ŪBER PARKING
presenting a project / a piece of art
date, time and location below

09:00 - 19:00
15 April - 20 April

La Civette
113 Boulevard Beaumarchais
75003 Paris

PANGS OF MATURE ANXIETY (reflecting, creeping…)
by Victor Boullet

Installation art piece at La Civette


DALLAS ESSAY / CARLOS GOT HIS BONUS
by Stian Gabrielsen

Carlos's clothes looked too big on him. They were too big on him. Lionel had told Mona that Carlos used to be fat and then had lost a lot of weight, but had kept his fat-person wardrobe. It gave him a peculiar look – like someone out of a different age, the great depression, maybe. He was after all an American – a Texan even. Why was it that so many Americans came to Paris to be art-dealers? What was it about Paris that pulled at them? Did the narrow-cobblestone-walkway-pittoresqueness evoke the romantic fantasy of Old Europe? Did they imagine themselves to be modern day send-ups of Henry Miller? With his big suit Carlos certainly looked like someone out of a Henry Miller story. Came to Paris with a big belly, but was eventually grinded down to fly-weight by a life of constant hustling. Carlos was hansom in a Robert De Niro-like way, sharp featured and rugged, with casually greased-back hair and heavy brows. He was also livid and charming, but you couldn't miss that there also was a hardness and restlessness underneath his easy-going and overt personality.

This an extract, the 12 brand new A4 pages from MONA can only to be read at La Civette.

A LOOONG NIGHT
by Stian Gabrielsen
for Kunst Kritikk 2014

Dag Erik Elgin, { ITALIC } Evening Drawings / Abendzeichnungen # 17 ( Théodore Géricault ) { } ENDITALIC .

Dag Erik Elgin, Evening Drawings / Abendzeichnungen # 17 ( Théodore Géricault ) .

In a video interview done in conjunction with the National Museum's major exhibit signs PRISM in 2012 describes Dag Erik Elgin feeling he has when he makes his Evening Drawings as a " comforting intensity ." The project was started in 1996 and has continued in a fairly comfortable pace since then : a drawing every day after work - at night . There 's something about this idea of ​​comfort and evening which seems appropriate as the setting for the painting today , at least in Elgin painting. As scenographic hints and concepts associations with a particular environment where the evening can be spent in an isolated sphere. Elgin visually sparse , introspective idiom requires perhaps such a solipsist room - where the image can sit contemplative backward in its own materiality and history. Meanwhile alerts evening also something approaching an end ; there is a relationship between the comfortable intensity and a growing indifference to surroundings. Withdrawal intensifying movement inwardly at the expense of the relationship to the outside. In that sense , it has already been evening painting for a while, and Elgin colorless canvases are timely symptoms.

Evening Drawings is also something as literal as paintings based on drawings drawn in the evening - a painstaking transfer of the simple marker line to oil on canvas. After the disorganized and scattered design choice , knight drawings of a predictable procedure. A point is specified , the tool is always the same, the subject is indifference ; it can be a hard drive, an outlet , which resembles a truncated thumb lying on a plate (! ) or van Gogh's famous shoes. The width witnesses of a wandering , non- distinguished glance that equalizes smooth transitions eg from silly design details to sections of famous paintings . Drawing The basic repertoire , black , simple lines on a sheet, making sure everything flows together . Reduced to contours could fish to jellyfish as well be fish dinner Elgin . Anchoring in a homely atmosphere ( I guess Elgin spend evenings at home) allows the observation of an expansive size that retrieves all the looking into the private . There is a paradoxical intimacy : We invited generously to see the artist's surroundings through his eyes , but just as barren outline - the gaze is fixed temperament , a modest registration contour.

Dag Erik Elgin, { ITALIC } Evening Drawings / Abendzeichnungen # 30 { ENDITALIC } .
Dag Erik Elgin, Evening Drawings / Abendzeichnungen # 30

In the transfer to painting repeats the simple drawing the black lines and monochrome surfaces without significant affect. Elgin has obviously endeavored to safeguard the drawing neutrality. In some of the canvases are the white background broken gently , but apparently only to reproduce natural color variations in the paper. There is no significant interpretation of the translation from one medium to another. The painting gets here signs of being a redundant lens - an additional step in mediating constitutes an almost transparent film between subject and viewer. This " movie " is funny enough all it takes for the exhibition fulcrum are never finished discussing the painting, and the figures in the drawings are reduced to a kind of proxy motives. The physical picture is in Elgin little more than a material fact - while it is executed with craftsmanship diligence, and always (? ) Oil on canvas, like this classic form suddenly invariable as nothing else remained.

The absence is something you can not ignore in Elgin . Sometimes it is obvious that La Collection Moderne at MGM in 2010 , where he reproduced the title cards to a selection of paintings from the modernist canon . In Evening Drawings manifests this absence more indirectly. Legitimate ring is outside the frame, the dialogue backwards , or in a conversation that happens somewhere else. Meanwhile, the empty picture made ​​with a seriousness and a dedication to performance and detail reminiscent of passion ( an earlier exhibition of Elgin called appropriate Amor Vacui , love of voids ) . In this disparity , the investment in the barren , making a kind of melancholy in evidence , but there is no question of a suicidal melancholy, just a reconciliation with reality .

Dag Erik Elgin, { ITALIC } Evening Drawings ( 1996-2000 archive ) { } ENDITALIC , intallasjonsfoto from OSL Contemporary .
Dag Erik Elgin, Evening Drawings ( 1996-2000 archive ) .
From series Cafe moments in Paris 2014
Oil on canvas 45X56CM

The exhibition coquettish ring with the intimate notes the distance of the viewer more than compensate it. In addition to paintings , hung in groups on the wall, also the original drawings taken and stacked in two piles on each shelf. The stacks are a kind of archives - but covered in glass display cases that restrict access . Only the top drawing in each stack is visible. They are thus more photos of the archive than the actual archive. One of the piles are partially charred and has a strong odor of burnt paper. Apparently the damage stems from a fire at the studio of Elgin in 2000. Nearly - destruction represents a dramatic disruption of the mechanical , accumulative process in the Evening Drawings . The inclusion of tracks from the event in the exhibition reinforces the intimate ; we are invited not only into the artist's gaze and homes, but also his biography - while we are not really closer. Intimate Report No one says anything about the production's most progressive private character. And then not private in the sense of expressive , but sheltered.

" The painting after painting " says Jørgen Lund about Elgin images in the essay gaze past (2006 ) . Is that painting archival phase Elgin prepares - painting as a discontinued and managed size? There is certainly often something cataloging the Elgin motifs , such as the use of Roger de Piles rubriseringssystem Series Balance of numbers from 2012. But there is still this insistent presence in the execution, love (for lack of a better word ) to a discipline one could perhaps say - as do those cool pop art surfaces less arbitrary than if , for example, had been silk printed . Each individual is invested with a disproportionate meticulous work . The dry reflexivity in Elgin images has its counterpoint in craftsmanship pathos. Aiming Elgin with balancing of reflexivity and pathos towards an equilibrium ?

By only be viewed by small groups of time painting vaccinated against to be " fascistic " claimed Elgin in a lecture at the National Museum on the occasion painting seminar Paradox in 2012, and maintained thus painting's capacity as seem to indicate that political potential . However , this negatively defined value , that it opposes mass mediation , the closest thing to a political task for painting? It assumes in all cases that the meeting with the painting takes the form of a " unique existential experience in the room ," as Elgin puts it. But every painting I look at the wall in a gallery , I certainly ten digital reproduction on the web , spread to the world . One may then assume phenomenologists glasses and claim that it no longer concerns the painting per se, but a digital image. Nevertheless , although my scrolling through Elgin previous output of his home only a pseudo meeting comes not from consumer model dominance by pointing out that the uniqueness exists elsewhere. About the painting resist totalitarianism , understood as a totalitarian collectivity, it is also through the laborious , individuerende process that produces it - that that practice , and not as consideration object. The viewer can hardly be trusted a dedication to the unique physical meeting in line with the Elgin shows in its production. So it is our totalitarian tendencies that are dartboard , asking perhaps the withdrawal of Evening Drawings , and the Elgin painting, to be used as an example rather than just considered .


Paris snap 2014

Dag rik Elgin, { ITALIC } Evening Drawings / Abendzeichnungen ENDITALIC { } , intallasjonsfoto from OSL Contemporary .
Dag Erik Elgin, Evening Drawings / Abendzeichnungen at OSL Contemporary .

{ ITALIC } Evening Drawings / Abendzeichnungen ENDITALIC { } , intallasjonsfoto from OSL Contemporary .
Evening Drawings / Abendzeichnungen at ?
¨

ŪBER PARKING is an art institution based in Paris, France.
For more information please contact Peter at ŪBER PARKING
uberparking@gmail.com
www.Ūber-parking.com

April Interview 2014 Ūber Parking - please download pdf here -
May 2014 in Paris - Panel Discussion on Gustav Moreau's Polemic Compulsion and influence on Matisse.
May 2014 in Paris - Talk on Galliano's talent by Stian Gabrielsen & Mona Høiness


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