NATHALIE DJURBERG & HANS BERG. A JOURNEY THROUGH MUD AND CONFUSION WITH SMALL GLIMPSES OF AIR

FEBRUARY 28 – MAY, 2019

There is an element of seduction when encountering films by Nathalie Djurberg (*1978) and Hans Berg (*1978)—striking and immediate, they attract the viewer into colorful, suggestive worlds accompanied by hypnotic music. Their playfully told, dismal fables full of black humor examine the great questions of humankind.

Nathalie Djurberg & Hans Berg, One Need Not Be a House, The Brain Has Corridors, 2018, Stop motion animation, 08:18 Min., © Nathalie Djurberg & Hans Berg / VG Bild-Kunst, Bonn 2018

The Schirn Kunsthalle Frankfurt is presenting the Swedish artist duo’s oeuvre for the first time in Germany in an extensive survey exhibition.

Djurberg and Berg let their figures step into action in isolated places, in the forest, in a cave, a chamber, or on a stage, where they are driven by an unconscious inner longing or experience painful, sometimes even comical situations. The artists take visitors to the exhibition on a journey into the interior of humankind—with films that resemble absurd dreams and suppressed memories and explore the limits of what is humanly tolerable in a dense atmosphere.

The exhibition is produced by Moderna Museet in collaboration with MART, Rovereto, and Schirn Kunsthalle Frankfurt.

NATHALIE DJURBERG & HANS BERG. A JOURNEY THROUGH MUD AND CONFU­SION WITH SMALL GLIMPSES OF AIR, Exhibition view, © Schirn Kunsthalle Frankfurt, 2019, Photo: Norbert Miguletz

WALL PANELS OF THE EXHIBITION "NATHALIE DJURBERG & HANS BERG. A JOURNEY THROUGH MUD AND CONFUSION WITH SMALL GLIMPSES OF AIR"

26.02.2019 | Nathalie Djurberg and Hans Berg create animated worlds with sculptures, sound, and moving images, capturing inner states—the deepest darkness, the wildest euphoria. The films show us feverish daydreams about roleplay and desire, full of comedy and darkness and set to hypnotic music. They overturn any notions of normality as well as our understanding of memory, time, and space. Djurberg uses stop motion, a laborious animation method in which a series of stills gives the illusion of movement. It is a process without a script, carried out in close dialogue with Berg, whose music adds layers of meaning.

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NATHALIE DJURBERG & HANS BERG. A JOURNEY THROUGH MUD AND CONFUSION WITH SMALL GLIMPSES OF AIR

04.02.2019 | There is an element of seduction when encountering films by Nathalie Djurberg (*1978) and Hans Berg (*1978)—striking and immediate, they attract the viewer into colorful, suggestive worlds accompanied by hypnotic music. Their playfully told, dismal fables full of black humor examine the great questions of humankind. The Schirn Kunsthalle Frankfurt is presenting the Swedish artist duo’s oeuvre for the first time in Germany in an extensive survey exhibition. On display are some forty video and sound works from the past two decades, including early videos such as "My Name is Mud" (2003) and "Tiger Licking Girl’s Butt" (2004), large-format installations like "The Parade" (2011) and "The Potato" (2008), recent works such as "One Need Not Be a House, The Brain Has Corridors" (2018), and "Dark Side of the Moon" (2017), numerous sculptures, and the duo’s first virtual-reality work "It Will End in Stars" (2018). Nathalie Djurberg became known for her stop-motion films as early as 2003—a slow, very elaborate animation technique in which a series of stills creates the illusion of movement. Figures made of plasticine, clay, fabric, and artificial hair are protagonists in a filmic narration for which Hans Berg has provided the music since 2004, composing a specific sound for each film. The exhibition sheds light on Nathalie Djurberg and Hans Berg’s joint artistic oeuvre. Both members of the artist duo work intuitively in their own medium—without a script, a storyboard, or a predetermined dramatic curve. The process-related character of their work is foregrounded: it does not try to arrive at an end, but instead comes down to the process itself. Through the interplay of sculpture, moving pictures, and sound, the viewers get caught up in a maelstrom that is virtually impossible to resist. Djurberg and Berg let their figures step into action in ominous scenes, in the forest, in a cave, a chamber, or on a stage, where they are driven by an unconscious inner longing or experience painful, sometimes even grotesque situations. The artists take visitors to the exhibition on a journey into the interior of humankind—with films that resemble absurd dreams and suppressed memories and explore the limits of what is humanly tolerable in a dense atmosphere.

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NATHALIE DJURBERG & HANS BERG. A JOURNEY THROUGH MUD AND CONFUSION WITH SMALL GLIMPSES OF AIR, Exhibition view, © Schirn Kunsthalle Frankfurt 2019, Photo: Norbert Miguletz

NATHALIE DJURBERG & HANS BERG. A JOURNEY THROUGH MUD AND CONFUSION WITH SMALL GLIMPSES OF AIR, Exhibition view, © Schirn Kunsthalle Frankfurt 2019, Photo: Norbert Miguletz

NATHALIE DJURBERG & HANS BERG. A JOURNEY THROUGH MUD AND CONFUSION WITH SMALL GLIMPSES OF AIR, Exhibition view, © Schirn Kunsthalle Frankfurt 2019, Photo: Norbert Miguletz

NATHALIE DJURBERG & HANS BERG. A JOURNEY THROUGH MUD AND CONFUSION WITH SMALL GLIMPSES OF AIR, Exhibition view, © Schirn Kunsthalle Frankfurt 2019, Photo: Norbert Miguletz

NATHALIE DJURBERG & HANS BERG. A JOURNEY THROUGH MUD AND CONFUSION WITH SMALL GLIMPSES OF AIR, Exhibition view, © Schirn Kunsthalle Frankfurt 2019, Photo: Norbert Miguletz

NATHALIE DJURBERG & HANS BERG. A JOURNEY THROUGH MUD AND CONFUSION WITH SMALL GLIMPSES OF AIR, Exhibition view, © Schirn Kunsthalle Frankfurt 2019, Photo: Norbert Miguletz

Nathalie Djurberg & Hans Berg, One Need Not Be a House, The Brain Has Corridors, 2018, Stop motion animation, 8:18 Min., © Nathalie Djurberg & Hans Berg / VG Bild-Kunst, Bonn 2018

Nathalie Djurberg & Hans Berg, Dark Side of the Moon, 2017, Stop motion animation, video, music, 6:40 Min., © Nathalie Djurberg & Hans Berg / VG Bild-Kunst, Bonn 2018

Nathalie Djurberg & Hans Berg, Worship, 2016, Stop motion animation, video, music, 8:26 Min., © Nathalie Djurberg & Hans Berg / VG Bild-Kunst, Bonn 2018

Nathalie Djurberg & Hans Berg, Worship (Sausage with Two Bathing Rings), 2016, Fabric, epoxy resin, silicone, color, filling, wire, motor, Ca. 60 x 15 x 15 cm, © Nathalie Djurberg & Hans Berg / VG Bild-Kunst, Bonn 2018 Photo: Filippo Armellin

Nathalie Djurberg & Hans Berg, Open Window, 2011, Stop motion animation, video, music, 5:54 min, © Nathalie Djurberg & Hans Berg / VG Bild-Kunst, Bonn 2018

Nathalie Djurberg & Hans Berg, Greed, 2009, Stop motion animation, video, music, 10:45 min, © Nathalie Djurberg & Hans Berg / VG Bild-Kunst, Bonn 2018

Nathalie Djurberg & Hans Berg, We Are Not Two, We Are One, 2008, Stop motion animation, video, music, 5:33 min, © Nathalie Djurberg & Hans Berg / VG Bild-Kunst, Bonn 2018

Nathalie Djurberg & Hans Berg, It’s the Mother, 2008, Stop motion animation, video, music, 6:00 min, © Nathalie Djurberg & Hans Berg / VG Bild-Kunst, Bonn 2018

Nathalie Djurberg & Hans Berg, Florentin, 2004, Stop motion animation, video, music, 3:36 min, © Nathalie Djurberg & Hans Berg / VG Bild-Kunst, Bonn 2018

Nathalie Djurberg & Hans Berg, The Mad Tea Party, 2004, Stop motion animation, video, music, 3:58 min, © Nathalie Djurberg & Hans Berg / VG Bild-Kunst, Bonn 2018

Nathalie Djurberg & Hans Berg, My Name is Mud, 2003, Charcoal animation, video, music, 7:48 min, © Nathalie Djurberg & Hans Berg / VG Bild-Kunst, Bonn 2018

Nathalie Djurberg & Hans Berg. Berlin, Germany, Photo: David Neman