MARTIN ASBAEK GALLERY

IT'S BETTER TO BURN OUT THAN TO FADE AWAY

IT'S BETTER TO BURN OUT THAN TO FADE AWAY

Friday, April 11, 2014Saturday, May 17, 2014

Martin Asbaek Gallery
Copenhagen, Denmark

Opening Friday 11 April 5-7 pm

The Danish artist Maria Rubinke is taking over Martin Asbæk Gallery for the first time with an exhibition that puts our view of the classic porcelain figure to the test and allows the incomprehensible and chaotic in the human subconscious to rise to the surface. The pure white porcelain surface attracts the gaze of the viewer, but at the same time distorts our presuppositions when the small porcelain girls are slowly broken down and subjected to contrast-filled madness. They sink down and seem to drown in the thick mud of the bog and are fatally bitten by a snake. Like the Surrealists, Maria Rubinke thematizes the complexity of the human psyche and works in a formal idiom all her own.

The exhibition has been created throughout the artist’s 27th year – a year that has offered emotional ups and downs. With inspiration from ‘Club 27’, the group of legendary artists who lost their lives at the age of 27, combined with her own experience, Maria Rubinke subjects her innocent little china girl to a process of decomposition until she has quite vanished and only the delicate little shoes remain, slowly consumed by an army of ants.

Maria Rubinke works in an extremely structured way, but for this exhibition has for the first time let go from the beginning of the creative process and let the works slowly create themselves as she worked through her own personal crisis. This is why there are also traces of a kind of panic throughout the exhibition, which reflects the emotional plunge the artist has undergone – Rubinke has let go, let the dark, gloomy thoughts find expression in the porcelain, ending with a rebirth. This is manifested in the sculpture I died a hundred times, which shows the porcelain girl standing on a heap of black skulls, carrying a small infant whose umbilical cord has not yet been cut. The title of the sculpture is a quotation from the singer Amy Winehouse – a ‘member’ of Club 27.

The symbolic language is powerful throughout the exhibition. The tall straight birch trunks that stand as densely as a forest from floor to ceiling in the first room of the gallery are like a symbol of life, connecting earth and sky. But the roots, our foundation, have been removed like the safety net that was pulled out from under the little girl so she is left standing there helplessly, only to start all over again.

Maria Rubinke studied at the School of Glass and Ceramics on Bornholm in 2008. Later she has exhibited at Haugar Vestfold Museum of Art in Norway and the Civic Museum Bassano del Grappa in Italy, and most recently she has presented a comprehensive solo exhibition, Fragile, at the Vejle Art Museum in 2012.



Den danske kunstner Maria Rubinke indtager for første gang Martin Asbæk Gallery med en udstilling, der sætter vores opfattelse af den klassiske porcelænsfigur på prøve og lader det uforståelige, kaotiske i menneskets underbevidsthed trænge op til overfladen. Den rene hvide porcelænsoverflade tiltrækker beskuerens blik, men fordrejer samtidig den forudindtagede forventning, når de små porcelænspiger langsomt nedbrydes og udsættes for et konstrastfyldt vanvid. De synker ned og nærmest drukner i mosens tykke mudder og får et dødeligt bid af en slange. Maria Rubinke tematiser i tråd med surraelistiskerne den menneskelige psykes kompleksivitet og arbjeder i sit helt eget formsprog.

Udstillingen er blevet skabt igennem kunstnerens 27. år – et år der har budt på følelsesmæssige udsvingninger. Med inspiration til Club 27, hvor legendariske kunstnere i en alder af 27 opgav livet, kombineret med egne erfaringer, udsætter Maria Rubinke hendes genkendelige lille uskyldige porcelænspige for en nedbrydelsesproces, indtil hun helt er forsvundet og kun de små fine sko står tilbage, der langsomt fortærres helt af en hær af myrer.

Maria Rubinke arbejder yderst struktureret, men har til denne udstilling for første gang givet slip fra begyndelsen af skabelsesprocessen, og ladet værkerne langsomt skabe sig selv i tankt med hun bearbejdede sin egen personlige krise. Derfor er der også spor af en form for panik igennem udstillingen, der afspejler den følelsesmæssige rutchetur, kunstneren har gennemgået – Rubinke har givet slip, ladet de mørke dystre tanker udtrykke sig gennem porcelænet for til sidst at ende med en genfødsel – Det kommer til udtryk via skupturen I died a hundred times, der viser porcelænspigen stå på en bunke af sorte kranier, bærende på et lille spædbarn, hvor naglestrengen endnu ikke er klippet. Skulpturens titel er et citat fra sangerinden Amy Windehouse, der er en del af Club27.

Symbolsproget er stærkt gennem udstillingen. De høje snorlige birketræsstammer, der står tæt som en skov fra gulv til loft i galleriets første rum, er som et livssymbol, der forbinder jord og himmel. Men rødderne, vores fundament er fjernet som det sikkerhedsnet, der blev trukket væk under den lille pige, så hun står helt magtesløst tilbage, for så at begynde forfra.

Maria Rubinke er uddannet ved Glas og Keamikskolebn på Bornholm i 2008. Sidenhen har hun udstillet på museerne Haugar Vestfold Museum of Art i Norge og The civic Museum Bassano del Grappa i Italien, for senest at præsentere en omfattende solo udstilling Fragile på Vejlekunstmuseum i 2012.