Lone Haugaard MadsenRaum# 310
Overgaden, Institute of Contemporary Art, Copenhagen, Denmark
Old newspapers and exhibition posters, overalls, transport blankets, used stirring sticks and leftovers from other artists’ studios acquire new life in Lone Haugaard Madsen’s sculptural improvisations, which, in a balancing act between intuitive play and analytical precision, interact with the spaces in which the works are created and presented.
While Lone Haugaard Madsen has had several solo exhibitions around Europe the show at Overgaden is the first larger presentation of her work in a Danish context. Scattered throughout the entire ground floor, groups of enormous paintings, found objects and ready-mades, either brought from Haugaard’s workshop in Vienna or selected from the storage rooms at Overgaden, will take shape on-site and become part of a carefully-orchestrated whole, in which elements of humour, poetry and irony mingle with phenomenological considerations.
In a cross-field between painting, sculpture, object, photography, sound, text and performance, Lone Haugaard Madsen has developed a distinctive conceptual expression that bears clear traces of the artistic workflow. Often, she allows random and practical conditions, such as the width of a door or the amount of paint remaining in a tube, to dictate the framework for the production of her works, and in recent years, she has consciously worked to blur the distinction between the workshop and exhibition space.
Commenting on her work, she says:
The actual site of the production of art fascinates me. My workshop serves as a collection centre for all kinds of materials collected from the urban environment or artist colleagues, or brought from previous exhibition venues. This gives rise to a circulation of crates that I send out ahead to the places where I will be exhibiting. Here I often work on-site and use the exhibition space as a workshop.
On the basis of the mobile workshop, Lone Haugaard Madsen shifts focus from the finished work to the process behind it. In her practice, the venerated art object is pulled down from its pedestal to encourage reflection on the conditions of art production and the surrounding context.