•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

Peter Linde Busk EXHIBITED AT THE SAATCHI GALLERY

She Fills Bags N'eath Her Eyes With The Moonbeams And Cries 'Cause The World's Passed Her By
Peter Linde Busk
She Fills Bags N'eath Her Eyes With The Moonbeams And Cries 'Cause The World's Passed Her By

2009

Acrylics, crayons and colour pencil on canvas

124 x 78 cm
“I still remember exactly where I was sitting on the floor in the studio when I painted this painting. The character looks a bit like a messed up Mumi troll and a character from Deadwood. The last makes sense since I was watching that show obsessively at that time. Maybe there is a bit of the drunken Calamity Jane in there. Or Trixie. It’s one of the few portraits I have done of a female character. She appears quite sad, but why wouldn’t she be? The title is from the song Big Louise by Scott Walker. I was listening to him quite a lot around that time. It was quite a difficult painting to make and I remember going through one disappointment after another whilst making it. I was quite embarrassed by it, could see it only as a testimony of all my failed attempts and lacking skills, but then I realised that might be a good thing and in fact the strength of the painting. I think it was Hitchcock who said that work is never finished, it’s just abandoned. That’s true I think.”
Same Blood, Not The Same Heart
Peter Linde Busk
Same Blood, Not The Same Heart

2010

Acrylic and crayon on canvas on board

185 x 145 cm
“This title I stole from The Wire. Two characters are talking about an out-of-scene character and his father whom they both know. The father, now incarcerated, was a real streetwise badass and the son now desperately tries to become like him, even though it’s obvious to everyone (except his mum) that he isn’t and will never be. Trying to become something or someone you are not because of outside expectations or your own desire must be one of the most painful experiences most people have felt I think. The character in the painting is also placed in a kind of pictorial limbo; he almost disappears into the chaos of the surroundings. Or maybe he is dislocating himself from it. I like the scarcity of the painterly techniques: the black gesso, the drawing in cadmium red, and the yellow crayons. The title just made sense instinctively, so I haven’t really thought about it before. Maybe the painting, like the son, pretends to be something it isn’t or maybe it has realised its own strengths and abilities and found its own place.”
The Wall-To-Wall Is Calling, It Lingers, Then You Forget (No, No, No, No, You're A Rock N' Roll Suicide)
Peter Linde Busk
The Wall-To-Wall Is Calling, It Lingers, Then You Forget (No, No, No, No, You're A Rock N' Roll Suicide)

2010

Acrylic and crayon on cotton duck canvas

185 x 145 cm
“My girlfriend saw this homeless man on the subway in Berlin. She described him and showed me how he was standing isolated on his own in this very self-deprecating way. It moved me quite a bit and I used the posture my girlfriend had described as the motif for the painting. When I see homeless people in the streets I always wonder what they did and who they were before they became homeless. All the patterns and scribble was a way to show the chaos, I imagined, in his mind and the cacophony of the noise and impressions surrounding him. The title is of course Bowie. The lyrics have always captivated me. Also, somehow, the character ended up unintentionally to look a bit like Slash. He probably didn’t end up as homeless. Or a rock and roll suicide. Have to check though, but no, probably not.”
And That Was The End Of The Singer And The Song
Peter Linde Busk
And That Was The End Of The Singer And The Song

2010

Acrylic, crayons, colour pencils on cotton duck canvas

175 x 110 cm
“I painted the background for this painting in a very long session one night and then left it sulking in the corner of my studio until I did the black drawing on top. The figure looks a bit like a falling angel, or a dandy. I was probably thinking about an etching I had done and maybe Peter Doig’s incredible painting Man Dressed As Bat. The title is a quote from Verlaine. He wrote a poem about the rise and fall of Rimbaud, about how his genius and ambition led to arrogance and stubbornness and in the end to his decline. This was the first time I used a new gesso which is very matt, coarse and absorbent and I like the occasional watercolour-like effect which occurs. As with all my other paintings the area surrounding the character is very important. It’s not so much a space as an atmosphere, a mood I want to achieve where the character belongs, emerges from, or is subdued in. The emotionally charged space is often quite chaotic, dark, visually challenging and maybe even pictorially dysfunctional but it’s theirs and they inhabit it.”
I've Got No Expectations to Pass Through Here Again
Peter Linde Busk
I've Got No Expectations to Pass Through Here Again

2011

Mixed media on linen on board

185 x 145 cm
Great Perfected Being
Peter Linde Busk
Great Perfected Being

2009

Acrylics on linen

124 x 78 cm
“For some reason this painting reminds me of The Notebooks of Malte Laurids Brigge by Rilke. I read this book while I was living in Paris for a month doing all the bohemian things a young artist does in Paris. I remembered Malte describing a man he encounters in the street on his walks around the city. This man has the most violent tics; his whole body jumps and his posture becomes distorted by the onslaught of these uncontrollable cramps. But still he tries to keep up his appearance. The distorted figure, as a way of expressing or signifying dysfunctional inner workings, is a key feature in my work. It also reminds me of Egon Schiele (I’m not sure that’s a good thing though) and a photograph I once saw by Josef Koudelka of a gypsy playing the violin (which I do think is a good thing). The character in the painting also appears to play the violin, only he doesn’t have one.”
There Is No Easy Way Down
Peter Linde Busk
There Is No Easy Way Down

2009

Mixed media collage on linen on MDF wood panel

130 x 90 cm
“I went to Dahab, Egypt with my girlfriend to scuba dive. The Blue Hole is one of the most beautiful and dangerous diving sites in the world; if you descend too quickly you can get Nitrogen Narcosis, or ‘the martini effect’, a disorientation similar to drinking 1 martini every 10 metres. The collage came together quite quickly. Everything was ready like the ingredients for a stir fry. I stuck down the first batch of paper and canvas and rolled yellow printing ink onto all the squares, leaving the horizontal bands in the bottom white. Then I stuck down some more squares and inked these up in black. In the end I added the vertical bands around the sides of the top. I wanted to create a kind of eerie descent. I didn’t struggle with this one, which always makes me suspicious. The title is taken from the Carol King song of the same name. I only know it in Mark Eitzel’s interpretation, but why would you need another? The bitter sweet paradox just matched the collage.”
Man Dressed As God
Peter Linde Busk
Man Dressed As God

2009

Acrylics, crayons and colour pencil on linen

178 x 76 cm
“I saw an exhibition at the British Museum about manuscript illustrations from Persia around the time I did this painting and I think it shows; I can’t remember which one, I have seen a few over the years. The first one was when I did my degree and a teacher urged me to go and see the show at the V&A Museum about the Book of Hamza, which was very good. The painting also reveals my interest in medieval icon painting. The title suggests a kind of posing. Clothes (and costumes and armour etc.) express identity, social belonging, cultural relationships and financial status and I have always been more interested in these cultural signifiers than skin. He looks a bit puzzled though, our divine impostor. I like how the character almost disappears in the bottom – and the legs.”
60 Watt Silver Lining
Peter Linde Busk
60 Watt Silver Lining

2009

Suger-lift etching on steel-plate print on Somerset paper

61 x 45 cm
This Is Me, Yo, Right Here
Peter Linde Busk
This Is Me, Yo, Right Here

2009

Hard ground etching on Bread and Butter paper

25 x 20 cm






Other artists in
NEWSPEAK: BRITISH ART NOW

Caroline Achaintre    Tasha Amini    Hurvin Anderson    Maurizio Anzeri    Jonathan Baldock    Anna Barriball    Steve Bishop    Karla Black    Lynette Yiadom Boakye    Pablo Bronstein    Alan Brooks    Peter Linde Busk    Carla Busuttil    Nicholas Byrne    Gareth Cadwallader    Juliana Cerqueira Leite    Spartacus Chetwynd    Steven Claydon    Clarisse d'Arcimoles    William Daniels    Matthew Darbyshire    Graham Durward    Tom Ellis    Tim Ellis    Richard Evans    Tessa Farmer    Marcus Foster    Robert Fry    Ximena Garrido-Lecca    Jaime Gili    Nick Goss    Luke Gottelier    Kate Groobey    Anthea Hamilton    Anne Hardy    Gabriel Hartley    Nicholas Hatfull    Iain Hetherington    Alexander Hoda    Sigrid Holmwood    Systems House    James Howard    Graham Hudson    Dean Hughes    Des Hughes    Mustafa Hulusi    Paul Johnson    Edward Kay    Idris Khan    Scott King    Ansel Krut     littlewhitehead    Alastair MacKinven    Goshka Macuga    Ryan Mosley    Rupert Norfolk    Arif Ozakca    Mark Pearson    Dan Perfect    Peter Peri    Olivia Plender    Henrijs Preiss    Ged Quinn    Clunie Reid    Barry Reigate    Luke Rudolf    Maaike Schoorel    Daniel Silver    David Brian Smith    Renee So    Fergal Stapleton    Clare Stephenson    Caragh Thuring    Phoebe Unwin    Donald Urquhart    Jonathan Wateridge    John Wynne    Toby Ziegler

Peter Linde Busk's BIOGRAPHY

Peter Linde Busk
Born in 1973, Copenhagen, Denmark
Lives and works in Berlin, Germany



EDUCATION


2006-9
Postgraduate Diploma in Fine Art, The Royal Academy of Arts, London

2008
Gasthoererschaft zum Studium fur Freie Kunst, w. professor Peter Doig, Kunstakademie Duesseldorf, Duesseldorf

2004
BA in Fine Art (exchange stay), Hunter College of Art, New York

2002-2006
BA in Fine Art, The Slade School of Fine Art, London


SOLO EXHIBITIONS


2013
Josh Lilley Gallery, London
The Carollers of Kolbijk, Galleri Bo Bjerggaard, Copenhagen
The Staging Area, Holstebro Kunstmuseum, Holstebro

2012
ABC Berlin, solo presentation with Rob Tuffnell and MONITOR, Berlin
No Pasaran, MONITOR, Rome

2011
LISTE16, Basel (solo presentation with Rob Tuffnell) Currahee, Rob Tuffnell, London

2010
Bold as a lunatic troupe of demons in drunken parade, Gallery Christina Wilson, Copenhagen
Full Catastrophe Living, Ancient and Modern, London

2009
Hey, that’s no way to say goodbye, (Postgraduate Diploma Degree show), The Royal Academy Schools Show 2009, Royal Academy of Arts, London
Full Catastrophe Living, Ancient and Modern, London

2008
And all I ever wanted was everything, Art Copenhagen (solo presentation with Galleri Christina Wilson), Forum, Copenhagen

2007
Ancient and Modern, London

2006
Come at the King, You Best Not Miss, Galleri Christina Wilson, Copenhagen
Slade Summer Show (BA Degree show) Slade School of Fine Art, London

2002
So Far, so Good, so What, Dronningens Tværgade, Copenhagen

GROUP EXHIBITIONS


2013
Post Post Anxiety, International Art Objects Galleries, Los Angeles, CA
The Scandalized Mask, Josh Lilley Gallery, London
The Reasons of Painting, Palazzo de Sanctis, Castelbasso, Teramo, Italy
Chicken or Beef?, The Hole, New York
La Figurazione Inevitabile (The Inevitable Figuration), Museum Pecci, Prato ,Florence

2012
Murder Ink, Der Grieche, Berlin
Unknown Paintings, Michael Janssen Gallery, Berlin

2011
Group Show, Schwarz Contemporary, Berlin
Voyage to the beautiful self, Danske Grafikers Hus, Copenhagen
Stories being told, BolteLang, Zurich

2010
Newspeak: British Art Now, Saatchi Gallery, London
Etwas viele, bißchen langweilige, ganz kleine Radierungen, Niels Borch Jensen Gallery, Berlin
The Long Dark, curated by Michelle Cotton, Kettle’s Yard, Cambridge
Summer Exhibition, Royal Academy of Arts, London
A Formal Figure, The Forgotten Bar Project, Berlin
Sophisticated Boom Boom (in bandw), Domobaal, London
The Long Dark, Hatton Gallery, Newcastle, UK

2009
Studio Voltaire presents, curated by Sarah Mccrory, Boltelang Gallery, Zurich
Royal Academy Schools Show 2009, Royal Academy of Arts, London
Daily Miracles, Josh Lilley Gallery, London
Clifford Chance Postgraduate Printmaking Award Exhibition, London
The Long Dark, curated by Michelle Cotton, The International 3, Manchester and Hatton Gallery, Newcastle

2008
Premiums Show, Royal Academy of Art, London

2007
Accrochage, Galleri Christina Wilson, Copenhagen
Aquarium, C4RD (Centre for Recent Drawing), London
5 years anniversary show, Galleri Christina Wilson, Copenhagen
Strange Weight, Martos Gallery, New York
The Late Notice show, London

2006
Club Lobby præsenterer, Møstings Hus, Copenhagen

2005
Copenhagen Art Fair - Galleri Christina Wilson, Copenhagen
Bulky Luggage, Seven Seven Gallery, London

2004
Capital, Kings Cross, London
Travelling With Valuables, various locations, London
Grand Canal, Regents Canal, London
Paint04, Candid Arts Trust, London

2003
Kunstnernes Efterårsudstilling 2003, Den Frie Udstillingsbygning, Copenhagen
Summer Show, Galleri Christina Wilson, Copenhagen

2001
Ctrl. Alt. Delete, Kapellet på Assistens Kirkegård,(with Dansk Oxin), Copenhagen

2000
Kunstart - en begivenhed, Basement - Vega, Copenhagen