Die Galerie Opdahl zeigt mit Day for Night die zweite Einzelausstellung des norwegischen Künstlers Ole Martin Lund Bø (*1973) in ihren Berliner Räumen. Der Titel Day for Night bezieht sich auf eine Filmtechnik, die Nachtszenen unter Tageslichtbedingungen simuliert.
With Day for Night, Gallery Opdahl is pleased to present the second solo-exhibition of Norwegian artist Ole Martin Lund Bø (*1973) in its Berlin branch. The title refers to a cinematographic technique used to simulate a night scene, while shooting at day time.
Tinted glass, metallic foil, dark wooden boards, a furry tennis ball. Familiar features from storefronts, lowriders, executive offices and clay courts. These works are extractions, rather than abstractions - a variety of veils and windows from the corporate skin of our contemporary cities. Appearances can be deceptive: The transparent surface of an institutional building does not guarantee a similar transparency in its affairs.
In Lund Bø´s works, the monochrome surfaces are considered for their concrete material qualities as well as external connotations, short circuiting the idea of a self referential abstraction. A massive mahogany wall and a ruffled metallic foil both suggest clandestine activities; be it financial or sexual. These monochrome surfaces are stage sets, codes and catalysts, producing their own specific rules of engagement. Materials inscribed with meaning, radiating power and desire. There is a sleazy aura to these material arrangements; cheap goods borrowing the shine of a more exclusive relative. Or visa versa.
The assemblages have flawless, unspoiled quality in contrast to the rifts and scratches apparent in the photographic works. Like clocks, they impose a timescale on their surroundings. The patina of a grey vinyl floor becomes a relief; a superficial archeological index of human activities with a bright yellow tennis ball as an unpredictable punctum.
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