WORLD
世界
大卫·冯·巴尔 David von Bahr
开幕时间/Opening: 2024.01.20 | 周六 15:00
展览时间/Exhibition Duration: 2024.01.20 - 2024.02.18
地点/Address: 北京市朝阳区798艺术区中二街 SIMULACRA
SIMULACRA, Zhonger Street, 798 Art Zone, Chaoyang, Beijing
SIMULACRA 拟像将于2024年1月20日呈现艺术家大卫·冯·巴尔 (David von Bahr) 的个展「世界 WORLD」。在本次展览中，艺术家延续过往的实践方式即跨越草图与轮廓的围栏，呈现一系列绘画作品即其与画布直接对话的内容。画布成为艺术家进入自己精神世界的媒介，引导至另一个超验境地。在延续的同时，高饱和和高密度的视觉刺激邀请观众在移动之间踏入另一个维度的世界。
SIMULACRA is pleased to present 「WORLD」， a solo show by Sweden artist David von Bahr on January 20, 2024. In this exhibition, the artist continues his established practice of transcending the boundaries of sketches and outlines, presenting a series of paintings that engage in a direct dialogue with the canvas. The canvas serves as a medium for the artist to enter his own mental realm, guiding towards a transcendent state. While maintaining continuity, the high saturation and density of visual stimuli invite viewers to step into another dimensional world as they move through the exhibition.
大门静静地存在，散发出一种古老的气息，仿佛连接着时间的纽带，那是通向未知的门户，超越了物理的距离，诱人而危险。火焰燃烧着过去，而灰烬则是这场儿时记忆的残留，在黑暗中翩然降临，如幽灵般的存在，寄托着生命的痕迹。水是初生的泪，滋润着沉默的土地，泛起的涟漪似乎是一种启示。岩浆在这片虚无中交错融入了时间河流，奇异的泡泡悄然升腾，形成一场无字的舞蹈。地球似乎在神秘的光芒中沉思。
这是一场不可知的仪式，孕育着存在的奥秘，释放着奇异而迷人的能量。而那个无题的瞬间，仿佛是宇宙自身的谜语，等待有心者去解读，将每一位目睹者引入深邃而迷离的奇境。
大门无声地打开，不属于任何已知的世界。
The gate silently stands, emanating an ancient aura, as if connecting the threads of time. It is a portal to the unknown, transcending physical distances, enticing yet perilous. Flames burns the past, and ashes linger as remnants of childhood memories, descending gracefully in the darkness, akin to ghostly presences, bearing the traces of life. Water is the tears of a nascent dawn, nurturing the silent earth, and the ripples seem to convey a revelation. Lava intertwines with the river of time in this realm of nothingness, where peculiar bubbles quietly ascend, forming a wordless dance. The earth appears to contemplate amidst mysterious radiance.
This is an unknowable ritual, nurturing the mysteries of existence, releasing strange and enchanting energies. In that untitled moment, it's as if the universe itself poses a riddle, awaiting those with insight to decipher, guiding each witness into profound and bewildering realms.
The gate opens silently, belonging to no familiar world.
Plan X Gallery
16.6.23 - 16.7.23
Via Marsala, 7
20121 Milan
"Strokes and Stills" presents a captivating dual exhibition featuring the works of David von Bahr and K. T. Kobel, inviting viewers on a journey that bridges the gap between visceral intuition and calculated cinema.
With a thoughtfully structured presentation, this exhibition explores the artists' unique approaches to their mediums, celebrates the power of narratives, and highlights the intriguing contrast between von Bahr's spontaneous strokes and Kobel's cinematic precision.
David von Bahr's section of the exhibition serves as a stage for spontaneity, rawness, and improvisation.
The showcase highlights his abstract works, characterized by vibrant color blocks and scattered brushstrokes meticulously organized into intuitive frameworks. Each piece tells a story of efficiency and satisfaction, reflecting the artist's uninhibited and direct encounter with the canvas. Von Bahr's creations invite viewers to immerse themselves in the energy of his artistic process and experience the vibrant spontaneity that permeates his work.
In stark contrast, K. T. Kobel's section immerses visitors in the enigmatic narratives of Italian cinema.
Drawing inspiration from the thrilling aesthetics of Giallo, Kobel's works come to life through dramatic lighting, dynamic compositions, and intimate close-ups that capture the essence of hands in action. By skillfully blending cinematic techniques and fine art, Kobel's creations not only echo the suspense and allure of the genre but also push the boundaries of reality and imagination. The paintings evoke a sense of familiarity tinged with otherness, inviting viewers to explore the depths of their own imagination and engage with the captivating world of Kobel's cinematic vision.
Through the dualities presented in "Strokes and Stills," viewers are encouraged to contemplate the interplay between intuition and calculation, spontaneity and precision, abstraction and narrative. This exhibition not only showcases the artistic prowess of both David von Bahr and K. T. Kobel but also provides a unique opportunity to appreciate the harmonious yet contrasting perspectives they bring to their respective mediums.
Good Mother Gallery is proud to present Zoom, a solo exhibition of paintings by Swedish artist David Von Bahr. His inaugural presentation in the United States will feature new abstract works and runs from March 4th to March 23rd.
Von Bahr’s work is bold, intuitive, and full of movement. His physical and confrontational style has a metered sense of boundary and restraint to make work that lets go just enough, riding the line between being in control and being uninhibited. Each work is carefully crafted in the artists studio in southern Stockholm, inspired by hyper magnified interpretations of everyday objects and figurations. Occasionally taking a quasi-abstracted butterfly, flower or face and creating a world within each painting. To that end, Von Bahr’s works are mostly large in scale to encourage more direct engagement with the painting. Giving himself the ability to move around during the creating process, imbuing them with a human-like quality for the viewer.
The intensity and vibrancy in his work has a musical quality to it. An avid listener while working, Von Bahr’s work seems to erupt intuitively from his environment and capture whatever choreographed energy he brings into the studio. He describes a certain freedom in the finality of painting, creating decisive marks that slowly refine each piece to its final form. These allow for him to exist as both creator and collaborator in a kind of dance with the work, expressed in their color, composition, and sense of movement. From gestural motions, meditative patterns and micro-compositions, the process of creating his more abstract works is methodical; soaking the canvas in water, sketching the design with dry pastel, pencil or paint and then developing the the final illustrious composition.
The present exhibition consists of 10 paintings in conversation with each other that are a stunning melange of Von Bahr’s eminent designs. Four large works engulf the viewer in methodical abstraction, each painting similar but created in different color variations. Medium works compliment each other as purely abstracted figures, muted color tones transition to mostly oil paint and pastels. The smaller works in monochromatic gray and black, consist of systematic charcoal etchings and flamelike patterns, creating a meticulous order that each viewer can encounter differently upon engagement.
David Von Bahr work has been exhibited in numerous group and solo shows all around Europe. Most recently, he’s had solo exhibitions at Ojiri Gallery in London, Contemporary Cluster in Rome, and Galerie Slika in Lyon, as well as participation in group shows at Ruttkowski;68 in Cologne, Public Gallery in London, and Galleri Thomassen in Gothenburg. He attended Gothenburg School of Art and received his BFA from Konstfack - University of Arts Crafts and Design in Stockholm.
An opening reception will be held on Saturday, March 4th from 5-8pm at 1212 S. Santa Fe Ave in Los Angeles. The exhibition will then be on view during regular gallery hours through March 23rd.
To receive a preview catalog of available works from David von Bahr’s exhibition, simply email info@goodmothergallery.com
Solo show ‘What If’ at Ojiri Gallery
81 Stoke Newington Road
London, N16 8AD
19.11.22 - 10.12.22
info(at)ojirigallery.com
OMNI is pleased to present a group exhibition featuring works by David Von Bahr, Stephen Burke, Mike Ballard, Moses & Taps, Ed Bats, Cosimo Casoni, Nils Jendri, Bram Bram, Moritz Neuhoff, Antonin Hako, Jeroen Erosie, Ricardo Passaporte, Alexandre Mosa Bavarde, Sonya Ptichkina, and Christopher Stead.
Post Vandalism considers the relationship between public space and the act of destruction, both materially and conceptually. Bringing together a wide range of mediums, including painting, sculpture, and film, the exhibition underscores the conscious engagement of these artists to harness destruction as a means of empowerment.
Tethered to a host of previous art movements, such as the readymade, nouveau réalisme, and graffiti, post-vandalism uses destruction as a means of creating positive change. There is new-found meaning in sprayed utility markings, blackened motorway facades, and warped anti-climb architecture. Molten tarmac caked with colourful dots of chewing gum outside a nightclub or bleached white shopping bags flailing in the wind become symbolic fragments of the lived experience. The works on display are united in capturing the streets we traverse every day and the rapid, gross impact we inflict on our environment, paying homage to the lives that inhabit the city with acute psychological insight.
Created in the studio, the artworks commonly relate to surface material changes. Protective fencing bent out of shape, layers of paint blistering off wooden hoardings, and signatures scratched into plastic evoke the destructive mark- making utilised by many artists producing work in this field. The bristly and viscous appearance of the artwork conveys its power when shown in contrast to the immaculately clean interior of the gallery space. In this setting, we can observe these over-sprayed, bruised, and serrated artworks as poetic, offering a dignified commentary on the everyday experience.
at Contemporary Cluster, Rome
Dream Machine
David von Bahr solo show at Galerie Slika, Lyon (FR)
14.04.22 - 15.05.22
En tant que peintre, David von Bahr est direct et efficace. Autant que pos- sible il écarte de sa pratique les ébauches et les esquisses en faveur d’une rencontre spontanée avec la toile. Ses motifs et ses lignes prennent forme à travers un mécanisme qui laisse place à l’improvisation et l’instinct. Tracés abstraits, blocs de couleur et coups de pinceau épars sont organisés dans un cadre intuitif façonné par l’artiste avec toujours un souci d’efficacité et de satisfaction. David Von Bahr décrit son rapport à la toile comme une danse, la taille de celle-ci doit lui permettre d’interagir avec elle sans entrave, rendant ainsi le processus pleinement engagé physiquement. Les œuvres sont le plus souvent à «taille humaine» afin de renforcer leurs présences et d’en faire des interlocutrices actives dans l’échange qui se crée entre elles et l’artiste, ainsi qu’avec ses observateurs. Cette focalisation sur le mouvement ne se limite pas au processus lui-même, mais se répète également dans des médiums et des motifs choisis. La peinture est pulvérisée et traînée pour créer une imagerie qui communique la force qui l’a provoquée. Ces éclats de matière sont ensuite brouillés et retravaillés pour former des motifs corrélatifs mais distincts. À bien des égards, la pratique de David von Bahr renvoie aux traditions modernistes. La physicalité de l’action-painting et l’abstraction ordonnée des maîtres cé- lèbres sont présentes, par héritage et influence plutôt que par appropriation directe. Le résultat de son travail est un style de peinture tout à fait contem- porain, imprégné de révérences pour l’expérience de l’art et de la création.
Ophelia Rolf
For catalogue, jmasurel(at)galerie-slika.com
Group show with Tommy Svenningsson and Daniel Ekta Götesson at 3:E Våningen, Gothenburg (SE)
"För säkerhets skull" Oil, acrylic, glue on canvas, 120cm x 160cm, 2022
"Prognos I" Oil, acrylic, glu på canvas, 120cm x 160cm, 2022
"Trygg och vacker" Acrylic on canvas" 120cm x 160cm, 2022
"Fusklapp" Olja, acrylic, glue on canvas, 120cm x 160cm, 2022
"Prognos II" Acrylic on canvas, 120cm x 160cm, 2022
"I lägenheten" Oil, acrylic on canvas, 120cm x 160cm, 2022
SAILOR II, Oil, acrylic on canvas, 150cm x 200cm, 2021
Title: Mixed Pickles 10
Opening reception: Sunday, 5 December 2021,12 - 6 PM
Location: Michael Horbach Stiftung I Wormserstrasse 23 I 50677 Köln
Opening Hours: Friday - Sunday, 11-19 PM and outside the normal opening hours of course BY APPOINTMENT
Exhibition duration: 05.12. - 02.01.2022
Requests: info@ruttkowski68.com
curated by Ruttkowski;68
EXHIBITION TEXT
Ruttkowski;68 is pleased to invite you to the tenth edition of its ongoing group show project Mixed Pickles, composed of 35 artists spanning the fields of sculpture, installation, video art, painting and drawing. Hosted in the gallery’s hometown of Cologne, the exhibition follows its non-hierarchical approach towards cutting-edge contemporary art.
The luminous exhibition space of Michael Horbach Stiftung, located in the Southern Quarter of Cologne, allows for free movement and open dialogue between works, combining different places, times, and cultures. Individual artistic statements boldly stand alone, each one lighting up the other in collective unity.
ARTIST LIST
Adrian Falkner, Alina Vergnano, Ania Hobson, Antwan Horfee, Carlotta Bailly-Borg, Carolin Eidner, Charlotte Klobassa, Conny Maier, David von Bahr, Éva Mag, Fabian Treiber, Frédéric Platéus, Hendrik Beikirch, Henrik Godsk, Jeffrey Cheung, Joakim Ojanen, Kottie Paloma, Laure Mary-Couégnias, Leo Park, Marria Pratts, Mathias Weinfurter, Misaki Kawai, Monica Kim Garza, Oskar Rink, Pablo Tomek, Paloma Proudfoot, Philip Emde, Piet Parra, Saraï Delfendahl, Severin Spengler, Sophia Süßmilch, Stefan Marx, Stefan Strumbel, Stevie Dix and Thomas Wachholz.
David von Bahr – ULTRA
Solo show at Gallery Steinsland Berliner, Stockholm
20.08 - 19.09.21
With Ultra, David von Bahr (b. 1992) picks up where he left off. If his previous exhibition was characterized by cognitive passages, his new work explores unplannedness along with an inquiry into the reality of layering. The leitmotif comprises a kind of automatic, intuitive randomness where the paintings construct themselves. Some of these are created by means of penetration of a spray can. Using a sharp object to inflict piercing damage, the operation creates a shapeless entry/exit hole. Instantly, spray colour gushes violently like a spring flood as von Bahr applies it to the canvas. The procedure is over in a few seconds. Intensity forbids thought and intuition is the sovereign of motion. The fast and energetic manoeuvres attach to the canvas like a frozen moment, and they are the ones that de facto constitute the motive. This performance presupposes that von Bahr lets go and loses control, while maintaining a firm grasp of the spray can. In the encounter with the works the viewer will be confronted with the aesthesis of this painterly drama where the aerosol has dissipated, and like a spirit has vaporized from the scene of the colouristic deed.
Other works have a different expression. For instance, paintings that in fact consist of several paintings separated from each other and appearing as schematic units in a kind of superficial collage. von Bahr determines the dimensions of the surface, which is subsequently painted over and thus coated in favour of a new section. When the painting unfolds, something else unfolds: it is a pure, exposed development. Let us call it a partial pentimento, that is, the presence in the painting of an originally drawn or painted element that is eventually painted over by the artist. Just as you cannot regret your chalk line, just as little can you regret your sprayed colour. As the paint sets, it is in the choice between adding or desisting that the fate of the work is sealed. When it’s over, it’s over.
It may strike one that the lack of a plan is a phantasm. Is there not an apparent opposite here? The plan not to have a plan is also a plan, and it may be perceived despite the instantaneous spontaneity that truly is von Bahr’s artistry. At the same time, there is no room for remorse or second thoughts. Thinking for too long gets you stuck, he reasons. He must continue onwards and not look back. When asked what his inspirations are he cites music, the sister art of painting. As he paints, von Bahr surrounds himself with blaring sound. A rather habitual routine that he shares with many of his colleagues, certainly, but which adds another dimension to the atonal harmony that is his art. Transcribed to musical nomenclature, his movements become phrasings as they traverse the canvas from one point to another atop the foundational stratums of the composition. This is clearly a veritable theme in his practice, shaping distinctive and original emblems with ambulant strokes on canvas and plexiglass alike. Similarly, his random automatic practice resembles a virtuoso in his complete mastery of his instrument’s technical nature. The same applies to his colouring, which in this context can be translated with timbre. Oscillating betwixt having tonality traits as bright and intense as warning signals in concert with a sfumatoesque disposition, Ultra is a conspicuous manifestation of motion as well as a tribute to the craft of painting and drawing in its most unbridled form.
MARCEL ENGDAHL
Photo by Olof Ringmar
Gallery Steinsland Berliner (GSB) proudly presents COGNITIVE PASSAGE, solo exhibition by Swedish painter David von Bahr.
Photo by Olof Ringmar
‘AFFRESCO’
a solo show by David von Bahr
ULTRASTUDIO PESCARA
Via Raiale, 161. Pescara, Italy
27.10.2019 - 24.11.2019
The moon is red today.
Red.
The clouds are black, the rain is falling. I clean them.
I rub them. They won't go away.
Why does it not disappear?
Why can’t it all simply disappear?
Layers of black cover what was there.
There are lines of light that you can examine to understand what's really there.
I can't see through.
The door is shut.
I'm trapped. I can’t get out.
There is a rainbow. I'm color blind.
The rainbow flows down from the sky and down into the ground, filling the traces left by
Everything.
Two new limited edition of lithographs edition of 85 is now available.
Contact, info@steinslandberliner.com to get yours.
56 cm x 74.5 cm, signed and numbered
2700 SEK (266 EUR)
’Månförmörkelse’ Edition of 85, 2021
’Röd skog’ Edition of 85, 2021
Printed on Arles 100% cotton paper, 400 gsm
Thanks to, Jeanette Steinsland and Ophelia Rolf at Gallery Steinsland Berliner, Emanuel Batali, Olof Ringmar and Björn Lumphe att Lumphes Litografiska
Photo by Emanuel Batali
