Morten Skrøder LundLyst
02 October 2015–07 November 2015

Images

Installation view. Morten Skrøder Lund, Lyst, 2015. Christian Andersen, Copenhagen — Installation view. Lyst, 2015

Morten Skrøder Lund, Untitled, 2015. Acrylic, oil, tin solder on canvas. 180 × 140 cm — Untitled, 2015. Acrylic, oil, tin solder on canvas. 180 × 140 cm

Morten Skrøder Lund, Untitled, 2015. Oil, lacquer, acrylic on canvas. 200 × 160 cm — Untitled, 2015. Oil, lacquer, acrylic on canvas. 200 × 160 cm

Morten Skrøder Lund, Untitled, 2015. Oil and pencil on canvas. 95 × 65 cm — Untitled, 2015. Oil and pencil on canvas. 95 × 65 cm

Morten Skrøder Lund, Untitled, 2015. Oil, nails on canvas. 170 × 130 cm — Untitled, 2015. Oil, nails on canvas. 170 × 130 cm

Morten Skrøder Lund, Untitled, 2015. Vinyl paint, oil on canvas. 240 × 190 cm — Untitled, 2015. Vinyl paint, oil on canvas. 240 × 190 cm

Morten Skrøder Lund, Untitled, 2015. Ink, lacquer, plastic, acrylic, inkjet photo print, toner, oil on canvas. 180 × 125 cm — Untitled, 2015. Ink, lacquer, plastic, acrylic, inkjet photo print, toner, oil on canvas. 180 × 125 cm

Morten Skrøder Lund, Untitled, 2015. Gesso, watercolour, toner, styrofoam, lacquer, silicone on canvas. 180 × 140 cm — Untitled, 2015. Gesso, watercolour, toner, styrofoam, lacquer, silicone on canvas. 180 × 140 cm

Press release

What is the relation between the work of art and communication?
None whatsoever. The work of art is not an instrument of communication.
The work of art has nothing to do with communication. The work of art strictly does not contain the least bit of information. To the contrary, there is a fundamental affinity between the work of art and the act of resistance.
- Gilles Deleuze

Morten Skrøder Lund’s paintings often bear traces of action and material segmentation, with corporal qualities such as paint that is peeling off, paint that accumulates in puddles, jarring brushstrokes, and materials that morph under different chemical reactions. But the artist is not particularly interested in narration, neither in relation to the motifs he presents nor in highlighting the process of production of his paintings. Rather than offering a set of reflections relating to its own becoming, Skrøder Lund is more interested in puncturing any conclusive rendering of his work. His practice hovers between directed actions and chance, and a genuine interest in aesthetic expressions as well as a conscious resistance towards different taste standards, always aware of his own limitation in capturing the internal image that is his starting point. A restricted approach that hosts many additive elements as the image separates itself from its maker.