15 May 2018 -

V1 Gallery and Eighteen are proud to invite you to the opening of our three summer exhibitions:



NEW “BAD” PAINTING – Curated by Rasmus Thor Christensen (V1 GALLERY)

Alex Chaves, Antonia Showering, Audar Kantun, Charlie Roberts, Coline Marotta, Danielle Orchard, Frederik Næblerød, George Rouy, Grace Metzler, Heidi Hahn, Mike Redmond & Faye Coral Johnson, Todd Bienvenu.

In honor of the 40 year anniversary of the “Bad” Painting show at New Museum in 1978, V1 Gallery proudly presents New “Bad” Painting, an exploration of the concept of “bad” painting in contemporary art.

Marcia Tucker, the curator of the initial show, defined “bad” painting as:
“It [“bad” painting] is figurative work that defies, either deliberately or by virtue of disinterest, the classic canons of good taste, draftsmanship, acceptable source material,
rendering, or illusionistic representation. In other words, this is work that avoids the conventions of high art, either in terms of traditional art history or very recent taste or fashion.”

The show, a presentation of mostly unknown artists at the time, was not a showing of amateurish or poor artistic judgement, but was for Tucker a rebellion against the emotionless and conceptualized art that reigned in the 1970’s. Tucker’s use of the word “bad” was never used to denote the artists or their work, but was rather used ironically to elevate it from, or ignore, the common structures and ideas of what “good” art of time was, ie. conceptualism and minimalism. New “Bad” Painting tries to revive the ideas of Tucker, and explore their relevance and legacytoday.

Much like the first show, the diversity of personalities, background and work of the artists make the grouping somewhat arbitrary. In no way can the exhibition be said to constitute a school or movement. What does link the artists is firstly their age, all of which are born after 1978, which ensures that none of them have a specific reference point in the first show, and secondly, their continuous eager in the investigation of the painting medium, through iconoclasm and idiosyncratic expressions. Obviously, the circumstances surrounding the initial show has changed, and it could be argued that painting has regained its legitimacy as a medium since 1978. In that way New “Bad” Painting does not possess the same subversive agenda as Tuckers show. That being said the purpose has never been to expand on the notion of art, but more to challenge the existing structures and elaborate on what is possible within these boundaries.


Are we always alone together. Can we mind our own business. How fragile are we. How little is enough. How much can you subtract before collapse. Restless bodies and souls.
Communication break-down. Intimate and intricate. What when words don’t suffice?

Coline Marotta explores these themes in paintings and drawings in her solo exhibition Big Love Low Ceiling. Characters rendered in a light and warm palette – often greens, blues and shades of pink – perform mundane activities such as sleeping, yoga, looking and yawning. Painted with a seemingly fluid and natural flow, the protagonists can hardly fit the confinements of the canvas, their large hands stretching or reaching out, bodies contorted with uneasiness (Almost Fitting, 85×70 cm, 2018, and Still Not Fitting 85×70 cm, 2018). The persons have an air of tristesse. They do not appear sad, or weighed down by sorrow, they feel lost in translation. In a state of contemplative summer blues.

The persons in the paintings are somebody and everybody. They are together and alone. Entwined in themselves and others. Tranquil and restless. Rendered with elementary lines and patterns that evoke the late Matisse. There is a sense of the unspoken in the works, an unanswered question lingering, a sentence never completed. A sense of loss and beauty. A beauty in the breath of the unspoken. That we can only feel
or transform into art. The works feel genuine, intimate and imbued with empathy. The compositions are delicate, barely holding themselves together, as if work and feeling have become one. Small painterly gestures are used to give life, just enough information is conveyed for our brains to respond. We recognise ourselves.

Coline Marotta, born 1991 in southern France, currently lives and works in Copenhagen, Denmark. She holds a MFA from the Royal Danish Academy of Fine Arts. Big Love Low Ceiling is Marotta’s first exhibition with V1 Gallery.


Wool, silk and steel. Deep ocean indigo, burning earthy orange, bodily blood red, metallic mountain black – tones and dyes of earth and body. Eighteen alluring portals. Dyed silk stretched over metal (175×75 cm), silk penetrated by dyed wool. It feels as if the wool sprouts from the silk, grows into recognisable patterns, shapes, our prehistoric brains recognize from caves we have never seen. As if no human hand interfered in the creation. Cross sections of mountains, vast abstract organic landscapes and psychedelic fauna. Effortlessly these portals exist. As if you could step into one of them and walk straight through the earth and exit in another universe, in a different body. The visceral and the celestial are entangled in these pathways that vibrate with primordial energy.

For this new body of work Lænkholm studied the principles of Ayurveda, a 5000-year-old natural science, created to bring the body back into balance in order to heal itself form ailment and distress. Lænkholm was taught the practice of Ayurveda by local women during a 3-month residency in the jungle of Sri Lanka. Upon the return to her studio she further explored the origins, medicinal and healing properties, of certain plants and created her own plant and dye chart as a basis for this exhibition. Imbuing each work with different healing properties. She discovered that the principles of healing were very similar to her studio practice. Channelling energy from body to body. During the working process with The Unbearable Lightness of Being Lænkholm gradually started letting go of the idea of a defined blueprint for her work and herself, a radical transformation of approach, that is felt in every fibre of the new works.

Women have always been a source of inspiration and creation in the work of Lænkholm. Witches, mediums, craft women, artists, family members and alternative sisterhoods are all part of her practise. The process of creating natural dyes and working with wool Lænkholm learned from an old Icelandic woman during a long stay on her ancestral island – Lænkholm’s father is from Iceland and she was taught the craft in the small town Húsavík, where he was born. The metal frames for the new group of works were crafted in collaboration with the Women’s Blacksmith in the Danish Freetown Christiania. She channels a long lineage of female experience and energy into her work.

Lænkholm combines craft, chemistry and spirit in her practise. The works simultaneously appear natural – as if they already existed and were merely relocated from a mountain side to the gallery, and otherworldly – magic columns from before or after. The exhibition radiates a rare elusive transcendental energy. Everything connected.

Julie Lænkholm, born 1985, Denmark, currently lives and works in Copenhagen, when she is not conducting field research around the world. Lænkholm received a Master of Fine Arts from Parsons, New York, in 2015. Lænkholm’s practice revolves around humanity, earth, surface and energy. Her work is a manifestation – an idea with body – that is channelled into installations, performance and artefacts.
She has recently exhibited at Tranen, Contemporary Art Center, Copenhagen, Denmark and Húsavík Museum, Húsavík, Iceland. She has participated in residencies and extended research trips to Sri Lanka, Lithuania and Iceland. A catalogue documenting The Unbearable Lightness of Being and the studio process leading up to the exhibition, will be published on occasion of the exhibition.


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New “Bad” Painting and Coline Marotta


Everyone is welcome and we hope to see you,

V1 Gallery & Eighteen