Anders Moseholm

PAINTINGS IN CONFERENCE ROOMS 1, 4, 6, 9 AND 11

ABOUT THE ARTIST
Anders Moseholm was born in 1959 and attended the Royal Danish Academy of Fine Arts in Copenhagen from 1989 to 1996 and the School of Visual Arts in New York in 1994. He has always combined the visual arts with playing the guitar as the similarities between the basic elements of music and the visual arts complement each other. In his early years, Moseholm was inspired by American abstract expressionists and their focus on the use of colours. Later, Moseholm has experimented with reflective figurative paintings.

Moseholm collaborates with galleries such as Specta, Galerie Leger in Sweden and Franz Pedersen, and he has had solo exhibitions at Vejle Art Museum, Skive Art Museum, the South Jutland Art Museum, Sophienholm and, most recently, at the Art Centre Silkeborg Bad and the Kastrupgård Collection.

Accura displays five Anders Moseholm works in total.

ABOUT THE WORKS OF ART

The painting shows two black chimpanzees on the floor as a surreal break-in element in the lavish Versailles ballroom with glittering chandeliers. The paining is about two pattern breakers in an aesthetic system represented by the baroque architecture – the chimpanzees do indeed break the floor pattern.

The painting is about forcing nostalgia out of a historically retrospective system by using an industrial colour, Ferrari red, to create a clash, enabling us to see the system in a new way. It is not an ironic comment, but a way of creating clarity for the eye and a new experience of the beauty of a historically conservative room, which, in this case, is the ballroom of the Versailles Palace.

In the painting, the human being has been replaced by the giraffe, a being that is just as complex, which finds itself in an arrival hall, characterised by classic man-made architecture. The giraffe finds a path different from the rational one chosen by humans who want to get from A to B as quickly as possible. The giraffe melts together with the surroundings in an almost aesthetic way, without totally disappearing. The arrival hall is a thing in its own right, not just a place that we have to pass through – perhaps every day is an arrival.

In the painting, we find ourselves at an old library, sensing that all the knowledge in the world has been brought together here. The vaulted ceiling with decorations, which you only see faintly but which probably refer to all sorts of great achievements or to the source of culture, underlines the nature of the room as a grand bastion of knowledge. But in the middle of the whitish structure of the vault, you suddenly glimpse a red break-in figure, a monkey, which throws grit into the machinery with its absurd, strangely paste-on presence.

The painting is inspired by the abstract way in which we navigate in the urban landscape, which has incredibly many features in common with our general being and communication in the present time. Often, we do not meet physically, but on the internet. We consider it a great quality that things are easy and quick. That also applies when we move from A to B in the urban space. This is non-physical and based on codes and signs – a linguistic embodiment dictated by the internet although we are talking about concrete, physical movements that we, as bioorganisms, might actually benefit greatly from experiencing directly.