Ida Ekblad — Step Motherfucker — Max Hetzler Gallery — Exhibition — Slash Paris

Past: September 2 → October 5, 2017

Ida Ekblad — Galerie Max Hetzler Pour sa deuxième exposition personnelle à la galerie Max Hetzler, Ida Ekblad prolonge l’exploration du monde brut qui l’entoure, in... 2 - Bien Critique

She WORKED

She worked in a small art institution in Paris, she maybe fifty but you can tell she takes care of herself, her skin is tanned and I think she freckled and her hair so like dem Spaniels and I fantasize about her
STEP MOTHERFUCKER

Her Close Up, she be oiled, shaved, black scorpion latex
In uniform, she stand up and chant, she a sprocket
by the pool, wrestling, she like licking
She a traitor with two daughters, she a coldy
She a tuffy and I like
Icy, icy, and me say the road is so
Foggy, foggy

My Life will be Sweeter
So sweet some day

Ida Ekblad

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«While I’ll admit to feeling a thrill at the evidence of a woman welding and making large-format, expressive paintings, Ekblad’s eclecticism shows her to be an equal-opportunity scavenger.»

Chloe Stead in Frieze magazine

Galerie Max Hetzler announces the second solo exhibition of Ida Ekblad in France which will feature new works.

Ida Ekblad’s practice incorporates painting and sculpture but also poetry, filmmaking and performance. The Norwegian artist has collaborated with multiple artists and musicians. Her sources of inspiration include artist figures such as Odilon Redon, Joy Orbison, Lina Bo Bardi, the acting of Gena Rowlands and the writing of Haldis Moren Vesaas and Inger Hagerup.

Her high-energy paintings are superabundant, retinal, corporal, pushy and highlight trends and techniques often seen as outdated or even tacky such as puffy paint, rose pattern kitchen towels, run-of-the-mill graffiti, steam punk, b-girl aesthetic or airbrushing. Colours work as both decor and aggressor, forced onto the canvas and combined with the mysterious and druggy poetry of her titles.

A sense of freedom exudes from the vibrant work of Ekblad who dislikes to plan, organise, rationalise or iron things out. Ekblad rather looks for «hunchy» moments of peak eyes, peak ears, peak everything when working.

Ida Ekblad’s work is currently presented at the Venice Biennale as part of University of Disaster at the National Pavilion of Bosnia and Herzegovina.
Ekblad will also present a sculpture during FIAC as part of the On-Site programme. She is the initiator and director of the artist run space SCHLOSS in Oslo.

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Ida Ekblad (1980, Oslo) lives and works in Oslo. She studied at central St. Martins College of Arts, London and at the National Academy of Art, Oslo. Ekblad’s work has been the subject of numerous solo exhibitions including Kunsthaus Hamburg (2017); BALTIC Centre for Contemporary Art, Gateshead (2015); National Museum of Norway — Museum of Contemporary Art, Oslo (2013); Bonniers Konsthall, Stockholm; Bergen Konsthall (both 2010). She has participated in numerous group shows such as FRAC Normandie, Les Bains-Douches, Alençon(2016); Astrup Fearnley Museet for Moderne Kunst, Oslo (2015 and 2012); Kunsthalle Bern (2015); KunstmuseumLuzern; Lucerne; Palais de Tokyo, Paris (both 2013); 54th Venice Biennale (2011); New Museum, New York (2009).