CCC Gallery

19/12/2024

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En af årets vigtigste udstillinger mindede os om, at verden ender for nogen hver dag. Kunstner Asta Lynge om kunståret 2024.

17/09/2024

The exhibition 'Heart on the Tongue' by Mia Edelgart & Eva la Cour at Heirloom is reviewed by Louise Steiwer for KUNSTKRITIKK.

In the exhibition Heart on the Tongue, visual artists Mia Edelgart and Eva la Cour turn their gaze towards the public broadcasting of the 1970s and ’80s through a study of the work of Belgian film and TV producer Jef Cornelis (1941-2018). These broadcasts stem from an era and media landscape radically different from today, where debates branch out into countless smaller forums on digital platforms, drawing polarised lines and hindering collective discourse. Their revisitation of this pioneer of television culture seeks to both introduce his unique practice to a Danish audience and draw insights from his methodologies.

The show is on view until 26 October 2024.

Med inspiration i en legendarisk tv-tilrettelægger forsøger Mia Edelgart og Eva la Cour at åbne for en bred samtale. Men for hvem?

09/08/2024

Thanks to Mathias Kryger and Politiken for the review of the work by Mads Lindberg, who is currently part of the group show 'Rhizome - Network Without Center' at Kunsthal Aarhus.

The exhibition is curated by Seohui Lee and is up throughout September 15th, 2024.

29/06/2024

How to End it by Philip Poppek at Contemporary Art Daily.

The Exhibition is up until July 11th, 2024.

Documentation of Philip Poppek at C.C.C., Copenhagen is available at Contemporary Art Library.

11/06/2024

Andreas Albrectsen & Jakob Kolding - Selected Writings at Galleri Arnstedt.

In his new works, Albrectsen draws evocative word combinations lifted from websites that use CAPTCHAs (Completely Automated Public Turing tests to tell Computers and Humans Apart). These randomly generated word combinations filter anthropoid users from malicious spam bots. Surprisingly, the fragmented CAPTCHAs originate from physical library books and are isolated words seized from their literary context. The authored words, too distorted by time and tear and left unidentifiable by AI scanners, are sent back to the internet users as online Turing tests, who in return help digitise books for Google.
In Recaptures, there is an initial familiarity in what we encounter: the Latin script, the black- on-white quality of charcoal on paper as typical of either writing or drawing, the associated traces of a human hand and the excess charcoal dust mouth-blown across the paper. The graffiti-esque aesthetics of the drawn text result from a stencil-like tool that holds the porous vine-wood charcoal substance at bay.
Where artificial intelligence creates problems while solving others, only humans create poetry from boredom or curiosity. This human-versus-machine complex raises future questions: If language is grounded in experience and computers are writing for humans – how will meaning continue to morph? Can it morph until it becomes so unrecognisable that any reading is nearly impossible, leaving us with an abyss that even poetry or nonsense cannot fill? Regardless of this question, in Recaptures, the viewer can actively decipher or bypass the works without being questioned on their humanity – or lack thereof.

Photos by Tor S. Ulstein

06/06/2024

Big thanks to everyone that came out for the opening of How to End it by Philip Poppek last week!

The show is on view throughout June 11th.

Opening hours:
Friday 11 AM – 5 PM
Saturday 11 AM – 4 PM
or by appointment

Image: Philip Poppek. How to End it. 2024. Installation view. Photo by GRAYSC

30/05/2024

Philip Poppek
How to end it

Opening tomorrow (5 – 9 PM)

"This is a culture that talks endlessly about initiatives, new beginnings, fresh ideas and startups and knows little about the end. (The luxurious pettiness and small-minded obsessions with safety.) A culture of the end knows mortality is a great gift; speech is a tool for enlivening the present time; and trust comes from action not coercion. What it is unprepared for, blind to, and ignorant of, what it avoids, obfuscates and decorates is this. It doesn’t say ‘no’ to the always new, which means it doesn’t know how to say ‘that’s it, that is what I want’. The options are not endless. Stop counting. It is preferable for this news to come from elsewhere, somewhere, away from here, imposed by far away conditions. The logic of ‘far off gain’ justifies today’s disgraces. This wanting is someone else’s. This end will be insignificant as such for it may only ‘herald a brighter future’. If it ends, it ends because the hand was forced; there was no choice. Nothing will have been intended. It submits to this endless procrastination as if it were real and in so doing gives up. It gives up, it doesn’t stop."

— Eleanor Ivory Weber, ‘How to End It: Five Rolls of the Dice’ (excerpt)

18/05/2024

Last chance!

We are entering the final week of the show There is no outside of language by Julie Falk. Last day is Thursday May 23rd.

Today we are open from 11 Am - 4 PM. Feel free to come by.

15/05/2024

Reap.

Spend as much time as possible being wide awake and receptive to stunning surfaces, they can easily become an alphabet or unpredicted souvenirs.
Notice that particular thirsty brownness, that dull version of matte, both so very uniform, they’ll be no one’s to claim.
But they will be decisive for a sudden flush of grief. A sudden ecstasy.
Grow up insistingly.

Expand any vocabulary in directions that will be easy to forget. The more sentences that seep out of a head, the keener the hands and the blood become.
Lie down and curse it and appreciate it.
Sit down and know that it may be a compromise, but not a degrading one.

Replace the urge to construct with an urge to look.
Replace the urge to invent with an urge to repeat.
Allow the reddest heart to force its way into the brain and consider if emotions are in fact the opposite of words (they probably aren’t but it’s nice to decide that they are, and then think about how they’re not)

Get an unrestful night’s sleep or simply no sleep at all, night after night it is the same and so day after day looks like leather: oil-black and slightly hostile in a way that either sharpens the attention to beauty or liquifies it, turns sensibility into a thin soup from which corners and edges and solid squares must be dragged out with quite a majestic need for structure.
Abandon these structures, moisturize them and lean back in an architecture that can melt completely any minute, only to become landscape again.
Acknowledge the timespan between landscape and language, millennia and millennia of storm-colored mountains before their name arrived and someone eventually started thinking about tall buildings and attractive corporate furniture.

Forget steel.
Forget habitual politeness.
Learn to cherish all hands equally, this is probably impossible but the challenge is noble and necessary and new spectacular or forgettable movements will always replace previous ones.
Stay cheap and deal with the fact that longing for glam is usually inevitable. And isn’t longing the most effective fuel for omnipresent desire and isn’t omnipresent desire the primary vital condition. Life is so necessary right now.

Elevate the dark in other people’s gazes by fabricating it. Do it, fabricate an easy darkness, a portable condition that doesn’t require architecture or contracts and let this condition be a gown to wear or a shade to rest in or a house to build.
Remember that thousands of flowers will bloom in our absence.

Sow.

Exhibition text by Nanna Friis

The show There is no outside of language by Julie Falk is on view throughout May 23rd, 2024.

08/05/2024

Documentation of our current exhibition There is no outside of language by Julie Falk is now online at Contemporary Art Library.

The show is on view until May 23rd, 2024. Don't miss out!

Documentation of Julie Falk at C.C.C., Copenhagen is available at Contemporary Art Library.