OPENING MARCH 2ND: RYAN SCHNEIDER, ULRIK CRONE AND PETER FUNCH

We are proud to announce our three new exhibitions in V1 Gallery and Eighteen opening on March 2nd form 17 – 21:

V1 GALLERY PRESENTS

No Filter Eden

A solo exhibition by Ryan Schneider

OPENING RECEPTION: FRIDAY MARCH 2. 2018. TIME: 17.00 – 21.00
EXHIBITION PERIOD: MARCH 3 – APRIL 14. 2018

V1 Gallery is pleased to present the exhibition No Filter Eden by Ryan Schneider.

Ryan Schneider’s new radiant large-scale oil paintings vibrate with energy. Young nudes lounge and chill in a lush environment. A carefree seemingly paradisiacal setting rendered with precise gestural brush strokes in deep purples, blues and greens. The kind of environment that has attracted us since the dawn of mankind and still makes us travel long distances in the search for unspoiled experiences of pure, ironically, hopefully un-discovered by fellow man, encounters with nature. This motif has been pursued in art from Gauguin to Ryan McGinley and is a common pleasure on social media like Facebook and Instagram, although without the presence of offending female nipples or genitals in general.

As in the original paradise there is an apple in Schneider’s paradise. This one is backlit and connects us to universal knowledge in an instant. The cell phone, or personal device, as clever marketers will have us believe, glow in all of Schneider’s works. An object we have grown so accustomed to in our everyday life but still feels alien in a painting. It is there in the composition, reflecting and perfecting us and our surroundings. As an object the device disrupts the illusion of pristine nature and meditative presence. We are harshly reminded that now we often see the world through a lens and a screen, before we can begin to process it. We are so eager to register and share what we see, that we often forget to experience what we see. We journey into nature, walk into museums, concerts, parties, birthdays – all significant events in our lives with our phones raised and ready. In Schneider’s work the device reflects and projects. The nudes in the paintings photograph each other in intimate moments and take selfies to register their presence and existence. I see myself, therefore I am.

Ryan Schneider has no moral upper hand in this confident and alluring body of work. We see him in the paintings and on the painted screens. It is him and his friends and you and me. Reflected in reflections of contemporary life. And this is Schneider’s interest – strong contemporary painting – engaged in the mundane and the extraordinary. His works partakes in an ancient human tradition of depicting the human condition as experienced first-hand. From the caves in France and into the Californian desert we are connected as humans by painting. No Filter Eden harness a raw ancient energy. A rare painterly feat. A joy to experience. Phones down for a second.

Ryan Schneider, born 1980, Indianapolis, United States, currently lives and works in Joshua Tree, California. Living and working in the middle of a vast dessert changed Schneider’s life experience, perspective and output. Schneider holds a BFA from Maryland Institute College of Art. Recent solo exhibitions include Mojave Masks – Schneider Museum of Art, USA, Mojave Pictures – Taymour Grahne Gallery, USA, You Are Entering – Richard Heller Gallery, USA. On Danish ground Schneider was recently part of The Brask Collection meets Willumsen at JF Willumsens Museum, Denmark and Nude at V1 Gallery & Eighteen, Denmark. No Filter Eden is Ryan Schneider’s first solo exhibition with V1 Gallery. A publication will be available on occasion of the exhibition.

12 New Paintings

A solo exhibition by Ulrik Crone

OPENING RECEPTION: FRIDAY MARCH 2. 2018. TIME: 17.00 – 21.00
EXHIBITION PERIOD: MARCH 3 – APRIL 14. 2018

V1 Gallery is pleased to present the exhibition 12 New Paintings by Ulrik Crone.

For the past 3 years Ulrik Crone disappeared into his studio. On a quest to transform a memory of an emotional space into form. An opaque meditative idea about the relationship between space, emotion and memory had preoccupied him for some time. How can you possibly transfer a psychological landscape – part emotional experience, part dream, rooted in a physical space, into a medium that could be experienced by others. A classic artistic predicament. An artistic undertaking that is often underestimated. The artist as thinker, craft man, scientist, researcher and developer.
Through thorough experimentation with different media Crone gradually developed and perfected the process behind his new body of work.  A compound between painting and photographic processing.

Crone photographs with whatever fits the moment, large format cameras, handy pocket cameras or iPhone. From his photos, whether film or digital, he creates black and white negatives in either 45 x 65 or 33 x 46 cm. The negatives are 1:1 with the size of the work he intends to create. A thin layer of photo emulsion is painted on to wooden plates, primed only with a thin layer of oil paint, the negatives are mounted on the wooden plates in a dark room.  The image from the negative is then transferred on to the wooden “canvas”.  A temperamental transformation where negative, chemistry, oil and wood reacts. Once the wooden panels dry Crone paints into the surface once again and the works gain additional layers. In the new body of work Crone has worked predominantly with variations of ultramarine, silver, grey and black.

In the new series, Crone examines the periphery of urban and rural landscapes. The motifs are not picturesque in the classical sense. A gas station at an intersection, a winter road lined with bare trees, a mundane store front hidden by a haphazardly arranged wall of flowers, scooters on an empty neon lit street, the entryway to a non-descript metro station and the underpass of a highway bridge. Nothing to see here. Move along. This can’t be the place. So common that it feels wrong or even eerie. Why spend so much time and effort on rendering these mundane gaps or aesthetic glitches in our exciting and photogenic world. The works become almost confrontational in their norm core imagery. These are not destinations you will find on anybody’s top 10 lists, Instagram perfections or Facebook realizations.
These works deal with the real. The beauty and blues of being human. The common and extraordinary shit we all must deal with. The imperfections, the lost minutes, blurred lines, anxieties, trivialities, the nine to five. Crone creates headspace in the new group of works. In the periphery there is a place for contemplation. Conversation. Exchange.
Each work is a multi-dimensional emotional landscape where author and audience converge. And there is an overwhelming beauty in the sensation of sharing the human experience – especially the part that doesn’t photograph well. The 12 New Paintings are a welcome antidote to the groomed personal architecture so favoured by western civilisation at present.

Ulrik Crone, born 1964, lives and works in Copenhagen, Denmark. He was educated at The Danish Royal Academy of Fine Arts. Crone has pursued a multidisciplinary artistic path as a visual artist, documentary filmmaker and radio talk show hosts. In all facets of his work he is preoccupied by social systems and often engages individuals or groups on what is perceived as the fringes of society. This is Ulrik Crone’s fourth exhibition with V1 Gallery.

EIGHTEEN PRESENTS

42nd and Vanderbilt

A solo exhibition by Peter Funch

Opening reception Friday March 2. 2018 from 17.00 – 21.00.
Exhibition period March 3. – April 14. 2018.

“The work of Peter Funch is, in the most captivating sense of the term, lost in time. It seems like the sort of work Andy Warhol might be doing now were he still alive. It’s twenty-first century yet 1970s. It’s metropolitan, cosmopolitan and simultaneously inhabits any number of art niches: social sculpture, time-based-art, and portraiture.” 
– Douglas Coupland, 2017.

Between 8:30 am and 9:30 am, from 2007 to 2016, at the southern corner of 42nd Street and Vanderbilt Avenue in New York City…
Danish artist Peter Funch placed these confines on his 9-year project ‘42nd and Vanderbilt’. Narrowing the infinite opportunities NYC has to offer an artist, Funch brings to the surface the minutiae contained within a fragment of our daily routine, the short walk from Point A to Point B, reminding us that the practice of photography in general, and street photography specifically, has only scratched the surface of possibilities.
Through categorical editing equally intuitive and scientific, human patterning and mannerisms normally glossed over, become meditations on time, mortality, public and private space, the economy, and our inner selves. Funch employs a method that novelist Douglas Coupland aptly describes in the book’s afterword, accompanying the project, as “a kinder, gentler kind of surveillance.”
In one example, what appears to be a diptych of a woman, images taken only seconds apart, slowly becomes a “Spot the Difference” puzzle: subtle variations in attire, hair, light and shadow emerge as we realize, in both wonder and consternation, that the images were in fact taken days, months, or perhaps even years apart. This simple and effective mechanism employed by Funch permeates the ordinary with the extraordinary. The fact that our own unknown tendencies, together with the rhythms and denizens of our surrounding ecosystem, can endure and replay over a path travelled thousands of times, becoming akin to performance, is nothing short of a revelation.

42nd and Vanderbilt contains 123 works. Each measuring 42 x 50 cm.
56 of the works will be on display at Eighteen.

Peter Funch (born 1973) currently lives and works in Berlin. Upcoming and recent exhibition include:
Triennial of Photography, Deichtorhallen, Hamburg, Germany, 2018 – Photography To End All Photography, Photo Biannual at Brandts, Odense, Denmark, 2018 – Babel Tales, Deutsche Ober, Berlin, Germany, 2018 – Friendships, Nivaagaards Museum, Nivå, Denmark 2016 and The Aesthetics of the Mobile Phone, Museum Angewandte Kunst, Frankfurt, Germany, 2015.

The ‘Book 42^nd and Vanderbilt’ published by TBW Books. Clothbound hardcover with tip-on front and verso. 160 pages. 123 plates. 25,4 x 20,3. Essay by Douglas Coupland. ISBN 978-1-942953-31-9
42^nd And Vanderbilt is Peter Funch’s fourth solo exhibition with V1 Gallery & Eighteen.

Download images, press releases and invitations from all three exhibitions for press and online purposes HERE