For Kunstnernes Efterårsudstilling 2018 meter awarded Luna Scales and Anne Dyhr with the KE-prize – an exhibition curated by meter in May 2019.
meter’s motivation for the two artists:
In her video work Luna Scales takes her point of departure in traditional Western art and its iconic depiction of the naked female body, as we know it from paintings like Manet Olympia. There is even something baroque about the staging of the reclining body in pitch black surroundings that makes us notice every little movement of the body.
It is in the artworks title and in the subtitles that we are made aware of the fact that our first impressions are wrong. Instead the video reveals to us that what we are looking at is a physically impaired body – a body type that is almost invisible in public space and media imagery, a body that is seldom given agency, gender or a sexuality.
While looking at the reclining woman the video’s subtitles describes in detail the difficulties of everyday life and goes through the thoughts and strategies that are necessary for moving and being in both public as well as private space. The text maps out her body as she lies there patiently open to our investigative gaze. Although the form of the subtitles is that of a medical report of her body and its diminished function, it is in a language that still creates agency.
We are fascinated by this artwork because it manages to keep us in suspense despite the minimal and simple action. The meticulous mapping of this female body echoed in our own bodies and opened our eyes to the many things we take for granted. This is a beautiful artwork that is both complex and creates an impact with very few means and it leaves us wanting more.
The works Anne Dyhr presents at Kunstnernes Efterårsudstilling fascinated us because they allow access to an intimate space, both of which appear fragile and excessive. A room where the portraited body does not appear to conform to the surroundings. This does not necessarily entail conflict but seems oddly liberating, as if it is almost a subtle bodily protest we are witnessing.
The two installations can be seen as a form of photography in an expanded field, where the motifs of the image – the position of the body, clothing, the interior and the atmosphere repeats, abstracts and is further explored in the sculptural elements.
At first glance, there is careless arrogance about the various ways elements are composed and placed. This is not meant as negative on the contrary it makes the works seem uncompromising and strong in their expression and presence in the space the inhabit.
As you address the works and allow them time, it gradually becomes clear the precision in which each element is placed together. It gives one the feeling that the narrative you are presented are to be read exactly by those elements in exactly that composition. Hence a balance occurs in all the chaos.