredraget, som også er blevet holdt på kunstkonferencer i USA, giver stof til diskussion og eftertanke for enhver kreativ kollega, uanset om man er grafiker, journalist, fotograf, filminstruktør – eller overhoved enig.

Multi-kunstneren Ocean van Vleck, der laver musik, teater, humor og film, kommer forbi og giver et nummer – sammen med Leah på perkussion. Ocean, der i dag bor og arbejder i Aarhus, er selv gammel Christianit.

Kontakt Leah Robb på 5023 3126 eller klik på titlen og sende mig en besked.