English
Dansk

  •  CV – English

    Artist Statement

    My work reflects different cultural and identity issues in a thorough iconographic imagery. In creating the works the aim, beyond the idea-based concept behind, is also an intuitive and procedural approach during execution.

    I now seek more towards the landscape in motif which is acting as a metaphor for a direction, both locally and globally. The landscape is used both as a specific subject and as a filter with references to culture, language and body. The landscape is a common denominator that binds my various expressions together.

    You can narrow it down to that I seek to create images and scenarios for places where everything begins or ends. The intention is that the works, through it’s inherent humor and ambiguity, throws options back to the viewer, who through the work can open up, or re-examine their own approach and pursuit of the world around them.

    Danø2014


    Rasmus Danø (1974)

    Arcadia is an idealized landscape on the Peloponnese which already in ancient Roman times had its beauty and rural innocence described in euphoric terms. Endowed with beautiful temples and antique ruins of former riches, variations on Arcadia appear in poetry and painting through the years, drawn by the experience of an essential sense of time and melancholic satiety. It is possibly the most exalted shared European concept of landscape, though sometimes also treated with dissonance in the picture, where heavy monuments are deposited in the landscape, symbolizing the hand of time and an unbridgeable distance between the, at first, timeless and ideal reconciliation between nature and culture.

    Rasmus Danøs artistic universe leaves no hope of an idyllic Arcadia either. In his scenery the unrest of the grave soon under-flows the noble relaxation, offering a wasteless wandering through dystopic landscapes. Polluted lakes, smoking volcanoes, closed walls and monumental gravestones bring forth a particular apocalyptic tension in the pictures.

    Danø is a critical voyeur of a world and steps – often with a dissecting eye – into the dark, polluted and run-down backyards of the atomic age. This does not however result in an unambiguous form. Because deep down it would be a human centre of rotation, which prepares the ground for each and every subject, thereby balancing between a private and a general associative space: a space of forbodings, you could say. It shows among other things, the many facets that are set in motion in Danøs motifs.

    In his charactaristic, slightly cartoonish style we are drawn into dyspepsic landscapes or urban utopias, where emotional expressions and asthetic traditions join with our own pictorial fantasy. Basically a closer envelopment of this concerns a search of the interesting schism in the European tradition: extremity and normality; culture and nature.

    And in a further sense the dissolving of that schism. You could say that Danø sums up meanings and the loss of todays meanings, by juxtaposing and comparing the extreme with the normal. There is a constant discourse, which disturbs the waters and maybe it is that which creates the special unnerving twist in the fundamentally idyllic Arcadia.

    By Marie Kirkegaard 2009


    Text from the catalogue ONE WAY IN 2001

    The Inverting Time Generator: Architecture is the antithesis of speed; it’s about immediate spatial experience, with pretensions of being immortal. Danø treats gallery space like a drive tower: A generic box in which to house a motherboard empire. Entering the space is like stepping into a microcosm: A black hole where time rallies at light-speed in fast forward and rewind at the same time. Danø’s futurism is based in the 80s; but with the safe distance of hindsight and knowing techno-ease of today. It’s a 30-something nostalgia: The warm retro-comfort of Space Invaders, Commodore 64, Max Headroom, and Cold War nuclear threat. The same breeding environment of technological mistrust that made an entire generation regard computer-managed homes, internet dating, ebay, and digital resurrection of dead film stars as second nature. Danø presents a futurism with the chic luxury of confidence: Technology, for him, is a design feature. Implementing his will is a DIY craft work.

    Patricia Ellis 2001



  •  CV – Dansk

    Artist Statement

    Mit værk afspejler forskellige kultur- og identitetsskabende aspekter i en gennemgående ikonografisk billedskabelse. I skabelsen af værker tilstræbes, udover den idébaserede tanke bag, også en intuitiv og processuel tilgang under udførelsen.

    Motivisk søger jeg nu oftere mod landskabet der agerer som metafor for en kurs såvel lokalt som globalt. Landskabet bruges både som konkret motiv og som et filter med henvisninger til kultur, sprog og krop Landskabet er således en fællesnævner, der binder mine forskellige udtryk sammen.

    Man kan kort skære det ned til at jeg i mine værker søger at skabe billeder og scenarier, for steder hvor alting begynder eller ender. Intentionen er at værkerne gennem sin iboende humor og tvetydighed kaster muligheder tilbage til beskueren, der gennem værket kan åbne op for, eller revurdere sin egen tilgang og stræben i verden omkring sig.

    Danø2014


    Rasmus Danø (1974)

    Arkadien er et ideallandskab på Peleponnes, som allerede i den romerske oldtid blev euforiseret for sin skønhed og landlige uskyld. Udrustet med smukke templer og antikke bygningsrester af en fordums rigdom optræder variationer over Arkadien i digtekunst og maleri op gennem tiden, gennemtrukket af oplevelsen af en essentiel tidsfornemmelse og melankolsk mæthed. Det er måske den mest ophøjede fælles europæiske idé om landskabet, der dog undertiden også er blevet behandlet med mislyde i billedet, hvor tungt lejrede monumenter i landskabet blev til tegn på tidens rov og en ulægelig afstand til den i udgangspunktet tidløse og ideale forsoning mellem natur og kultur.

    I Rasmus Danøs kunstneriske univers overlades heller ingen forhåbninger om et idyllisk Arkadien. Den ædle afspænding underløbes hurtigt af gravens uro i hans scenerier, der byder på en ørkesløs vandring gennem dystopiske landskaber. Forurenede søer, rygende vulkaner, lukkede mure og monumentale gravstene fremhæver en særlig apokalyptisk spænding i billederne.

    Danø er en kritisk voyeur til en verden, og træder – ofte med et dissikerende blik – ind i atomtidens dystre, forurenede og forfaldne baggårde. Dette giver sig dog ikke udslag i en entydig form. For dybest set er det vel et menneskeligt omdrejningspunkt, der danner grobund for hvert eneste motiv, som derved kommer til at balancere mellem et privat, såvel som et alment associationsrum: et slags foruroligende anelsernes rum, kunne man sige. Det påviser blandt andet, hvor mange facetter, der sættes i sving i Danøs motiver.

    I hans karakteristiske let karikerede comics-stil føres vi ind i dystpiske landskaber eller urbane utopier, hvor emotionelle udtryk og æstetiske traditioner slår følgeskab med vores egen billedmæssige fantasi. En nærmere indkredsning af dette kommer vel i dybeste forstand til at omhandle en afsøgning af det interessante skisma i den europæiske tradition: ekstremitet og normalitet; kultur og natur. Og i videre forstand dette skismas opløsning. Man kan sige, at Danø indkredser en opsummering af betydninger og betydningstab i dag ved at side – og sammenstille ekstremitet med normalitet. Det er hele tiden en diskurs, der oprører vandene, og måske er det det, der skaber det særlige foruroligende twist i det dybest set idylliske Arkadien.

    Af Marie Kirkegaard 2009


 

Visual Artist
SIOFC

My work consists of paintings, printed matter, drawings, sculpture, and installation.
In addition I arrange and curate exhibitions and teach contemporary art.

Links

Organisations
Danish Printmakers Association
Danish Arts Council
BKF Art Association

External
2016 Riga Printmaking Inn Festival
2016 NORTHart
2016 Glasgow International
2016 G.I. Oersted Industries
2015 FORMAT artspace
2014 Norwegian Printmakers
Kopenhagen art Magazine
Gallery Christoffer Egelund
Danish Art Workshops
Esbjerg Museum of Art
Beautiful/Decay
Kunst På Arbejdspladsen

This site is supported by
the Danish Arts Council
Statens Kunstråd