Danmark i Italien

Oktober 2005

Anders Christian Pedersen
udstiller i Milano fra 9.11. - 23.12.

Largo Frà Paolo Bellintani, 2
20124 Milano
Tel/Fax +39 02 29534903

Udstillingens titel:
"Per ironia della sorte" - Skæbnens ironi

Ferninseringen foregår den 9. nocvember fra kl. 18.30

Pressemeddelelse fra www.magrorocca.com >>

Sneering, laughing.
A look is believed within a joke,
she observes,
you think about it,
the round starts
within a parade of whom
does not know that
this game has not started yet

My observation starts today as an artist in perfect style with 2001 Odyssey in the space.
A daily routine, full of millions of new technologies, is invaded by related technical applications, between unlimited photo shop, pixel, and dpi, high and low resolutions.

They are sometimes useless and plain technological exercises, maybe designed just to ask oneself who really is the artist.

If just a graphic or computer designer places an order for the work of art or someone who loves showing off, in big characters, a business card that labels his/her professionalism, are some common situations within a metropolitan superhero.

Today, always in 2005, I am myself.

I take a breath as a relief as I have in front of me Anders Christian Pedersen's paintings.
My breath is calm and brief.
I also have narrations in front of me, even though of northern tones, are proud to have Scandinavian origins and are not generated by mad frames.

Maybe it is also casual because of the unexpected consequences of some virus ready to attack the hard drive of my PC.

'They still exist', but are whispering, without saying a word.
It still exists to who chooses painting, studying perspective, applying various lights angles and to who chooses intelligence and, why not, even a sharp and ironic sarcasm.

With Pedersen, it is a chance to dispel the myth and remove, from the pedestal, the myth of a ragged artist who suffers because of pain, agony and torment. Pedersen reproduces in all his paintings these conflicts (just to say, it is full of more tormented pàtos)
Once, let's try (at last) to forget about all that.

Pedersen is aware of serenity value as who wants to learn, examine and now experience a welcome company.

The artist is funny to organize the scene, to introduce images and to start a dialogue between them in a complexity of several pieces.

There is no arrogant willing of whom wants neither to place him higher nor whisper or give answers with a hidden intention.

He is not interested in it.

On the contrary, he wants to ask questions, is curious and amused to analyse details and articulated points, and places them on his painting.

He said to me "because, at the end of day, that's what art is all about and there are no arranged answers; however, it is all about the relationship within the result created by his artist, space and spectator. That's all".

However, it is not all of that. Pedersen stages his settings with a shape of small or bigger rooms, corridors and huge halls. It is not important to search or ask for a specific definition of environment, making an effort to label it by using conventional and enormous co ordinations.

The sceneries are presented for what they are, furnished by a generic adjective "interior".

The spectator is placed in front of it on a different level and interacts with what is going on, while, the left over of the prospective rip allows the spectator to come and enter in this territory.

It is not necessary that a display of a formal road, where performers are, is marked by a maniacal perfection. Walls are not perfectly clean and are with or without painting drops.

All of these are not useful to Petersen.

The final result is part of this game and is the primary component that places itself as the interacting element, allowing the spectator to explore.

Left over painting brushes, visible parts of lapis, areas left here and there without colours allow to open up the stage. Rooms are characterized by wide windows thanks to generous openings on the background of Petersen's paintings; it is possible to see views, horizons and more. Landscapes are on the backgrounds or even just simple references that do not allow an end to the episode, with where or when.

The young boy will go back laughing but earlier he laughed and cried on his own, both are portraits of children's innocence.

The stupid person will give to others just its knowledge but earlier he was unable to know that truth was already in its pockets.

This time the real stupid one, dressed up as an intelligent student, will learn that there is nothing to waste; however, earlier he wasted his entire life in order to understand what the key that will mark his life was.

Stage performers cross the back stage as links to this rebus and puzzle that have to be set free and discover, using sensibility and reason.

It is a painting that leaves the predominant role to a dominator who does not dress up himself as an authoritarian tyrant but, however, as an authoritarian emperor.

The most faithful servant is an artistic manipulator of this thought and a figure that makes this to happen, allowing being a chosen instrument.

In this way a conventional or artistic image does not reduce itself as a built sign of a common place, on the other hand, it is a witness of something that otherwise could not be expressed.

Pederson considers narration as a consequence of events, an opening of a window, a light that you start seeing from far away.

His paintings are a guaranteed confirmation that there are no certain answers.

It is a personal road full of starting points, now brighter and thoughtful, that are brought towards meditation.

On one side:
"It is necessary to decide that life is our passion". (E. Paci)

On the other hand:
"Humankind is a useless passion". (J.P. Sartre)

Pedersen chooses to express himself leaving to each of us his own answer, whatever it is.

"Art must really overcome any human limits in order to be immortal. Good understanding and logic will mark them. If you take this road, you will be very close to dreams and infantile mind"
(Giorgio De Chirico)


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