Galleri Jacob Bjørn is pleased to present Monsoon, a solo exhibition by Danish artist Jan S. Hansen.

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Gary Byrd
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1 Galleri Jacob Bjørn is pleased to present Monsoon, a solo exhibition by Danish artist Jan S. Hansen. There s a tension in the air when expecting a tropical rainstorm. It will hit the shores and land, and do its damage. As a citizen in the Scandinavian region a monsoon isn t a present phenomenon. But the adventurous, romantic notion of taking off to an exotic country with its warmer climate, lusher fauna, wider beaches and easy going mood, is a common dream and metaphor for self realization and better days. The monsoon is found in these warmer countries, and is a product of hot winds and water evaporating, causing this rainstorm to unfold its strong and destructive powers over the sea and towards land. A monsoon that sweeps its downpour and wind, has a clear before and after image. As do the romantic dream interrupted. As a metaphor for duality, Hansen points out the monsoon as representative of a causality in both nature and in man, and the interconnection between them. The idea of being better off in another place holds a complexity; because surely it would feel nice to be swimming in an azure body of water, leaving the mind to wander in a comfortable and pleasing temperate physical condition. But it comes with a plane ticket that states that you came from another place. With its own roots, and own fauna and temperature. But as cheap travels, open markets and globalization continuously expands the idea of home, looking at the patterns that the natural world moves in, they prove to be similar. The famed Butterfly effect of chaos theory suggests that if a butterfly flaps its wings in Southeast Asia, it can cause a storm on the other side of the world. The Coastline problem is another well known discussion in chaos theory, stating that it s relative how to measure a coastline, depending on how small increments is used to measure it. The more detailed the measuring becomes, the longer the coastline becomes. Fractal theory is here used to describe this problem and the patterns in which they move. The patterns found throughout

2 the natural world, from tiny atoms to the clouds in the sky, move in the same systems, and presents a cohesion between small and big. It turns out that an eerie type of chaos can lurk just behind a facade of order - and yet, deep inside the chaos lurks an even eerier type of order. Douglas Hofstadter The exhibition presents three series of works. A set of sewn fabric cyanotype works featuring palm groves and palm leaves, and what seems to be muddy rivers overflowing, falling rain, dark jungle, building constructions and wind gushes. A set of Perspex painted trompe l oei works show what appears as a photographic reproduction of water drops on windows. A series of woven blankets is made from detail photos of the cyanotype works, now used as background for clipart images: pictogram and clipart images can hold a neutral and visual anthropological objective essence. The clipart I use is collected from different sources, online and physical, and some have been modified or created on a computer. These works take their departure point in what lies at hand, and I try to form collages that deal with everyday experiences, being both the very banal as well as the looser side of letting the mind wander, and seeing what comes up, forming connections from that. It s like distilled ideas and thoughts floating around in the mind, they ve been cropped in these works, to form different constellations. The clipart pieces sort of assists the other works in this show, to form a fragmented narrative throughout the exhibition. The show also features an installation of a room/shelter with a bed and a projected film. A small wagon holding steel and ceramic balls seems to have harvested its content from the plants on the headboard of the bed. A silver plated mouse watches the scene....the shelter is a place safe from storm, it s about the dissolving of reality that (day)dreams present to us. An altered state where perceptions expand, and seamlessly merge with preconceived and inherent notions. The movie consists of various stock clips of monsoons, flooded citystreets and overflowing rivers and a scene from The Rolling Stones movie Gimme Shelter of a guy tripping out. The balls are like atoms and also mimic raindrops in their shape, it s just a universal shape. It s like a ground zero, the self that we carry, from where things start and end. The mouse on the floor is about slipping in and out on the set, behind it, living in the wall. In his previous exhibitions, Hansen has dealt with global export and import and sweat and water, using these as metaphors for the cyclic nature of the world. Throughout his new exhibition Hansen uses a technique of cutting up and reassembling his work, both fabric, in

3 Photoshop and by sampling own works as backgrounds. This cut up approach to the work, can be seen as both a formal and a theoretical decision of the artist, leaving the work to oscillate between an internal and an external focus, returning again to a fascination and conviction of an eminent interconnection on all levels. Hansen describes the human condition from a personal and puzzling perspective, leaving the viewers to put the pieces together and form their own ideas and images. Jan S. Hansen was born in 1980, Denmark. Educated at The Royal Danish Academy Of Fine Arts, Graphic School, He lives and works in Copenhagen. Exhibition periode: 20 September 25 October 2014 For further information, see or contact us directly: Galleri Jacob Bjørn Ceres Allé Aarhus Denmark mail@jacobbjorn.com

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13 River Rising, 2014, 110 cm x 150 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

14 Palm Grove 1, 2014, 110 cm x 150 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

15 Palm Grove 2, 2014, 110 cm x 150 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

16 Lagoon Vista Up, 2014, 70 cm x 90 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

17 Untitled, 2014, 70 cm x 90 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

18 Untitled, 2014, 70 cm x 90 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

19 Untitled, 2014, 70 cm x 90 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

20 Untitled, 2014, 70 cm x 90 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

21 Dusk Jungleism, 2014, 90 cm x 130 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

22 Dawn Jungleism, 2014, 90 cm x 130 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

23 Big Window, 2014, 210 cm x 300 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

24 2014, variable dimensions, t-shirt, tape, ball chain, ceramics, steel balls, hardware, Perspex, ink, paper, wheat paste, bamboo, labels, plastic bag, palm leaves, neon light and steel shelf.

25 Why Water Wet, 2014, 110 cm x 150 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

26 Up North Pass 1, 2014, 110 cm x 150 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

27 Up North Pass 2, 2014, 110 cm x 150 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

28 Nagoya Marimbas, 2014, 110 cm x 150 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

29 Wet 15, 2014, 60 cm x 90 cm, acrylic and spray on Perspex.

30 Wet 16, 2014, 60 cm x 90 cm, acrylic and spray on Perspex.

Since The Discovery Of Fire It Hasn t Rained The Same As Before, 2014, variable dimensions, wood, plant, soil, wheels, ceramics, steel balls, mattress, duvet, pillow,

31 Since The Discovery Of Fire It Hasn t Rained The Same As Before, 2014, variable dimensions, wood, plant, soil, wheels, ceramics, steel balls, mattress, duvet, pillow, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, labels, rug, projector, film, Perspex box, wheat paste, varnish, palm leaves and taxidermy silver plated mouse.

32 Monsoon 1, 2014, 110 cm x 150 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

33 Monsoon 2, 2014, 110 cm x 150 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

34 Monsoon 3, 2014, 110 cm x 150 cm, cyanotype, tannic acid, sodium carbonate, soap and tea on linen, teak frame.

35 Guess: Neanderthal, 2014, 130 cm x 190 cm, woven cotton on stretcher in hand welded steel frame.

36 Guess: Salamander, 2014, 130 cm x 190 cm, woven cotton on stretcher in hand welded steel frame.

37 Guess: Eyes, 2014, 130 cm x 190 cm, woven cotton on stretcher in hand welded steel frame.

38 Guess: Devil, 2014, 130 cm x 190 cm, woven cotton on stretcher in hand welded steel frame.

39 Guess: Trinity, 2014, 130 cm x 190 cm, woven cotton on stretcher in hand welded steel frame.

40 Nihil: A Ball Bouncing Between Walls By Itself, 2014, 50 cm, steel ball.

The Fibonacci Numbers Geometry Minimal design. All cocktails 155 SEK

The Fibonacci Numbers Geometry Minimal design. All cocktails 155 SEK Minimalism is an art form that originates from the late 60 s art scene in New York City. It s characterized by extreme simplicity of form and a literal objective approach. Incorporating both art and design