2013 - 2017
Notes (17.08.01) 2017. Inkjet print on post-it notes I 263 x 380 cm
The work is based on a private snapshot taken from the top of the World Trade Center in New York, August 17th 2001. The dimensions of the snapshot has been scaled up so that it matches the exact height of the WTC window, where the photograph was taken. It has subsequently been printed in RGB colour across 1.750 individual canary yellow post-it notes and mounted directly on the wall of the exhibition space. Over the course of two months where the work was shown, the notes eventually lost their grip and fell, thus gradually changing the work from day to day.
Autostrata. 2016. Graphite on paper. Each 38 x 56 cm
Series of six pencil drawings, based on crushed composition sheets by Robert Schumann and found google images of burnout marks.
Exhibition view from Galleri Arnstedt Östra Karup, Sweden. June 2016.
Paramnesia. Galleri Tom Christoffersen I October 2015.
On the wall: Calibergraphy, 2015. 27 frottage drawings made with graphite on chalk paper. The frottage works are based on found bullet holes embedded in various monuments, facades and gravestones throughout Berlin and Wroclaw, Poland. In their totality, the drawings are presented as a transparent memorial of repressed memories absorbed by the city. The work shown on the floor in the gallery space is titled: Writers Block (Spray paint palimpsests), 2015. This work consists of collected fragments of spraypaint, wallpaint and dirt that has covered the remains of the Berlin Wall in Mauer Park between 1989 - 2015. The multiple layers of paint which has accumulated on top of the wall since the reunion of Germany has hardened into sediments. The Collected strata symbolize a materialized oblivion formed by later generations. Paradoxically, the hardened overpaintings constitutes a wall on its own - showing and covering a traumatic remnant of history at the same time.
"(...) All of this may be understood in terms of Nachträgligkeit, a psychoanalytical concept for describing how we deal with and alter the memory of an experience in order to bear it. In this context there is yet another term that applies to Albrectsen’s project, the screen memory. This is a phenomenon that occurs in connection with traumatic events, causing us to remember only harmless details such as the pattern of a tablecloth or a slightly drooping curtain". Full text by Gertrud Sandqvis here.
Installation view. The Hot Show I Galleri Nicolai Wallner I January 2015.
Bliss 2014: Graphite pencil drawing based on found google images, depicting two geographically unrelated rainbows.
Projections 2014: Graphite pencil drawing based on an associative arrangement of found google images.
Dark Matter. Galleri Tom Christoffersen I September 2014 I Curated by Andreas Albrectsen.
According to Jacques Derrida all drawing is essentially blind. The draughtsman is blind as he/she inevitably looks at the subject being represented (and in that sense cannot see what is being drawn on the paper) or, the draughtsman’s focus is turned towards the representation (and thereby cut off from the reality he/she is drawing from). This blind spot between the eye and the hand is compensated for by memory in the translation process. It is in the crossover between the observed, remembered and the imagined that the four artists meet in this exhibition. Featuring: Andreas Albrectsen, Jenny Åkerlund, Richard Forster, Rasmus Rosengaard.
Copy Paste Copy Past. KHM Gallery, Malmö I June 2013.
MFA graduation show, Malmö Art academy.