Additional information and images â Ida Ekblad
Various other resources and images â Ida Ekblad
The artistâs website â various images
Galerie Giti Nourbakhsch, Berlin â Solo show 13th March â 24th April 2010
Information about Ida Ekbladâs work at Guadel de Stampa Gallery, Paris
Galleria Alessandro de March, Milan
Willy Wonka Inc â Representing gallery, Oslo
Video of Ida Ekbladâs âIn Exile From The Mineral Kingdomâ
Ida Ekbladâs work trips you up on the worldâs cultural baggage with wit and irony. American youth culture is a frequent reference, notably in Untitled (M) (2008), a stolen McDonaldâs sign reworked with ink and bleach on paper, and Political Song for Jessica Simpson to Sing (2006), a dĂ©tournĂ© poster of the starlet with a globule of bubblegum piratically obscuring her right eye. An eclipsed infatuation with Americana, loved and loathed from northern European shores, seems to underpin her practice, although recent work suggests her focus has shifted back home.
The Journal Gallery in Williamsburg is presenting Norwegian artist Ida Ekbladâs first U.S. solo exhibition, Salty Sap Green Black, which opened just days before EuropĂ€isch-Amerikanische Freundschaft, a three-person show at Gavin Brownâs Enterprise. Ekbladâs work in the two shows, though markedly different, is certainly supplementary. Ironically, it is only her sizable sculptures that are on view at the Journal Gallery, a tiny space on North 1st Street, while Gavin Brownâs immense Greenwich Street space in Manhattan includes her paintings alongside her sculpture.
The Journal Gallery in Brooklyn, NY, presents Salty Sap Green Black, Ida Ekblad`s first U.S. solo exhibition. Ekblad (born 1980) is an artist currently living and working in Oslo, Norway. Her sculptural works: The Gold Bug Drift (NYC) are based on "drifts" in a given city, for Salty Sap Green Black the city is New York. Like William Legrand in Edgar Allen Poe`s The Gold Bug, Ekblad has been bitten by a bug that has led her onto a path of unexpected undertakings; a form of modern day piracy. The gems and treasures gleaned from her "drifts"
are laid to rest in vessels of concrete at the time of discovery and carried around the city in the course of production until her sculptures are achieved. The resulting works thus becoming the poetic attestations of her performative actions, unlike the "drift" itself, which Ekblad describes as the unequivocal treasure, the act of deconstructing habits of experiencing and discovering an area or a city.
In the case of Norwegian artists Nils Bech and Ida Ekblad, collaboration is more of a friendship between two people whose fitful lives never stop being art. Take their exhibition in Switzerland last June, at an off-site gallery during Art Basel: Ekblad, 29, soaped the storefront with colorful, expressionistic swipes of paint, effectively boarding up the windows; at the opening, Bech, a 28-year-old camp performance artist with teen idol looks, sang a rendition of the operatic pop song âCurious Loveâ over a mix of choral chants and synthesizers. For Ekblad, this piece was a bridge between her earlier political works (her stamps of the McDonaldâs logo were on view at the New Museumâs Younger Than Jesus show in New York last spring) and her more recent sculptural and painterly abstractions.