WUNDKANAL

1 Nov 2018 - 26 Jan 2019
Works
Overview

In WUNDKANAL Golles traces recent traumas in European history through sculptural representations of disfigured fragments of the human body. Comprising of sculpture in bronze and resin as well as glass and wood installations, the solo exhibition is the result of the artist’s ongoing research into the horrors of the 20th century; the Second World War, the Holocaust, and the Chernobyl disaster.

It has been 32 years since the open-air graphite fire of the Chernobyl accident lofted atomic fragments into the atmosphere. With an existing time frame of more than a hundred thousand years, the reverberations of its destruction and death, fiery and merciless, will be felt for generations to come with active radionuclides scattered around the globe. The Chernobyl disaster marks a catastrophe in time, caused by an inextinguis- hable fire – the evil light force of nuclear holocaust that has escaped control.

As in Romanian poet Paul Celan’s Holocaust poems of dust, ashes and residua, the image of fire is for Golles on the one hand a striking and blinding destructive power, on the other, a force of revelation exposing the heinous crime. The fire annihilates and causes decay, at the same time illuminating the night, revealing the surface of a false reality. For Golles the nuclear fire of Chernobyl sinisterly echoes the fire of the mass graves and cremation sites of the Holocaust, but has yet a different, synthetic glow. Accordingly, the artist’s dark fragmentations of the human body, like devastated wa- stelands overcome by flames, describe man’s shattered and fragmented existence in contemporary terms.

 

The horrors of 20th century Europe have previously been interpreted by post-war artists, most famously by Anselm Kiefer, and modern sculptors such as Germaine Richier and Alberto Giacometti have made the suffering human figure a symbol of post-war trauma. As contemporary sculptor Golles places himself deli- berately in the traditions of the monumental bronze as well as in the synthetic material of resin, but according to Golles the ‘whole’ body becomes impossible to represent. Instead, the fragment stands for the only re- alization in contemporary times, unfolded by the artist through scabrous, diseased, beaten away metal forms.

A ‘Wundkanal’ is a gunshot wound – the trajectory of a projectile – how it enters and exits the body. In WUNDKANAL Golles confronts the resistance of mat- ter, exposing the body as shield, the shell from which we perceive the world and understand our existence in it. There is, Golles seems to imply, an open wound of history, still smouldering, which will take generations to heal.

Installation Views
Press release

Kaare Golles unfolds traumas in European history through scabrous, diseased, and beaten away metal fragments of the human body.

New solo exhibition by Copenhagen based artist Kaare Golles confronts the resistance

of matter, exposing the body as shield, the shell from which we perceive the world and

understand our existence in it.

 

SABSAY is happy to announce the opening of the solo exhibition WUNDKANAL by Kaare Golles. Comprising of sculpture in bronze and resin as well as glass and wood installations, the exhibition is the result of the artist’s ongoing research into traumas of the 20th century; the Second World War, the Holocaust, and the Chernobyl disaster.

 

It has been 32 years since the open-air graphite fire of the Chernobyl accident lofted atomic fragments into the atmosphere. With an existing time frame of more than a hundred thousand years, the reverberations of its destruction and death, fiery and merciless, will be felt for generations to come with active radionuclides scattered around the globe. The Chernobyl disaster marks a catastrophe in time, caused by an inextinguishable fire – the evil light force of nuclear holocaust that has escaped control.

 

The horrors of 20th century Europe have previously been interpreted by post-war artists, most famously by Anselm Kiefer, and modern sculptors such as Germaine Richier and Alberto Giacometti have made the suffering human figure a symbol of post-war trauma. As contemporary sculptor Golles places himself deliberately in the traditions of the monumental bronze as well as in the synthetic material of resin, but according to the artist the ‘whole’ body is no longer possible to represent in contemporary times. Instead, “the fragment stands for the only realization in my practice, describing man’s shattered and fragmented existence today. Consistently, my works avoid any sentimental aspirations for reconciliation with a world and imagery that rarely escapes extensive, inhuman barbarism,” Golles states.

 

For Golles the nuclear fire of Chernobyl sinisterly echoes the fire of the mass graves and cremation sites of the Holocaust. There is, the artist seems to imply, an open wound of history, still smouldering, which will take generations to heal. “It is essential to delve into the painful mistakes made before us and introduce changes in our own life time in order to heal the wounds. It is our common responsibility. We can attempt through the aesthetic language of Kaare Golles to learn much more about these catastrophes and perhaps discuss them as a group," says Masha Faurschou, founder of SABSAY. 

 

Kaare Sebastian Golles (b. 1985) lives and works in Copenhagen, Denmark. In 2014 he graduated from Malmö Art Academy, Master of Fine Art, Malmö, Sweden. Golles is first and foremost a sculptor, but works in such media as installation and painting as well. His practice revolves around the fragmentation of the human figure in relation to the human condition in contemporary times, manifested in his ongoing repetition of motives such as the night, darkness, black, soil, ashes, stone, ruins and body parts. Recent exhibitions include: 2018 The Star Show, ProjektRum D7, Copenhagen, Denmark; 2017 tres x tres, Impronta, Guadalajara, Mexico; 2016 Studio Oliver Gustav, New York, USA; 2016 N N (solo exhibition), Wadström Tönnheim Gallery, Skanör, Sweden; 2015 The Hot Show, Galleri Nicolai Wallner, Copenhagen, Denmark; 2015; Language of the Marketplace (solo exhibition), Sausages and Place de la Concorde, LARMgalleri, Copenhagen, Denmark; 2014 City-Link, Frappant e.V, Hamburg, Germany; 2014 Understrøm - Young Nordic Art, ARoS Aarhus Art Museum, Aarhus, Denmark.

 

Kaare Golles

WUNDKANAL

8 November – 26 January 2019