Press Release

Excerpt from E. M. Forster’s book A Room with a View:

The curtains parted.

Cecil’s first movement was one of irritation. He couldn’t bear the Honeychurch habit of sitting in the dark to save the furniture.
Instinctively he give the curtains a twitch, and sent them swinging down their poles. Light entered.
There was revealed a terrace, such as is owned by many villas with trees each side of it, and on it a little rustic seat, and two flower-beds.
But it was transfigured by the view beyond, for Windy Corner was built on the range that overlooks the Sussex Weald. Lucy, who was in the little seat, seemed on the edge of a green magic carpet which hovered in the air above the tremulous world.

Cecil entered.

Appearing thus late in the story, Cecil must be at once described. He was medieval. Like a Gothic statue. Tall and refined, with shoulders that seemed braced square by an effort of the will, and a head that was tilted a little higher than the usual level of vision, he resembled those fastidious saints who guard the portals of a French cathedral.
”The Many Nos, the One Yes and The Future all Seemed Braced Square as if by An Effort of Will” is a kind of status or observation.
Like the feeling one can have in the streets at night when passing an empty shop which is being renovated perhaps as a cafe, maybe an apartment, or a bicycle shop. A place where someone has forgotten to turn the lights off after the working day has ended; Dreams are at stake.
Another human being’s dream lit up for the shortest of time, like the stroke of a matchstick only to be left by the next step onward, not knowing whether the dream will die out or catch on.
In the title, the work remains undescribed. NLH space is not being renovated. Furthermore the only things square are the floor’s linoleum plates.
The exhibition consists of one single work which is placed on the floor. Seemingly a laborious left over the piece consist of found material which has roughly been loosened from its original function by the categorical imperative Liberate! Thereafter it is placed as a drawing on the floor with the intention of freeing the poetry of the material by giving it a new form in a new context.
Andrea Lind-Valdan, born 1985, has recently finished her MFA studies at the Royal Danish Academy of Fine Art. She lives and works in Copenhagen.
The exhibition runs from October 7. – October 29. All hours. Opening October 6. from 17. – 20.

www.andrealindvaldan.dk

”The Many Nos, the One Yes and The Future all Seemed Braced Square as if by An Effort of Will” er en slags status eller observation.

Som den følelse man kan have, når man en sen nattetime går forbi et tomt butikslokale i gadeplan der bliver renoveret måske til en ny cafe, måske til en lejlighed eller en cykelbutik, hvor nogen efter endt arbejdsdag har glemt at slukke lyset: Der er drømme på spil.
Et andet menneskes drøm for en kort stund oplyst som ved et strøg med en svovlstik, som man forlader ved næste skridt hen ad gaden, uvidende om drømmen bliver udslukt eller opildnet.
I titlen forbliver værket ubeskrevet og NLH space er ikke under renovation. Ydermere er det eneste der er firkantet gulvets linoliumtern.
Udstillingen består af et enkelt værk der er placeret på gulvet. Som en tilsyneladende arbejdsrest er værkets materiale fundet og groft løsrevet fra sin oprindelige funktion ud fra det kategoriske imperativ frigør! og derefter placeret som en tegning på gulvet med intentionen om at udfri dets poesi ved at give det en ny form til en ny kontekst.
Andrea Lind-Valdans værker er abstrakte. Der er ofte et element af usynlighed, ikke på den måde, at hendes værker er usynlige, men således at man, såfremt man ønsker at få det hele med i beskæftigelsen med hendes værker, bliver nødt til at være opmærksom på sine omgivelser og lægge mærke til detaljer som man kun kan lægge mærke til, hvis man har lagt mærke til en anden detalje og så fremdeles – eller simpelthen fordi værkerne spreder sig for vidt til at kunne ses fra et enkelt vue. At være opmærksom på detaljer i hendes arbejde, materialesammensætninger, teknikker og handlingsforløb giver vigtige informationer i forhold til Andrea Lind-Valdans vægt på kunst som virkelighed.
En interesse der også kan udledes heraf er den for paradoxer, fordi materiale og nærmere øjekast er vigtige i hendes værker trods de ofte ikke råber højt om sig selv. Derfor har det haft en særlig interesse for hende at arbejde i NLH space, der i sig selv er et stort paradoks om aldrig at have åbent og aldrig at være lukket. Du kan gå forbi i nat og se, om lyset stadig er tændt.
Andrea Lind-Valdan, født 1985, har for nylig afsluttet sine MFA-studier fra den nu nedlagte Malerskole 3 på Det Kgl. Danske Kunstakademi. Hun bor og arbejder i København.