Lars Vilhelmsen
Since 2004
Works in Vodskov United States of America


Topical exhibition from 1995

An actually ’exhibition for the first time’ will be the separateexhibition LEMPICKA, Aalborg 1996 Succeded
consequently L.V.’s first work in urban zone with the videoinstallation K.M.N. - Kontraks Mother Nature, put
up in a container.

In 1999 he initiators the Artschool of picture and media, which rapidly developed into the School of
Experimental Art in Aalborg (basis for the existens of the school runs out 02).

In the very same year he is likewise accepted to several different recognized graded exhibitions in Denmark,
of which the essential, Charlottenburgs Easterexhibition,Copenhagen, where he is accepted three succesive
years, 2001-2002-2003.

L.V. has worked conceptually with many-sided medias, where especielly his objects definetely belong to the
first of many exhibitions.
’Many young artists have a more conceptual approach to the artistic work. They take an interest in typologics,
structures and formsimilar coincidencees. Like this researchs for example L.V.(born 1970) almost into sections
of industriel objects and buildingsections, and compares them after form and material’.
FABRIC: Publication in connection with the themeexhibition FABRIC, Northern Artmuseum 2002.

This three-dimensionel period ends, when L.V. chooses projects of other character. Today the workarea is
concretized to conceptually projects as How scandinavian of me, How beautiful to be and travellers secret
box 2004; the last-mentioned project L.V. has the function as projectcoordinator.

In the end of the nineties L.V. shows several exsamples on projects in the urban zone, and is backed by local funds.

L.V. shows his projects in zones and places normally not connected to art, but perceptibly describes as furniture
and equipment from an urban district, worth mentioning advertising pillars and election-noticeboards. Buildings
of authorities, bridges,news papers and others, has affected L.V.’s activities of exhibition.

Projects in this category for example Virus, The lavatory-convenince exhibition=(the public toilet),
Kontraks Mother Nature, Human Cover project, Camouflage Art and The election campaign.

The project HEARTROOM, giant streamers set up on 50 busses, is likewise a distinct work in the urban zone.
’L.V.’s action was partly focused on the sharp tonein the debate of foreigner, which he wanted to give a banal,
but positive response, partly against the growing use of advertisings in public space. By showing his statements
exactly on the citybusses, they were read on places, where you expected advertising. In this case was the
advertising however political messages about friendship and kindness. L.V. goes with this activistic artform
in continuation for the artists, who since the nineteensixties have combined the massculture with the
traditionally artforms’
Textextract from the exhibition by art historian, Anne Lie Stokbro.

The pivotal point of these works is either political, activistic or social character, areas which still ad here
to his present works, however with more interest in the private-personal field cf. How scandinavian of me,
How beautiful to be, Travellers secret box, The Crystal project and Anomalous Zone.

Anomalous Zone shows an artist staying on a reduced laid out Worldmap, a danish touristattraction in Jutland,
and problematizes globalising by a commonplaced locality.
’The context in Anomalous Zone will be the artworkers self-constituted, the space is populated by tourists,
of which the one, namely the artworker, enters the general tourist-attraction : the local worldmap, and tourism
as situation, as an international artgesture.’
A-Zone textextract from Den lille Have contribution, September 2003.

The projects Substitution, Appropriativ insert structure, Congenial slow cerebration and The day, are all
examples on projects, where L.V. works aphoristically with the photography as the preferred media; the
last-mentioned project, The day, is exhibit on the Festival SACRUM 04, the Czech. Republic.

The probably most important project, he has developed, is HOW SCANDINAVIAN OF ME as an ’ongoing process’,
started-up in London 2001.
’Appropriatived involvement, break work-categorical definitions change casting between the artist and the
public in a way, that the artist now invests in a procedural work, where the public can’t expect any genius
solutions, but probably account a meeting with an artists interpretation or experience of a scandinavic
mentality relating to cultural dividing lines, habits, manners, places, spaces and private-social material.
The mentioned private sense for the floppy and active, the opening travelling, who has the colonialism as kitched text’.
Extract from workingreport for the artwork H.S.O.M. by (CMJ).

How scandinavian of me .. makes up today the basic practice of L.V. The project exhibits current
in different exhibitionrooms, either the hole project, extracts of this or as special editions.

How scandinavian of me-project updates current on L.V.’s website.

L.V. is also found in connection with artcollaborators, for example to mention the development of
Network of art for younger artists in the Northern Jutland.

Beyond this L.V. works in other artconnections with medias as installation, photography, video and netrelated
projects both in urban zone and in artinstitutions at home and abroad. From among activities abroad it must
be mentioned his contact with Foerderkoje in Berlin as a related exhibitionproject ’Mad in Berlin’.

L.V. will continuing in the years to come, work at moving a greater part of his exhibitionpractice abroad.

Working strategy:

In Lars Vilhelmsen's working strategy there are common features, which
involves the concept, where several of the works can be seen as an
incorrection and an interruption of the local, national and global
artconventions. He uses the innate critical potential of the art through
narrative interferences and asks opening questions for an artdefinition and
The artist enters into several related collaborations.

The public and the private zone
The artist works in the urban zone, and he wants to work on and in places,
which have not the characteristic of an already inscripted artarea. Areas,
which have no loaded artimportance, but which very highly are used in other
contexts f.ex. culturally or in commercialpurpose. In these areas he often
works with a privatepersonal complex.

Facts and fiction
In several working strategies mixes L.V. fictives and facts, which have no
workinginformations and no distinct reading as art. The artist makes use of
the fiction space to create a new polarization. To mix facts and fiction he
wants to problematice *what you see is not what you see'

The synthesis
The artist tries to realize the synthesis between life and art. By working
in other contexts and spaces, and not only the traditionally artinstitution,
he makes the art non-elitist and raises simultaneously questions for a more
visible coherense between real life and art. The times where the artist
himself has worked in the artinstitution, he did it to point out critical
ways of presenting the problems from within.

In this strategy L.V. disposes the art of appropriation as a representing of
an already exsisted material/matter. The artist works with different
scenaria and makes them his own, f.ex. just to enter these or to define the
exsisted scenaria as being art.

The political
In the works of the artist enters essential messages into a political scope
of reflections, which aims at remove and progresse cultural limits in
several levels.

The critical purpose
The artists use of the fiction involves a critic against the traditional
style of art, which still forms the base of various criteria in different
artcontexts. By using the fiction in this connection are questions, where a
direct interpretation has no reading, but where the scene was laid for the
observer to be involved in the work and make his own meaning.As well as
using the appropriated attains the artist a more visibility on the
not-visible. Through that the artist gets illustrated the synthesis between
art and life and brings up essential questions as: what is fiction? what is
art? what is life?
This critical illustration absorbes the artist as elementary and defines his
own activity as an object in this context - to focus on and brings up
critical questions to exsisted conventions and forces.