Geumhyung Jeong, Upgrade in Progress, 2020. Installation view of the solo show, Upgrade in Progress. Fondazione Modena Arti Visive, Palazzina dei Giardini, Modena - Italy (March 6 – September 20, 2020) Photo: © Rolando Paolo Guerzoni, 2020.
Copenhagen – Red Light Green Light
Jun 11 – Jul 10, 2022
Kunsthal Charlottenborg
Copenhagen, Denmark

This summer, Kunsthal Charlottenborg presents an exhibition that moves out of the galleries and on to selected locations in the city of Copenhagen. Intensity and intimacy are in focus, and audience can look forward to great art experiences when a number of internationally leading video and performance artists create works for the city’s scenic spaces and halls.

The contemporary world is, some say, marked by a predominant feeling of stress or anxiety. At state of being that is simultaneously angst filled and driven by desire, controlled by a protocol for how to live and perform in our contemporaneity. The result is tension, a dramatic hold between two states – pressure and drive. The exhibition Copenhagen. Red Light Green Light (In the Realm of the Senses) takes off from a mixed state of tension, tenderness and lifeforce.

The exhibition is shown at Kunsthal Charlottenborg and moves on to locations in the city of Copenhagen. Six international contemporary artists Korean Geumhyung Jeong, Argentinian Cecilia Bengolea, Brittish Cally Spooner, Swedish Ylva Snöfrid, Thai Korakrit Arunanondchai in collaboration with American Alex Gvojic, and Polish Alex Baczyński-Jenkins have been invited by curator Charlotte Sprogøe to present installations, video and performances at six different locations in Copenhagen – portraying the mental state of the world we live in. The exhibition is formed as a living entity, taking shape at various locations throughout Copenhagen, opening at different hours of the day, and different days of the months. Continuously occurring in new variations.

The artists in the exhibition evoke each their own form of a contemporary Ballet Méchanic (Ferdinand Leger, 1924). Each part of the exhibition presents a choreographed approach to art – a ritual, a dance, or a song, formed by the interplay between life force and death, or the machinic, thingness. The body language of post-capitalism, the state of affect marking contemporary life – and the interactions in our lives, formed by the gig economy, the service industry in post-industrial society, is the living backdrop for the exhibition. A living backdrop whose post-industrial invisible protocols for life, community making, body movement and for love, evoke the aesthetic form of the artwork, their energy and sensibility. The materiality of our times is met by the mythology that keeps us going – that animate something on the other side, behind the mirror, in the realm of the ghosts.

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