Saturday 10 March 2018

Interview: Bjarne Melgaard

Bjarne Melgaard: A Contradiction in Terms

‘I don’t do art to make everybody like me and I don’t have any problems with people not liking my work.’ For an artist who has more often than not courted controversy with his paintings, films and installations, this is doubtless a good thing. A lesser character might have kowtowed to criticism and given up his art-making, but not Bjarne Melgaard. ‘I believe in freedom of speech. I don’t see my work as very mainstream, so when I get reactions saying it is stupid, everyone is entitled to their opinion. But I am also entitled to my opinion. As long as you know yourself what you’re doing, and you’re convinced about it, then you can handle anything.’

Melgaard’s current exhibition, which opened on 23 February at Galerie Thaddaeus Ropac, London, is by no means as controversial as many of his earlier offerings – which have seen him variously accused of racism, paraphilia and paedophilia. Showing alongside an exhibition of works by Sturtevant, Melgaard’s solo show – his first with the gallery in London – sees the 17th-century Ely Room filled with a suite of 14 new paintings, Bodyparty (Substance Paintings), each 180x180cm. Because of the age of the building, the heavy canvases could not be hung on the walls, and so they stand about, propped up on marble blocks. Melgaard, however, likes this ‘improvised’ feel, echoing the ‘casual easiness’ with which the works stand on the floor in his studio, and describes the whole coming together of the exhibition, proposed to him ‘at very short notice’ by Ropac’s new senior global director, and former director of Serpentine Galleries, Julia Peyton-Jones, as ‘very organic and very fast’.

Read the full interview on the Norwegian Arts website here

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