peter holm works 1995-2011

HOLM WORKS 1995/2011

Drawing, untitled Gouache on Schoellershammer G4 42 x 62.5

It may be so that the southern French ad-venture was tossed off but it is symptomatic, anyhow, that it came to be a sojourn in an-other mythical artist locality – Skagen, at the northern tip of Jutland – that really brought the rigorous abstract painting into play for Peter Holm. This bears witness to the con-trasts that characterize Holm’s work. On their surfaces, at least, his works appear to have more conspicuous features of resemblance to pop art and minimalism but Holm is just as quick to mention his fascination with the English landscape painter, William Turner, or the Italian Renaissance painter, Giovanni Battista Tiepolo, as he is to discuss his inter-est in Gerhard Richter, Frank Stella, Donald Judd or Poul Gernes. Holm’s works simulta-neously constitute a distinctive combination of formal abstraction’s precision and land-scape painting’s aesthetic sensibility.

Det sydfranske eventyr var måske for-kastet, men det er alligevel symptom-atisk, at det var et ophold i en anden mytisk kunstnerlokalitet – Skagen – som satte gang i det stramme abstrakte maleri for Peter Holm. Det vidner nemlig om de kontraster, der præger Holms ar-bejde. Hans værker har måske på over-fl aden større lighedspunkter med pop-kunst og minimalisme, men han nævner lige så gerne sin fascination af den en-gelske landskabsmaler William Turner eller den italienske renæssancemaler Giovanni Battista Tiepolo som inter-essen for Gerhard Richter, Frank Stella, Donald Judd eller Poul Gernes. Holms værker udgør samtidig en særegen kombination af den formelle abstrak-tions præcision og landskabsmaleriets æstetiske sensibilitet.

Peter Holm

HOLM WORKSselected works udvalgte værker 1995/2011

Redaktion: Peter Holm / Morten AgergaardLektorat: Ditte Vilstrup HolmÜbersetzungen: Dan MarmorsteinGestaltung: Morten Agergaard / MAP1Printed in the EU

© 2011 Peter Holm & RevolverAlle Rechte vorbehalten

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PETERHOLM WORKS selected works udvalgte værker 1995/2011

To my brother Til min bror

Michael Holm, 1956 -1984

6 PETER HOLM WORKS 1995/2011

The work of artistic development is precise, thoroughly reflected and informed. It is based on experience, on examination, on testing and on a firm grasp of art-history. It involves a sensitivity for color, precision in the execution and a clear vision with regard to the atmosphere that is to be conjured up. However, it is also characterized by occasional whims, by life’s unexpected twists and by the conception of what being an artist involves that one continually formulates and revises along the way. There might be a straight path, of course, but it’s very often the case that dead ends, detours and stubborn digressions from the already trodden pathways give rise to a far more interesting process and consequently to more interesting works.

Det kunstneriske udviklingsarbejde er præcist, reflekteret og informeret. Det bygger på erfaring, undersøgelse, afprøvning og en solid kunsthistorisk viden. Det handler både om fornemmelse for farven, præcision i udførelsen og en klar vision af den stemning, man vil have frem. Men det er også præget af tilfældige indfald, af livets uforudsete drejninger og de forestillinger, man gør sig undervejs om at være kunstner. Der kan være en lige vej, men oftest giver blindgyder, omveje og egensindige afstikkere fra det allerede optrukne spor en langt mere interessant proces og dertil mere interessante værker.

CAR DOOR HIT AND FURNITURE MIX

- essay by Ditte Holm Vilstrup

BILDØRSHIT OGMØBELMIX

- essay af Ditte Holm Vilstrup

Ditte Vilstrup Holm 7

PROLOGUE

In the summer of 1994, Peter Holm borrowed an atelier in southern France. The owner and his wife were going away for a few months. In the meantime, Holm could make use of the atelier if he would also take care of the couple’s fl owers. The studio was spacious, with high ceilings and plenty of room for expansive gestures. It was the year before Peter Holm was scheduled to complete his education at the Funen Art Academy and the time was ripe for launching his fi rst sig-nifi cant project.

Holm spent two days stretching a couple of enormous canvases up and priming them, faithfully accompanied by Wagner blaring at full blast through the speakers. How pretentious, he now muses, but this was simultaneously a decisive turning point in his artistic career, for after the two days of preparatory exercises, he abandoned the project altogether. He stood in front of the enormous canvases and before all the art-historical mythology subsuming expressive strokes of genius in southern French ateliers and suddenly realized that it simply wasn’t working for him. Instead, he spent the summer in the village’s local tavern, punctuating his sojourn with a few side-trips to take in some of the area’s artistic masterpieces.

A year and half later, when Peter Holm made his breakthrough on the Danish art scene, it was not with expressive brushwork applied to classically-stretched canvases. On the contrary, he served up a precise and reduced aesthetic landscape of paintings that drew on

PROLOG

I sommeren 1994 lånte Peter Holm et atelier i det sydlige Frankrig. Ejeren og hans kone skulle rejse væk et par måneder, og i mellemtiden kunne Holm anvende atelieret, hvis han samtidig passede parrets blomster. Atelieret var rummeligt, med højt til loftet og masser af plads til de store armbevægelser. Det var et år inden, Peter Holm afsluttede sin uddannelse på Det Fynske Kunstakademi, og tiden var inde til at søsætte sit første markante projekt.

Holm brugte to dage på at spænde et par enorme lærreder op og grundere dem, godt akkompagneret af Wagner for fuld udblæsning i højtalerne. Patetisk, tænker han nu, men samtidig også et afgørende moment i hans kunstneriske karriere. For efter de to dages forberedende øvelser op-gav han projektet. Han stod over for de enorme lærreder og hele den kunsthistoriske mytologi af ekspressive gen-istreger i sydfranske atelierer og indså, at det simpelthen ikke var noget for ham. I stedet spenderede han sommeren i byens lokale bar med nogle enkelte udfl ugter til områdets kunstneriske hovedværker.

Da Peter Holm halvandet år senere fi k sit gennembrud på den danske kunstscene var det ikke med ekspressive pen-selstrøg på klassiske lærreder. Derimod serverede han et præcist og tilskåret æstetisk landskab af malerier, der trak


Hey-Day, 1996, Fyens Udstillingsbygning for Kunst og Design.


the history of geometric abstraction and on automobile culture’s realm of visual signals. Motorsport’s black-and-white checkered fl ags were served as abstract compositions and a fragment of the OK Petroleum fi rm’s logo was one of the “motives” at Holm’s fi rst solo exhibition after fi nishing his studies at the academy. Hey-Day (Fyns Udstillings-bygning for Kunst og Design [The Funen Exhibition Building for Art and Design], 1996), was, more than anything else, a composition of monochrome-, dot- and stripe-paintings.

PAINTINGS WITH A LOWER-CASE “p”

It may be so that the southern French adventure was tossed off but it is symptomatic, anyhow, that it came to be a sojourn in another mythical artist locality – Skagen, at the northern tip of Jutland – that really brought the rigorous abstract painting into play for Peter Holm. This bears witness to the contrasts that characterize Holm’s work. On their surfaces, at least, his works appear to have conspicuous features of resemblance to pop art and minimalism but Holm is just as quick to mention his fascination with the English landscape painter, William Turner, or the Italian Renaissance painter, Giovanni Battista Tiepolo, as he is to discuss his interest in Donald Judd or Poul Gernes. Holm’s works simultaneously constitute a distinctive combination of formal abstraction’s precision and landscape paint-ing’s aesthetic sensibility.

A similar contrast comes to light when he prefers to see himself as a “painter” and not an “artist”, even though the term “painter” does lean up against a historical legacy of expressive brushwork, which Holm deliberately shies away from in his works. For him, though, the designation of “painter” is not a reference to the lofty genius who is intuitively seeking spiritual inspiration; it is rather a conscious tagging of painting as a distinctive aesthetic product. Nor is the place that he works to be called an atelier or a “studio”; it is, instead, a “workshop”

på den geometriske abstraktions historie og bilkulturens visuelle signalverden. Motorsportens sort-hvide ternede fl ag gjorde det ud for abstrakt komposition og et brud-stykke af OK benzin-stationens logo var blandt ”motiverne” på Holms første soloudstilling efter akademiet, Hey-Day (Fyns udstillingsbygning for billedkunst og design, 1996), som i øvrigt mest af alt var en komposition af monokrome, prik- og stribemalerier.

MALER MED LILLE ”M”

Det sydfranske eventyr var måske forkastet, men det er al-ligevel symptomatisk, at det var et ophold i en anden mytisk kunstnerlokalitet – Skagen – som satte gang i det stramme abstrakte maleri for Peter Holm. Det vidner nemlig om de kontraster, der præger Holms arbejde. Hans værker har måske på overfl aden større lighedspunkter med popkunst og minimalisme, men han nævner lige så gerne sin fascina-tion af den engelske landskabsmaler William Turner eller den italienske renæssancemaler Giovanni Battista Tiepolo som interessen for Gerhard Richter, Frank Stella, Donald Judd eller Poul Gernes. Holms værker udgør samtidig en særegen kombination af den formelle abstraktions præci-sion og landskabsmaleriets æstetiske sensibilitet.

En lignende kontrast er på færde, når han foretrækker at se sig selv om som ”maler” og ikke ”kunstner”, selv om beteg-nelsen ”maler” trækker på en historisk arv af ekspressive penselstrøg, som Holm bevidst undgår i sine værker. For ham er betegnelsen ”maler” dog ikke en henvisning til det ophøjede geni, der intuitivt søger en spirituel inspiration. Det er derimod en bevidst markering af maleriet som et særegent æstetisk produkt. Hans arbejdssted er heller ikke


– and, also in this respect, he moves closely in on the car culture’s aesthetic dimension, that is to say, the practical everyday service station, which is far from denigrated in his interpretation but is rather rendered a veritable partner in the painterly output.

As a “painter” in a “workshop”, Peter Holm displays his sympathy for collectively oriented modernist projects like the Bauhaus and that embodied by the exponents of Russian constructivism, who, taking their point of departure in a simplifi ed aesthetic language, turned the artistic process into a collective mission, which would ostensibly be of benefi t to the whole society and not only to its more privileged members. Holm’s own approach, however, lies more in extension of a Marcel Duchamp or an Andy Warhol. By virtue of their respective strategies of calling industrially fabricated objects and motives into play, Duchamp and Warhol transformed the artwork into a registra-tion of the aesthetic qualities in industry’s products while referring indirectly to those artisan- and workshop-related competences that vanished with mass production, inasmuch as industry’s motives are, in their works, being re-invented in aesthetic form and being en-closed inside the exhibition halls via the artistic re-working’s detours. In the case of Peter Holm, the workshop, then, is not a factory but is rather a highly specialized re-aestheticization of “forgotten” or “over-looked” aesthetic qualities.

EXPLORER INTO PAINTING

Peter Holm’s work bears distinct references to pop art’s and minimal-ism’s use of mass cultural signs and industrial production. Not only do his choice of motives, the color intensity and the lacquered surfaces point in this direction, his work titles and exhibition titles are also play-ing on popular cultural references. At the same time, Holm’s painting is situated in extension of modern abstract painting’s geometric tradi-tion and is particularly aligned with how this tradition has evolved from

et ”atelier”, men et ”værksted” – og også i den henseende nærmer han sig bilkulturens æstetiske dimension, det hverd-agspraktiske autoværksted, som dog langt fra nedgøres i hans fortolkning, men derimod er partner i den maleriske produktion.

Som ”maler” i et ”værksted” viser Peter Holm sin sympati for en række af de kollektivt orienterede modernistiske projekter, som fx Bauhaus og den russiske konstruktivisme, der med udgangspunkt i en forenklet æstetisk streg gjorde den kunst-neriske proces til et kollektivt ærinde, som skulle komme hele samfundet og ikke blot de privilegerede til gode. Men Holms egen strategi ligger mere i forlængelse af en Marcel Duch-amp eller Andy Warhol, som i inddragelsen af industrielt pro-ducerede genstande og motiver, gjorde kunstværket til en markering af æstetiske kvaliteter i industriens produkter, der samtidig indirekte henviste til de håndværks- og værksted-skompetencer, som forsvandt med masseproduktionen. For industriens motiver genopfi ndes i æstetisk form og lukkes ind i udstillingshallerne ad den kunstneriske bearbejdnings omveje. Værkstedet hos Holm er således ikke en fabrik, men en meget specialiseret re-æstetisering af ”glemte” el-ler ”oversete” æstetiske kvaliteter.

OPDAGELSESREJSENDE I MALERI

Peter Holms arbejde har tydelige referencer til popkunstens og minimalismens brug af massekulturelle tegn og industriel produktion. Ikke bare hans motivvalg, farveintensitet og lak-erede overfl ade peger i den retning, men også hans værkti-tler og udstillingstitler spiller på populærkulturelle referencer. Samtidig ligger Holms maleri i forlængelse af det moderne abstrakte maleris geometriske tradition, i særdeleshed sådan

Fight Back, Klosterbakken,

m. John Krogh, Odense, 1996


minimalism’s break with the fl at canvas. Through his own painting, as well as through his curatorial activity and his participation in various painting-specifi c group-manifestations, Peter Holm has been playing a part in bringing forth today’s so-called “painting in expanded form” – which refers not merely to the physical expansion of the painting but also has to do with painting’s dialogue with other forms of expression.

The fi rst of the siginifi cant generation-specifi c exhibitions in which Holm took part was Maleri efter Maleri: ung dansk kunst i 90’erne [Painting after Painting: Young Danish Art in the 90s] (Kastrupgård-samlingen, 1995). The exhibition focused sharply on a break with painting as intuitive expression for the sake of presenting a more conceptual kind of painting. This type of painting can, for that matter, embody many different forms; what these works have in common, though, is the fundamental understanding that idea takes precedence over execution. A contemporary painting is, in other words, anything but a spontaneous and direct outpouring of emotion. It is rather some-thing that has been thoroughly tried and tested out; it refl ects its com-munity’s visuality and moreover, it is oriented toward painting’s tradi-tion. Peter Holm, however, is not a “conceptual painter” in the strict sense of the word. He is rather a form-and color-oriented painter, an explorer into painting’s fundamental building blocks, nothwithstand-ing that the expedition is not being carried out with any systematic approach as a destined goal in itself.

Holm fi nds his themes in signals, expressions and motives that he happens to come across in life: ambiences from landscapes and envi-ronments or even a record album; something that attracts him and that captures his attention. He then examines this theme in dialogue with painting’s means and tests it out in different combinations, more in the sense of its potentials for being a landscape of painterly elements than as a genuinely thorough-going investigation. The expression, of course, is precise – industrially precise, as a matter of fact, since

som denne tradition har udviklet sig fra og med minimalis-mens brud med det fl ade lærred. Nutidens såkaldte ’maleri i udvidet form’ – der ikke blot er en rumlig udvidelse af maleriet, men også handler om maleriets dialog med andre udtryksformer, har Peter Holm været med til at skabe i kraft af sit eget maleri og i kraft af sin kuratering og deltagelse i maleri-specifi kke gruppe-manifestationer.

Den første af de markante generationsudstillinger, som Holm deltager i, er Maleri efter Maleri: ung dansk kunst i 90’erne (Kastrupgårdsamlingen, 1995). Udstillingen still-er skarpt på et brud med maleriet som intuitivt ekspres-sivt til fordel for et konceptuelt maleri. Dette maleri kan for så vidt have mange forskellige udtryk, men deler den grundlæggende holdning, at tanken kommer før udførelsen. Et nutidigt maleri er med andre ord alt andet end spontan og umiddelbar følelsesoverfl od. Det er gennemprøvet, re-fl ekterer sit samfunds visualitet og er i øvrigt orienteret i maleriets tradition. Peter Holm er dog ikke en egentlig kon-ceptuel maler. Han er snarere en form- og farveorienteret maler, en opdagelsesrejsende i maleriets grundlæggende byggestene, men uden at dette gøres med en systematik som mål.

Holm fi nder temaer i signaler, udtryk og motiver, som han falder over i livet: stemninger fra landskaber og miljøer eller sågar et musikalbum; noget der tiltrækker ham og fanger hans opmærksomhed. Dette tema udforsker han så i dialog med maleriets virkemidler og afprøver det i forskellige kombinationer, mere som var det et landskab af maleriske elementer end en egentlig tilbundsgående undersøgelse. Udtrykket er naturligvis præcist – industrielt præcist faktisk, for Holm har en forkærlighed for lakkede


Holm has a penchant for lacquered surfaces that are devoid of the slightest traces of human interaction – but the combinatorial analysis is more an intuitive than a systematic enterprise.

CAR DOOR “HIT”

With Hey-Day, Peter Holm establishes his fi rst vocabulary of mo-tives which he, during the years 1996-1999, unfolds and develops in various combinations with the automobile culture as aesthetic part-ner. The solo exhibition, FASTTRACK (Galleri Tommy Lund, 1997), gathers a number of Holm’s basic themes together in car-related forms: the stripe-painting is transferred over onto an actual car door while two other striped compositions are coupled together to form a shelf, upon which the prizewinner’s trophy could hypothetically be displayed. SPEEDMASTER (DFKU, 1997) is a spatial installation of the black-and-white checkered abstractions, now in multi-colored tones, that impressively simulate motorsport’s fl ags in motion.

It is the car, not only as industrialization’s and modernism’s fore-most symbol but also as a sport-related and cultural icon, that is being conveyed here into abstract painting’s tradition. At the group exhibition, Visual Luxury (Charlottenborg, 1998), and at the solo exhibition, COLORRACE (Galleri Tommy Lund, 1999), Holm carries this dialogue further, now on a larger scale and in a more spatial direction. With Visual Luxury, he occupies Charlottenborg’s large exhibition room. Here, he gets the chance to test out his works’ landscape qualifi cations on a larger scale. COLORRACE sets out into the space with a race course that is suspended from the ceiling, while the car doors are now established in a combination of fi ve; this serves to emphasize the extension as a spatial relation, as an expanded landscape.

Peter Holm likens his own work to a record album, where various

overfl ader uden det mindste spor af menneskelig interak-tion – men kombinatorikken er et mere intuitivt end sys-tematisk forehavende.

BILDØRSHIT

Med Hey-Day etablerer Peter Holm et første grundlæggende vokabular af motiver, som han i årene 1996 til 1999 udfolder og udvikler i forskellige kombinationer med bilkulturen som æstetisk partner. Soloudstillingen FASTTRACK (Galleri Tom-my Lund, 1997) kobler fl ere af Holms grundmotiver sammen i bilrelaterede former; stribemaleriet overføres til en faktisk bildør, mens to andre stribede kompositioner kobles sam-men til en hylde, som vinderpokalen hypotetisk kunne stå på. SPEEDMASTER (DFKU, 1997) er en rumlig installation af de sort-hvide ternede abstraktioner, nu i fl erfarvede toner, som effektfuldt simulerer motorsportens fl ag i bevægelse. Det er bilen som industrialiseringens og modernismens fremmeste symbol, men også som sportsligt og kulturelt ikon, der her føres ind i den abstrakte maleris tradition. På gruppeudstillingen Visual Luxury (Charlottenborg, 1998) og soloudstillingen COLORRACE (Galleri Tommy Lund, 1999) fortsætter Peter Holm denne dialog, nu i større skala og i en mere rumlig retning. Med Visual Luxury indtager han Charlottensborgs store rum og får her afprøvet sine værk-ers landskabskompetencer i større skala. COLORRACE rykker ud i rummet med en racerbane, der hænger ned fra loftet, mens bildørene nu etableres i en kombination af fem, der understreger udstrækningen som rumlig relation, som et udvidet landskab.

Holm sammenligner sit arbejde med et musikalbum, hvor

Workshop, Amager, Copenhagen 1999Workshop, Odense, 1998


combinations within a given theme are being tried and tested. Making use of this analogy, the combination of car door and stripe painting is his fi rst “hit”: the combination that most directly ignites and generates attention around his work. And the car door is an effi cient combina-tion. It couples in a very precise way the artistic problems with which Holm is working most intensively during this period. The car door is a painting on an industrial product; it is an altered readymade. At the same time, the car door possesses all the energy of a mischievous boy-rouge painting and is related, in a precise way, to painting’s tradi-tion, by virtue of its challenging of the conventions that surround the painting vs. sculpture problematic, since it situates itself smack dab in the middle of these two classic categories. To boot, it is an alternative landscape painting, which is directly and explicity present in the car doors’ visual appearance and is, to the same degree, implicitly present by virtue of the imaginary landscapes that one can imagine one is see-ing from inside the car doors’ windows.

CRUISING ON SUNSHINE

As landscape paintings, the car doors are not merely manifestations of a visual ambience but also of an auditory ambience. The automobile culture is linked to music and to movies, of course, to the very core of modern culture’s onward march, and we “hear” the radio, the pop music and the sensation of riding through the landscape when we see the dynamic colorist prism that Holm conveys onto his car doors. Music also presents itself in Holm’s titles, which play on references to pop and rock music. There is a mood that is supposed to be conveyed through the paintings: the sensation of speed; the sensation of being on the move and the sensation of being exhilarated by moving through the landscape, with the hit song on the radio booming through the car’s speakers – pumped up to full volume.

For Peter Holm, though, the automobile culture in itself is not the bear-

forskellige kombinationer inden for et tema afprøves, og i den lignelse er kombinationen af bildør og stribemaleri hans første hit; den kombination som mest direkte fænger og skaber opmærksomhed om hans arbejde. Og bildøren er en velfungerende kombination. Den kobler ret præcist de kunstneriske problemstillinger, som Holm arbejder mest intenst med i denne periode. Bildøren er en bemaling af et industrielt produkt, en bearbejdet readymade. Bildøren har samtidig energien af et drengerøvsmaleri, og så forholder det sig præcist til maleriets tradition ved at udfordre kon-ventioner om maleri versus skulptur, når det sætter sig midt imellem de to klassiske kategorier. Ikke mindst er det et alternativt landskabsmaleri, som både er direkte til stede i bildørenes visuelle fremtoning og i mindst lige så høj grad implicit til stede i kraft af de imaginære landskaber, man kan forestille sig at se inde fra bildørenes vinduer.

CRUISING ON SUNSHINE

Som landskabsmalerier er bildørene ikke blot udtryk for en visuel stemning, men også en auditiv stemning. Bilkulturen er knyttet til musik og fi lm, ja, til hele den moderne kulturs fremmarch, og vi ”hører” radioen, popmusikken, stemnin-gen fra rejsen gennem landskabet, når vi ser den dyna-miske koloristiske prisme, som Holm tilfører sine bildøre. Musikken byder sig også til i Holms titler, der spiller på referencer til pop og rockmusik. Det er en stemning, som skal formidles igennem malerierne: stemningen af farten, stemningen af at være på farten og stemningen af glæden ved at bevæge sig igennem landskabet med radiohittet på fuld drøn fra bilens højtalere.

For Holm er bilkulturen dog ikke i sig selv den bærende


ing aesthetic strategy in his work; the bearing element is rather the continuous pursuit of creative interaction between painting’s funda-mental elements and other manifestations of culture. To some extent, the car door “hit” can actually serve to obscure this. As pop hit, the car door threatens to retain its sender within this pop number’s im-mediate recognizability rather than encouraging a more generalized acknowledgement of the whole album’s spectrum of expressions. That Holm’s focus is somewhere else, however, does become appar-ent in the subsequent years. Here, the “signal” effect and the cultural quotations recede more into the background, giving way to spatial experiments with painting’s fundamental aesthetic components.

Already, both of the exhibits (namely, the group show, Visual Luxury, and the solo exhibition, COLORRACE) that, for the time being – since you can never really know when a given theme might present itself again – conclude his combinatorial analysis of the car culture’s aesthetics point very directly toward a spatially experimental approach to painting. Here, the dialogue with new kinds of everyday use items becomes the primary motor for Holm’s painterly experimentation. This transpires in the three subsequent exhibitions: the two group shows entitled FLOORSHOW (Den Frie Exhibition Building, 2000) and Efterårsudstillingen [The Autumn Exhibition] (Charlottenborg, 2002) and the solo exhibition, INSIDE-PAINTING (Overgaden – Institute of Contemporary Art, 2002).

INSIDE PAINTING

At FLOORSHOW, Holm introduces a prism of lacquered medium-density fi berboard staves that have been hoisted onto a podium, which is also built up from MDF-staves. At fi rst glance, this can be viewed as a sculptural extrapolation of his stripe-paintings and is, as such, Holm’s fi rst genuine sculptural painting in full three-dimensional form. But this piece clearly points back to painting on account of the spatial depth-effect that is brought about by the MDF-staves’ color scale. At the same time, the piece points forward toward the more direct painting-furniture-experiments that follow in INSIDE PAINTING and those presented at Efterårsudstillingen [The Autumn Exhibition].

At Efterårsudstillingen [The Autumn Exhibition], painted stools form part of an installational whole, which also involves prism paintings, a composition of painted MDF-boards, mounted on the wall this time around, and a single car door. Typical for Holm, this presentation is, then, a new composition that amalgamates earlier work forms with new pieces. However, it is at the one-man show, INSIDE PAINT-ING, that the novel three-dimensional character in Holm’s work really starts to unfold and is given the chance to establish a genuine spatial

æstetiske strategi i hans arbejde; det bærende er derimod den kontinuerlige efterstræben efter kreative samspil mel-lem maleriets grundelementer og kulturens øvrige udtryk. Det kan bildørshittet i nogen forstand skygge lidt for. Som pophit truer bildøren med at fastholde sin afsender i pop-nummerets umiddelbare genkendelighed frem for at aner-kende hele albummets spektrum af udtryk. Men at Holms fokus er et andet bliver tydeligt i de efterfølgende år. Her falder ”signal”-effekten og kultur-citaterne mere i bag-grund til fordel for rumlige eksperimenter med maleriets grundlæggende æstetiske komponenter.

Allerede to af de udstillinger, som foreløbigt – for man ved jo aldrig, hvornår et tema byder sig til igen – afslut-ter hans kombinatorik omkring bilkulturens æstetik, grup-peudstillingen Visual Luxury og soloudstillingen COLOR-RACE peger begge meget direkte i retning af et rumligt eksperimenterende maleri, hvor dialogen med nye brugs-genstande bliver den primære motor for Holms maleriske eksperimenter. Det sker på de tre efterfølgende udstillinger: gruppeudstillingerne FLOORSHOW (Den Frie, 2000) og Efterårsudstillingen (Charlottenborg, 2002) samt soloud-stillingen INSIDE PAINTING (Overgaden, 2002).

INDE I MALERIET

På FLOORSHOW lancerer Holm en prisme af lakerede mdf-stave, som hejser sig på et podie, der også er bygget op af mdf-stave. Det kan i første omgang ses som en skulp-turel fortolkning af hans stribemalerier og er som sådan Hol-ms første egentlige skulpturelle maleri i fuld tredimensionel form. Men værket peger tydeligt tilbage til maleriet i kraft af den rumlige dybde-effekt, som skabes af mdf-stavenes farveskala. Samtidig peger værket fremad mod de mere direkte maleri-møbel-eksperimenter, der følger i INSIDE PAINTING og Efterårsudstillingen.

På Efterårsudstillingen indgår bemalede skamler i en instal-latorisk helhed, som også involverer prismemalerier, en kom-position af bemalede mdf-plader, nu monteret på væggen, og en enkelt bildør. Typisk for Holm er denne præsenta-tion altså en nykomposition af tidligere værkformer med nye værker. Men det er på soloudstillingen INSIDE PAINT-ING, at den nye tredimensionelle karakter i Holms arbejde for alvor folder sig ud og får lov til at etablere en egentlig rumlig karakter. Ingen værker hænges på væggen. I ste-


character. No works are hanging on the wall. Instead, the exhibition consists exclusively of a series of benches and a sliding door that, aesthetically speaking, constitutes a further development of Holm’s stripe-paintings. What we have here is a powerful coloristic furniture mix created from abstract three-dimensional painting-objects that si-multaneously forms part of an installational totality in ensemble with the rooms at Overgaden’s exhibition space.

With INSIDE PAINTING, you are no longer a viewer of painted art works; you are inside painting itself. With the sliding door shut, you are both framed inside the painting and simultaneously framed out-side the surrounding world. The benches offer an invitation to sit down and the closed door appeals to a sense of tranquility and thoughtfulness. It is almost a sacred space that the painting instal-lation creates here, albeit one with a modern aesthetic attitude in terms of its form, its color and its fi nish – and this is not entirely without motivation: Peter Holm’s gallerist for a good many years, Tommy Lund, had just then – unexpectedly – passed away and this exhibition was dedicated to him.

FURNITURE MIX

Around the turn of the millennium, Peter Holm plays a role in estab-lishing and bringing forth the artistic position that we now refer to as “painting in the expanded fi eld”. This new direction in his painterly project underscores that what is central to him are not specifi c cultural references like automobile culture but, more correctly, the continued experimentation with form, color and space, in dialogue with cultural expressions. This is also a point that was nailed down as recently as 2009 with his activity (in collaboration with Torgny Wilcke) curating the exhibition entitled WHAM - painting and beyond (Den Frie Exhibi-tion Hall), where it is precisely the expanded form- and color-oriented painting that is placed highest on the agenda. In between these two

det består udstillingen udelukkende af en række bænke og en skydedør, som æstetisk udgør en videreudvikling af Holms stribemalerier. Der er tale om en stærk koloris-tisk møbelkombinatorik skabt af abstrakte tredimensionale maleri-objekter, som samtidig indgår i en installatorisk hel-hed med rummene på Overgaden.

Med INSIDE PAINTING er man ikke længere beskuer til maleriværker, men inde i selve maleriet. Med skydedøren skudt for er du både rammet ind i maleriet og samtidig rammet ude af den omgivende verden. Bænkene inviterer til, at man sætter sig ned, og den lukkede dør appellerer til ro og eftertænksomhed. Det er et næsten sakralt rum, maleri-installationen her skaber, omend med den moderne æstetiks attitude i både form, farve og fi nish – foruden den selvklare reference der ligger i rummets funktionalitet som udstillingshal – og det er ikke helt umotiveret. Peter Holms gallerist gennem en årrække, Tommy Lund, var netop da uventet gået bort, og udstillingen er dedikeret til ham.

MØBELKOMBINATORIK Omkring årtusindeskiftet er Peter Holm med til at etablere og skabe den kunstneriske position vi i dag refererer til som maleri i det udvidede felt. Denne nye retning i hans maleriske projekt understreger, at det centrale for ham ikke er specifi kke kulturelle referencer som bilkulturen, men de-rimod den fortsatte eksperimenteren med form, farve og rum i dialog med kulturelle udtryk. Det er også en pointe, som slås fast så nyligt som 2009 med kurateringen (sam-men med Torgny Wilcke) af udstillingen WHAM - painting and beyond (Den Frie), hvor netop det udvidede form- og farveorienterede maleri står på dagsordenen. Herimellem

Details Splashpaintings,

Odense, 1995


points in time, Holm has presented his own bids on “painting in the expanded fi eld” at solo exhibitions in Melbourne and Sydney and at a number of group shows in Denmark and abroad.

At the same time, it is clear that Holm’s own works, not only those that were made after the millennium shift but also those that were created before, have incessantly been entering into dialogue with other aesthetic traditions: sculpture, industrial design and furniture design. Similarly, he has continuously been working with painterly installations even when there was, more precisely, a situation involving spatial confi gurations composed of individual works. It is the dialogue between and among the works that has, in other words, always been central. Another constant element in Holm’s work is the dialogue with a specifi c cultural phenomenon, either by virtue of the titles’ cultural citations, by virtue of the works’ visual signals or by virtue of the forms’ functionality, as we see in Holm’s painting-furniture combinations.

Moreover, Holm enlarges on his painting-furniture combinations over the course of the next few years and expands them into a trilogy, where the benches and the sliding door at INSIDE PAINTING con-stitute the fi rst of the works, which is then followed up by, initially, a group of cabinets (Hey, You Gotta Hide Your Love Away, 2009) and, then, a Chinese room divider (Night Divides the Day, Screen #1, 2010). The cultural reference in the most recent painting-furniture combinations constitutes yet another new direction for Peter Holm’s work, which comes to generate a broader framework, both geographi-cally and historically, for the dialogue between painting and cultural expression. Hey, You Gotta Hide Your Love Away consists of a series of monochrome paintings that form parts of different color composi-tions in three cabinets. At WHAM, these cabinets were exhibited with three circular-shaped paintings that Holm had decorated in a free interpretation of patterns from a Swedish folk art tradition; patterns that, moreover, also appear on Night Divides the Day, Screen #1.

har Holm præsenteret sine egne bud på soloudstillinger i Melbourne og Sydney og på fl ere gruppeudstillinger i Dan-mark og internationalt.

Det er samtidig tydeligt, at Holms egne værker, ikke bare efter årtusindeskiftet, men også før da, vedvarende har in-dgået i dialog med andre æstetiske traditioner: skulptur, industrielt design og møbeldesign. Ligeledes har han kon-tinuerligt arbejdet med maleriske installationer, også når der var tale om rumlige sammensætninger af enkeltværker. Dialogen mellem værkerne har med andre ord altid været central. Et andet konstant element i Holms arbejde er di-alogen med et konkret kulturelt fænomen, enten i kraft af titlernes kulturelle citater, værkernes visuelle signaler eller formens funktionalitet, som fx i Holms maleri-møbel-kom-binationer.

Holm udvikler i øvrigt sine maleri-møbel-kombinationer de efterfølgende år til en trilogi, hvor bænke og skydedøren på INSIDE PAINTING udgør første værk, som følges op af dels en kinesisk rumdeler (Night Divides the Day, Screen # 1, 2010) og en gruppe skabe (Hey You Gotta Hide Your Love Away, 2009). Den kulturelle reference i de seneste møbel-maleri-kombinationer udgør endnu en ny retning for Peter Holms arbejde, som skaber en både geografi sk og historisk bredere ramme for dialogen mellem maleriet og kulturelle udtryk. Hey You Gotta Hide Your Love Away består af en række monokrome malerier, som indgår i forskellige farve-kompositioner i tre skabe. De var på WHAM udstillet sam-men med tre runde malerier, som Holm har dekoreret i fri fortolkning over mønstre fra en svensk almuetradition; møn-stre som i øvrigt også optræder på Night Divides the Day, Screen # 1.


FOLK ART PERFECTION

Folk art becomes a new thematics for Holm’s painting: an album – if we can return to the analogy introduced earlier on – where items of everyday use and design traditions from peasant culture are in-troduced as new elements in his work. In striking contrast to his earlier automobile-culture period, what we have here is not popular culture in its modern form but, on the contrary, popular culture in its traditional form, which is now being reinterpreted in dialogue with painting’s potentials. However, the project is basically the same: dealing with popular cultural elements and re-processing these into new painterly forms.

This is unfurled in a very thorough way at the solo exhibition, Almost Perfect (Concept Space, Shibukawa, Japan, 2011), where Holm con-joins his interest in folk art design with distinct references that hark back to his early work. Shelves in black-and-white compositions, either with triangles (“the diamond version”) or with stripes (“the piano ver-sion”), are presented in a familiar minimalist, modernist form. But they are supplemented with a folk art dimension when they are simultane-ously interpreted in traditional Amager-shelf forms, although there is clearly a gauntlet being thrown down in front of this tradition by Holm’s coloristic sharpness and smooth fi nishes.

At the same time, Almost Perfect presents genuine white-painted circular-shaped folk art trays, decorated with simplifi ed patterns in-spired by the folk art design tradition. These patterns were previously presented in his furniture trilogy but here they have been turned around to face their origins in everyday folk art items while simul-tanously being reinterpreted as motives for classic paintings. In this way, folk art comes to constitute a world of motives and everyday use items which, in parallel with Holm’s interpretation of automobile culture from the closing years of the nineteen-nineties, can open up

ALMUENS PERFEKTION

Almuesporet åbner en ny tematik for Holms maleri; et al-bum – for nu at blive i den tidligere lignelse – hvor brugs-genstande og designtraditioner fra almuen introduceres som nye elementer i hans arbejde. I modsætning til hans tidligere bilkultur-periode er det her ikke populærkulturen i sin moderne form, men derimod i sin traditionsbundne form, som nu nyfortolkes i dialog med maleriets muligh-eder. Men projektet er grundlæggende det samme: at be-handle og bearbejde populærkulturelle elementer til nye maleriske former.

Dette udfoldes meget gennemgående på soloudstillingen Almost Perfect (Concept Space, Shibukawa, Japan, 2011), hvor han også forbinder sin interesse for almuedesign med tydelige referencer tilbage til sit tidlige arbejde. Hylder i sort-hvide kompositioner, enten med trekanter (diamant-versionen) eller med striber (piano-versionen), præsenteres i velkendt minimalistisk modernistisk form. Men de tilføjes et almue-niveau, når de samtidig nyfortolkes i traditionel am-agerhylde-form, som dog tydeligvis udfordres på traditionen i kraft af Holms lakering og koloristiske skarphed.

Samtidig viser Almost Perfect egentlige hvidmalede runde almuebakker dekoreret med forenklede mønstre abstra-heret fra netop almuens designtradition. Disse mønstre har tidligere været præsenteret i hans møbeltrilogi, men vender nu tilbage til deres udgangspunkt i almuens brugsgen-stande, samtidig med at de genfortolkes som motiver for egentlige, klassiske malerier. Almuen udgør på den måde et univers af både motiver og brugsgenstande, der parallelt til Holms fortolkning af bilkulturen fra slutningen af 90’erne

1) Movie 1, Newspace Gallery, Sydney, Australia, 2001

2) Sunup, Constructed Colour, Artspace, Sydney, Australia, 2001

3) Opening, MOP, Sydney, Australia, 2004

Sandwich Servers, Enamel on MDF


for new possibilities in painting, while this dialogue simultaneously activates overlooked aesthetic qualities in the popular culture.

EPILOGUE

Peter Holm’s works are not personal imprints; you cannot directly sense his mindset or his temprament or, for that matter, his pain in the works. The lacquered surface rebuffs these kinds of interpreta-tions quite fl atly. Why, then, did the present essay lead off with a personal story, where the expressive aspect was given a chance to take up space? Well, because, despite everything, there are a whole lot of personal goods folded into his works, even if these are not of a private-psychological nature and even if they make no attempt to at-tach themselves to the artist as person. As an artist, though, you are, quite simply, engaged in close dialogue with your own life experiences whenever you go about developing your work. You are inspired, you are infl uenced and you stumble on new thoughts even if this is no reason to think that you, as an artist, are operating without any control and without taking a conscious approach. What we have is rather a precise admixture of the haphazard and the deliberate.

The automobile culture jibes neatly with the impetuous boy rogue, who, right after fi nishing up at the art academy, was anxious to show what he could do. But it’s not so much a burning question as all that when you also happen to be the father of a 5-year-old girl. That Holm’s daughter was adopted from China offers a hint about why he hap-pened to alight on the Chinese room divider as an item of everyday use and as a form – regardless of the fact that this, incidentally, tells nothing about his personal life – and similarly, it seems obvious that Holm is (re)discovering the aesthetic qualities of folk art craftsman-ship, seeing as he has moved away from the city and out to the coun-tryside. That he has taken over an old factory and renovated it into a residence, a workshop and an exhibition space – in collaboration with

kan åbne op for nye muligheder i maleriet, samtidig med at denne dialog aktiverer oversete æstetiske kvaliteter i pop-ulærkulturen.

EPILOG

Peter Holms værker er ikke personlige aftryk; man kan ikke direkte afl æse hans sind og humør eller for den sags skyld smerte i værkerne. Den lakerede overfl ade afviser den slags fortolkninger ret kontant. Hvorfor så overhove-det starte denne tekst med en privat historie, hvor det ek-spressive skulle få lov til at fylde? Fordi der trods alt er en masse personligt gods foldet ind i værkerne, selv om det hverken er af privatpsykologisk karakter eller forsøger at koble an til kunstneren som person. Som kunstner er man blot i tæt dialog med sine livserfaringer, når man udvikler sit arbejde. Man inspireres, påvirkes, får nye indfald, uden at det af den grund kan anses at være uden styring og bevidste greb. Det er en præcis blanding af det tilfældige og det bevidste.

Bilkulturen passede godt til drengerøven, som frisk fra akademiet skulle vise, hvad han kunne, men er ikke lige så aktuel, når man også er far til en 5-årig pige. At hans datter er adopteret fra Kina, giver et hint om, hvorfor han faldt over den kinesiske rumdeler som brugsgenstand og form – uanset at det intet fortæller om hans privatliv i øvrigt – ligesom det virker oplagt at Holm (gen)opdager æstetiske kvaliteter ved almuens håndværk, når han fl yt-ter fra byen ud til landet. At han har overtaget en gammel fabrik og renoveret den til bolig, værksted og udstillingsst-ed – i samarbejde med sin kone, billedkunstneren Karin Lind – skaber dog en fast linje i de referencer, som ellers


his wife, visual artist Karin Lind – gives rise, however, to a solid line in the references, which might otherwise appear to be more chaotic and random. It is still the painterly “production” that is in focus.

For Peter Holm, the painterly work has been developing in dialogue with the aesthetic experiences that life offers, and therefore it can move, by starts, far from automobile culture to folk art design. As aesthetic forms and not as personal tales, these cultural expres-sions become fi ltered into an artistic project, the primary thrust of which is unremittingly constituted by one and the same ambition: to create two-dimensional and three-dimensional aesthetic landscapes out from painting’s fundamental building blocks that do not simply remain abstract form exercises but rather, through the artist’s precise process of aesthetic abstracting, can come to synthesize, propel and update visual qualities from everyday life’s industrial and artisanal productions.

translated by Dan A. Marmorstein

kan fremstå mere kaotiske og tilfældige. Det er stadig den maleriske ”produktion”, som er i fokus.

For Peter Holm udvikles det maleriske arbejde i dia-log med de æstetiske erfaringer, som livet tilbyder, og det kan derfor rykke vidt fra bilkultur til almuedesign. Som æstetiske former og ikke personlige fortællinger fi ltreres disse kulturelle udtryk ind i et kunstnerisk pro-jekt, hvis primære retning vedvarende udgøres af samme ambition: at skabe todimensionale og tredimensionale æstetiske landskaber ud af maleriets grundlæggende byggestene, som ikke bare forbliver abstrakte formøv-elser, men gennem sin præcise æstetiske abstrahering kan syntetisere, fremdrive og opdatere visuelle kval-iteter fra hverdagens industrielle og håndværksmæssige produktioner.

Indian Paintbrush, Texas, 2003

Texas Blue Bonnet, Texas 2003


It is a beautiful winters day. The sun has risen from behind the woods and casts its light on the plowed fi elds that dominate the view.These are perfect weather conditions for chopping the wood that keeps us warm . The hardships of last winter have made this a top priority on the list of things to do.

Living out here in the open countryside, there are many chores to tend to, before I come to the essentials of the day - to spend some time with painting. Today this includes getting this text ready. I listen to a few sonatas- it´s Gould playing his Bach. This quickly becomes standard fare as a starter on the day.

These past few weeks, I have been doing quite a bit of thinking on the subject of painting, possibly inspired by the process of preparing this catalogue or maybe it just comes natural, seeing as I have recently turned 50 years of age.

I marvel a bit and refl ect on the words and their immediate force.

When writers write, they do so with letters ,that form the words we comprehend. The beauty of all this is that they can be arranged and combined in various standard constellations. We may also use words in translated forms, so that they can be understood by other groups of people. Words also possess the ability to explain to us exactly how to prepare sauce bearnáise.

Det er en smuk vinterdag. Solen er kommet op bag skoven og kaster lys på pløjemarken ,der præger udsigten. Det er godt vejr til at få ordnet brænde . Sidste års hårde vinter har gjort at det er een af de væsentlige ting at få orden på - så kan vi holde varmen.

Der er mange gøremål her ude på landet, inden jeg kom-mer frem til det væsentlige..at bruge tiden på maleri. Idag indebærer det at gøre denne tekst færdig. Jeg lytter til lidt sonater - det er Gould der spiller sin Bach. Det kan hurtigt blive en standard her på starten af dagen.

Igennem den sidste tid har jeg, måske på grund af denne katalogiseren og kikken tilbage, gjort mig en del tanker om maleriet. Måske også naturligt når jeg nu er blevet 50...

Jeg forbavses lidt og refl ekterer over ordene og deres umid-delbare magt.

Når forfattere skriver , gør de det med bogstaver der dan-ner ord ,vi kan forstå. Det smukke med ord og bogstaver, er at de kan arrangeres og kombineres i forskellige standard-konstellationer. Vi kan bruge ord i oversatte former så de igen kan forstås af andre grupper . De kan også forklare os hvordan vi kan lave en bearnaisesovs.

LOOK APAINTING !

- foreword by Peter Holm

SE ETMALERI

- foreword by Peter Holm

Peter Holm 25

Painting is a language of it´s own, without frames or boundairies, but as we do with music and writing, we try to set up standards : what is painting ?

Sometimes the process of a painting comes to a standstill ; it be-comes diffi cult to glimpse the solution to a problem, that has emerged in course working with the material. Sometimes the defi nition of an entire show can be hard to pinpoint and articulate. I spend hours or days to look and looking at the paintings seeking out a variety of pos-sible solutions. Following the lead from what I can fi gure out, I try to take the right direction.

It happens, during the proces of applying paint, perhaps in a particular yellow hue, to a piece of wood, for example,that I can be stricken with a sudden sense of doubt about painting, by and large.

When this happens, I like to go for a drive - sometimes I go really fast - giving myself the freedom to be challenged by the curves and the combination of the physical act that embodies the essence of driving. I analyze the road- and its conditions.

The small confi ned space surrounding the driver´s seat is actually a good place for thoughts. It´s a combination of something very con-crete and very abstract at one and the same time ..a good place for carrying on with this activity- to drive and to look, to look at the landscape - to look at the painting. My thoughts fl y off and assemble again, in order to solve problems - brake-shift-pedal .

TRADITION & CHANGE

Some weeks back, I took my wife to a concertthat was presented in-side the old operahouse, in the capital city. But this time around, there was not a fat lady singing high notes. No, this was a bluegrass type of

Maleriet er sit eget sprog , helt uden rammer eller grænser, men ligesom med noder og skrift prøver vi at sætte stand-arder op : Hvad er et maleri ?

Nogle gange kan processen i et maleri gå helt i stå, det kan være svært at se løsningen på problemet ,der har ar-bejdet sig frem.Nogle gange kan formuleringen af en hel udstilling være svær at fi nde. Jeg bruger timer eller dage på at se og se på malerierne og afsøge en mængde af mulige løsninger. Efter dette kommer problemerne med at vælge den rette vej.

Der kan opstå den situation at jeg, måske midt i arbejdet med at lakere et stykke træ i en særlig gul nuance, kommer til at tvivle helt på maleriet.

Så kører jeg gerne en tur.

Jeg kan godt lide at køre i bil - nogle gange rigtig hur-tigt... at lade mig udfordre af vejens kurver og kombi-nationen af den fysiske aktion det er at køre. Den lille kabine er et godt sted for tanker. Det er en blanding af noget meget konkret og en meget abstrakt handling..det at køre... se - se sig for, se landskabet - se maleriet. Mine tanker fl yver og samles, løser problemer-bremse-skifte gear.

TRADITION OG FORANDRING

For kort tid siden havde jeg inviteret min kone til hoveds-taden til koncert i den gamle operabygning. Der var ikke nogen tyk dame dame der sang det høje C..Det var en slags bluegrass countrykoncert, et par med cowboystøvler,

Peter Holm 27

concert. There was a a couple with cowboyboots on stage, a guitar and banjo in hands. Drinking beer inside was permitted and, you know , I´m pretty sure the guy sitting next to me had smuggled in some whis-ky. During one of the quieter songs-quite minimal in its appearance, I glanced up at the ceiling. Before closing my eyes, I noticed the late 18th century ornaments- lots of gold and intricate decorations-what a combi-nation and what a change ! Bluegrass and cherubs, beer and whiskey inside the opera house - minimal country music and stomping feet !

For this catalogue, I have selected a variation of works ranging from those created in the past to those created in near present, in order to provide an overview of my output. They stretch back to 1996, the year I started making shows “for real”. The work represented include free standing paintings from various series, a selection of work from groupshows and certain combinations of pieces from my one-man shows. Also included are some works on paper and a number of pieces that have never been shown. Last, but not least, there´s also a small woodcarving piece that has issued from the hands of my grandfather. For me, this constitutes a natural circle - a circle that both ends and begins here- a small folkart-piece which suddenly appeared at a magical moment.

guitar og banjo. Øl var tilladt inde i salen og jeg er sikkker på at manden ved siden af mig havde smuglet whisky ind.Under et af de mere stille numre, nærmest minimalt i sin ud-formning kikkede jeg op i loftet..inden jeg lukkede min øjne lagde jeg mærke til ornamenterne fra det sene 1800-tal . Masser af guld og sirlig dekoration og engle : bluegrass og engle, øl og whisky i operaen, minimal countrymusik og stampende fødder : sikke en kombination, sikke en foran-dring.

Til dette katalog har jeg udvalgt en række værker som et bud på en sammenhæng. De strækker sig tilbage til 1995, hvor jeg for alvor begyndte at udstille. De repræsenterer både enkelte værker/malerier fra forskellige serier -, værker fra gruppeudstillinger og værkkombinationer fra soloudstill-ingerne. Derudover nogle værker der aldrig er blevet vist og nogle papirarbejder. Endelig et lille træsnitteri fra min morfars hånd. Dette danner for mig en naturlig lille cirkel som både slutter og begynder her - et lille almueværk som pludselig dukkede op på et magisk tidspunkt.

31

CONTENT INDHOLD

GREYDAY 32STICKERS 34BEATLES MORNING 36SUN UPs 44FASTTRACK 56VISUAL LUXURY 64 HOW DO YOU SPELL INTERNATIONAL 74SPEEDMASTER 78BEATLES MORNING 1 82COLOURRACE 85INSIDE PAINTING 97HEY, YOU GOTTA HIDE YOUR LOVE AWAY 113PAINTINGS 126UNTITLED, GOUACHE 136SIX ROUNDS 138NIGHT DIVIDES THE DAY 146 ALLMOST PERFECT 150


GREYDAY

Greyday 33


STICKERS

Stickers 35

BEATLES MORNING

Beatles Morning 39

Beatles Morning 41

Beatles Morning 43

SUN UPs

CRUISING ON SUNSHINE / 2001


SUN UP 1995

SUN UPs 47

SUN UP 1998


SUN UP 1996

SUN UPs 49

SUN UP 1998


SUN UP 1996

SUN UPs 51

SUN UP 1998


SUN UP 1996

SUN UPs 53

SUN UP 1998


HIGHWAY TO THE SUN

SUN UPs 55

FASTTRACK

VISUAL LUXURY

Visual Luxury 67

Visual Luxury 69

Visual Luxury 71

Visual Luxury 73


HOW DO YOU SPELL INTERNATIONAL

How do you spell international 75

How do you spell international 77

SPEEDMASTER

Speedmaster 79

Speedmaster 81

BEATLES MORNING 1

Beatles Morning 1 83

COLOURRACE

Fasttrack 87

Fasttrack 89

Fasttrack 91

Fasttrack 92

PETER HOLM WORKS 1995/2011 93

Fasttrack 95

INSIDE PAINTING

Inside painting 99

Inside painting 101

Inside painting 102

Inside painting 105

Inside painting 107

Inside painting 109

Inside painting 111

HEY YOU GOTTA HIDE YOUR LOVE AWAY

Hey you gotta hide your love away 115

PAINTINGS

Paintings 127

INTO THE GREEN / 2008


CHICAGO MOON / 2007

Paintings 129

INTO THE GREEN / 2008

Paintings 131

SWEDISH FLOWER / 2008 - 2009


ORANGE BRANCH / 2008

Paintings 133

DISC FLOWER / 2008


WHATEVER HAPPENED IN HORSESHOE GULCH / 2008

Paintings 135

WINTER / 2008


UNTITLED, GOUACHE

SIX ROUNDS

Six rounds 139

Six rounds 141

Six rounds 145

NIGHT DIVIDES THE DAY

ALLMOST PERFECT

PETER HOLM WORKS 1995/2011

INDEX

p/s. 4

Photograpy Michael Holm

1971

Fotografi Michael Holm

1971

p/s. 8 LH

Hey-day

Installationview

The Funen Exhibition Building for

Art and Design

1996

Hey-day

Overbliksbillede

Fyns udstillingsbygning for

billedkunst og design, Odense

1996

p/s. 9 PH

Photograhic note

OK (Gas station) fl ag

1995

Fotografi sk notat

OK fl ag

1995

p/s. 9 PH

Dotpainting,

black & white version

Acrylic on masonite

68.5 x 68.5 cm

1995

Prik - maleri

Sort-hvid version

Acryl på masonite

68.5 x 68.5 cm

1995

p/s. 9 PH

Oily clouds

Acrylic & lacuer on masonite

68.5 x 68.5 cm

1995

Destroyed

Oily clouds

Acryl og lak på masonite

68.5 x 68.5 cm

1995

Destrueret

p/s. 10 PH

Installationview

Fight back

Klosterbakkens exhibitionhall

1996 (w/ John Krogh)

Overbliksbillede

Fight back

Klosterbakkens

udstillingslokale

1996 ( m. John Krogh)

s.11 LH

Dotpaintings

Pink, green & yellow version.

Acrylic on masonite

68.5 x 68.5 cm

1995

Included in

“Painting after painting”

Kastrupgårdssamlingen

1995

Catalogue

“Maleri efter maleri”

Prikbilleder

Pink,grøn og gul version

Acryl på masonite

68.5 x 68.5 cm

1995

Vist på “Maleri efter maleri”.

Kastrupgårdssamlingen

1995

Katalog

”Maleri efter maleri”

p/s. 12 PH

Discoball

Private photo

Discokugle

Privat foto 1995

Workshop

Copenhagen.1999

Disassembled Mazda 323 cardoor

Værksted.

København 1999

Adskilt Mazda 323 bildør

p/s. 13 PH

Stripe - painting

Orange- green - enamel on

masonite

68.5 x 68.5

1995

Destroyed

Stribe - maleri

Orange -grøn alkyd på masonite

68.5 x 68.5

1995

Destrueret

Untitled

enamel on masonite

68.5 x 68.5 cm

1995

Uden titel

alkyd på masonite

68.5 x 68.5 cm

1995

PETER HOLM WORKS

INDEX

p/s. 15 PH

Detail from

“Splash - painting”

Green on orange & orange on

green versions

Enamel on canvas

1995

Destroyed

Detalje fra

“Splash - painting”

Alkyd på lærred

Grøn på orange & orange

på grøn versioner

1995

Destrueret

p/s. 16

“Movie”

Installationview from

Constructed colour

2001

Newspace gallery, Sydney / AUS

Enamel on Mdf-board

Dimensions variable

“Movie”

Installationsskud fra

Constructed colour

2001

Newspace gallery

Sydney / AUS

Lak på Mdf plade

Variable dimensioner

p/s. 16

SUNUP

Wallpainting and painted

“Lacka” Ikea-table

Dimensions variable

2001

Catalogue

Constructed colour

Artspace, Sydney

ISBN 1 92078 22 6

SUNUP

Vægmaleri og bemalet

“Lacka” Ikeabord


2001

Katalog

Constructed colour

Artspace, Sydney

ISBN 1 92078 22 6

MOP

Opening reception

Sydney / AUS 2004

Fernisering, MOP

Sydney AUS 2004

MOP

Set of benches with fl owers

in adjusted colourrange

Acrylic on Mdf-board

Dimensions variable

2004

In private collection

2 bænke med blomster

i justerede farver

Acryl på Mdf


2004

Privat samling

p/s. 17 ASB

Untitled

Redecorated, traditional

sandwichservers

Enamel on wood

2011

Included in “almost perfect”.

Concept space

Japan

Catalogue ,“almost perfect”

ISBN 978-87994876-0-8

Uden titel

Redekorerede, traditionelle

serveringsplatter

Alkyd på træ

2011

Vist på “almost perfect”.

Concept space

Japan

Katalog “almost perfect”

ISBN 978-87994876-0-8

p/s. 19 PH

Indian paintbrush

Texas bluebonnet

Photograhic notes

Indian paintbrush

Texas bluebonnet

Fotografi sk notat

2003

p/s. 20 ELJ

Untitled

Oil on canvas

38 x 46 cm.

Undated

Uden titel

Olie på lærred

38 x 46 cm

Udateret

p/s. 21 ELJ

Untitled

Oil on canvas

50 x 67 cm.

Undated

Uden tiltel

Olie på lærred

50 x 67 cm

Udateret

p/s. 22 ELJ

Untitled

Oil on canvas

46 X 66

1994

Uden titel

Olie på lærred

46 x 66

1994

p/s. 23 LH

Untitled

Watercolour

1995

Uden titel

Akvarel

1995

p/s. 25 ASB

Peacemaker

Oil on canvas

30 x 40 cm

1994

Peacemaker

Olie på lærred

30 x 40 cm.

1994

p/s. 26 ELJ

Untitled

Enamel on polished steelpanels

2 panels, each 55 x 55 cm

1999

Shown at Stockholm artfair/

Galleri Tommy Lund

Uden titel

Alkydlak på poleret stål.

2 paneler a´55 x 55 cm.

1999.

Shown at Stockholm Artfair /

Galleri Tommy Lund

p/s. 27 ELJ

2 pieces of ornamental cloth

Handwoven from Laos

27.5 x 27.5 cm

Own collection

2 ornamenterede

klædestykker

Håndarbejde fra Laos

27.5 x 27.5 cm

Egen samling

p/s. 28 - 29 ELJ

Woodcarving

Auto-portrait

8.5 x 6.5 x 24 cm

Aarne Pitkänen,the grandfather of

the artist

Own collection

Træsnitsarbejde

Selvportræt

8.5 x 6.5 x 24 cm

Aarne Pitkänen, kunstnerens

morfar

Egen samling

p/s. 30 PH

Close-up

From Colourrace

Close-up

Fra Colourrace

p/s. 32-33 ASB

Greyday

Goauche on paper

1999

50 x 65 cm

Shown in connection with

“Colourrace”

Galleri Tommy Lund

Greyday

Goauche på papir

1999

50 x 65 cm

Vist I forbindelse m. “Colourrace”

Galleri Tommy Lund

p/s. 34-35 ASB

Stickers

Gouache on paper

2000

50 x 65 cm

Shown at the Berlin artfair. with

Galleri Tommy Lund

Stickers

Gouache på papir

2000

50 x 65 cm

Vist på Berlin Artfair / Galleri

Tommy Lund

BEATLES-MORNING

p/s. 36 BR

Sunups

Pink - blue - purple

Enamel on Mdf-board

3 panels each 1,2 x 55 x 65 cm

Painted Arne Jacobsen stools

Included in the “ fall show” 2002

Charlottenborg, Copenhagen

Sunups

Pink-blue purple

Alkydlak på Mdf

3 paneler. 1,2 x 55 x 65 cm

Bemalede Arne Jacobsen

taburetter

Vist på Efterårsudstillingen 2002,

Charlottenborg, København

p/s. 38 - 39

Installationview

Overbliksbillede

p/s. 40

Painted cardoor

107 x 100 cm

Bemalet bildør

107 x 100 cm

13 panels

2.2 x 20 x 220 cm

Enamel on Mdf-board

13 paneler

2.2 x 20 x 220 cm

Lak på Mdf

p/s. 41

Shelfpaintings

Polychromatic

Enamel on Mdf-board.

14 x 16 x 55 cm

Hyldemalerier

Alkyd på Mdf

14 x 16 x 55 cm

Untitled

Gouache

54.5 x 65 cm

Uden titel

Gouache

54.5 x 65 cm

p/s. 42-43

Beatles-morning 1-2

Gouache on paper

61 x 64 cm

Beatles-morning 1-2

Gouache på papir

61 x 64 cm

p/s. 44- 55 ASB

Sun-ups

Sun-ups

p/s. 45

Cruising on Sunset

Painted cardoor

2001

Shown at “Quality street”,

Galleri Tommy Lund and

Basel Artfair

The Speyer family collection,

New York

Cruising on Sunset

Bemalet bildør.

Udstillet på “Quality street”

Galleri Tommy Lund og

Basel Artfair

Tilhører The Speyer family

collection, New York

p/s. 46

Grey Sun-up

Alkyd på Mdf

122 x 122 cm

p/s. 47

Purple-orange sun-up

Alkyd på Mdf

68.5 x 68.5 cm

Private collection

p/s. 48

Red-orange sun-up

Alkyd på Mdf

68.5 x 68.5 cm.

p/s. 49

Green-yellow sun-up

Alkyd på Mdf

68.5 x 68.5 cm.

Private collection

p/s. 50

Large Sun-up

Alkyd på Mdf

122 x 122 cm.

Private collection

p/s. 51

Purple-yellow sun-up

Alkyd på Mdf

68.5 x 68.5 cm.

p/s. 52

swedish sun-up

Alkyd på Mdf

40 x 150

p/s. 53

Grey sun-up nr. 2

Alkyd på Mdf

40 x 150

p/s. 55

Highway to the sun

Enamel on Mdf-board

1997

70 x 244 cm ( 2 joined panels)

Destroyed

Highway to the sun

Alkyd på Mdf

1997

70 x 244 cm

(2 sammensatte paneler)

Destrueret

Fasttrack p/s. 56 - 63 LH

p/s. 56

Fasttrack

1997

Enamel on Mdf

122 x 122 cm

Fasttrack

Alkyd på Mdf

1997

122 x 122 cm

p/s. 59

Installationview:

Painted cardoor & “ GO ! “

Oversigtsbillede:

Bemalet bildør & “ GO ! “

p/s. 60 - 61

Painted Ford Mustang cardoor

97 x 194 cm

Bemalet Ford Mustang bildør

97 x 194 cm

p/s. 62

Shelfpaintings

Enamel on Mdf-board

1.2 x 18.8 x 18.8 cm

Hyldemalerier

Alkydlak på Mdf.

1.2 x 18.8 x 18.8

p/s. 63

Installationview

(my) lucky seven

Fasttrak

Grey sunup

Overbliksbillede

(my) lucky seven

Fasttrak

Grey sunup

VISUAL LUXURY

p/s. 64 - 73 CW

Charlottenborg, 1998.

Copenhagen

Charlottenborg, 1998.

København

p/s. 64- 65

Installationview

Overbliksbillede

p/s. 66

Away

122 x 122 cm

Enamel on Mdf-board

Away

122 x 122 cm

Alkyd på Mdf

10 - colour shelfpainting

10 farvehyldemaleri

p/s. 67

Untitled

Painted Ford Mustang cardoors

Each 97 x 194 cm

Uden titel

2 bemalede Ford Mustang bildøre

Hver 97 x 194 cm.

p/s. 68 ASB

Purple 2 to U2

Enamel on Mdf-board

Ø 121 cm

Purple 2 to U2

Alkyd på Mdf.

Ø 121 cm

p/s. 69

A-Way

Enamel on Mdf.

2 panelp/s. Each 20.5 x 127 x 2.2

A-Way

Alkyd på Mdf.

2 paneler a´20.5 x 127 x 2.2

p/s. 70 ASB

Mean green Five

Enamel on Mdf-board

Ø 121

Mean green Five

Lak på Mdf

Ø 121

p/s. 71 ASB

Great Orange eight

Enamel on Mdf-board

ø 121

Great Orange eight

Alkydlak på Mdf

ø 121

p/s. 72 - 73 ASB

10 - colour shelf painting

Enamel on Mdf-board

9,3 x 8.5 x 110 cm

10 farvehyldemaleri

Alkyd på Mdf

9,3 x 8.5 x 110 cm

HOW DO YOU SPELL

INTERNATIONAL

p/s. 74-77 ELJ

13 letter paintings

Enamel on Mdf blocks

60 x 60 cm

Shown at Galleri Tommy Lund

1998

( two-man show w/ Alan Uglow )

13 bogstavmalerier

Alkyd på Mdf-blokke

60 x 60 cm

Vist i Galleri Tommy Lund

1998

(med Alan Uglow)

BrowniE

oRange

Mint (condition) n

Thunder-bird T

Grey I

Pink-o

p/s. 76 - 77 LH

Installationview

Overbliksbillede

SPEEDMASTER

p/s.79-81 LH

9 fl ags

Silkscreen on cotton.

100 x 192 cm.

1997

Shown at DFKU

(Funen art academy projectroom)

9 fl ag

Silketryk på bomuld

100 x 192 cm

1997

Vist på DFKU

(det fynske kunstakademi´s

udstillingslokale)

BEATLES-MORNING 1

p/s. 82 - 83 CW

Enamel on Mdf-board

Dimensions variable

2000

Destroyed

Included in “ FLOORSHOW “

Den Frie Centre of Contemporary

Art, Copenhagen.

Alkyd på Mdf.

Dimensioner variable

2000

Destrueret

Udstillet på “ FLOORSHOW”

Den Frie udstillingsbygning

COLOURRACE

p/s. 85 - 95 BR

Colourrace

Galleri Tommy Lund 1999

p/s 86- 87

Lucky Day

Enamel on Mdf-board

8 joining pieces

Each 2.5 x 20.5 x 127 cm

Lucky Day

Alkyd på Mdf

8 stk

2.5 x 20.5 x 127 cm

p/s 88 - 89

Colourrace/ Autocade

5 painted Mazda 323 cardoors

100 x 125 cm


5 bemalede Mazda 323 bildøre

100 x 125 cm

ColourraceTrack / grey side

Enamel on Mdf-board

3 x 80 x 280 cm

ColourraceTrack / grå side

Alkydlak på Mdf

3 x 80 x 280 cm

p/s 90 - 93

Colourrace / Autocade

5 painted Mazda 323 cardoors

100 x 125 cm


5 bemalede Mazda 323 bildøre

100 x 125 cm

p/s 94-95

ColourraceTrack / colour side

Enamel on Mdf-board

3 x 80 x 280 cm

ColourraceTrack / farveside

Alkydlak på Mdf

3 x 80 x 280 cm

LUCKY DAY

Background

Baggrund

INSIDE PAINTING

p/s 97 - 112 BR

Overgaden 2002, Copenhagen

Overgaden 2002, København

Sliding door

Lacquer on Mdf-board

240 x 300 cm

6 benches

Ramin and laquered ramin

44.5 x 45 x 300 cm

Skydedør

Lakeret Mdf

240 x 300 cm

6 sammensatte, lakerede

Mdf-paneler

p/s 99

Entrance

Indgang

p/s 100 - 102

Close-up, bench &

sliding-door

p/s 103 - 109

Close-up

p/s 110 - 111

Installationview

Overbliksbillede

HEY YOU GOTTA HIDE YOUR

LOVE AWAY

p/s. 113 - 125 ASB

3 cabinets

Laquer on beech & Mdf-board

210 x 54 x 106 cm

3 paintingp/s. Untitled

Enamel on Mdf-board

2009

Ø 121

3 skabe/ kabinetter

Lakeret bøg og Mdf

210 x 54 x 106 cm

3 malerier, Uden titel

Alkyd på Mdf

Ø 121 cm

Included in “WHAM”, Den Frie

Centre of Contemporary Art,

Copenhagen 2009

Udstillet på “WHAM”

Den Frie udstillingsbygning 2009

Catalogue katalog

WHAM painting & beyond

ISBN nr.978-87-993178-0-6

p/s. 114 - 116

Installationview

Overbliksbillede

p/s. 118 - 120

3 paintingp/s. Untitled

Enamel on Mdf-board

2009

Ø 121

3 malerier, Uden titel

Alkyd på Mdf

2009

Ø 121 cm

p/s. 121 - 125

Installationviews

Overbliksbilleder

Paintings p/s. 126 - 135 ASB

p/s. 127

Into the green

Enamel on Mdf-board

122 x 122 cm

2008

Donated to charity

Into the green

Alkyd på Mdf

122 x 122 cm

2008

Doneret til velgørenhed

p/s. 128

Chicago moon

Alkyd på Mdf

68.5 x 68.5cm

Chicago moon

Alkyd på Mdf

68.5 x 68.5 cm

p/s. 129

Grey clover

Enamel on Mdf-board

122 x 122 cm.

2008

Grey clover

Alkyd på Mdf

122 x 122 cm

2008

p/s. 131

Swedish Flower

Enamel on Mdf-board

122 x 122 cm

2008

Donated to charity

Swedish Flower

Alkyd på Mdf.

122 x 122 cm

2008

Doneret til velgørenhed

p/s. 132

Orange branch

Enamel on Mdf- board

122 x 122 cm

2008

Orange branch

Alkyd på Mdf

122 x 122 cm

2008

p/s. 133

Disc Flower

Enamel on Mdf-board

122 x 122 cm

2008

Disc Flower

Alkyd på Mdf

122 x 122 cm

p/s. 134

Trouble in horseshoe gulch

Enamel on Mdf-board

68.5 x 68.5 cm

2008

Trouble in horseshoe gulch

Alkyd på Mdf

68.5 x 68.5 cm

2008

p/s. 135

Winter

Enamel on Mdf

122 x 122 cm

2008

Winter

Alkyd på Mdf

122 x 122 cm

2008

p/s. 136 - 137 ELJ

Untitled

Gouache on paper

55.5 x 100 cm

2002

Uden titel

Gouache på papir

55.5 x 100 cm

2002

SIX ROUNDS EGO

p/s. 138 - 145

Included in “TABLEAU SIGNAL

MATTER”. Sculpture - triennale

Odense 2011

6 Dyed & painted concrete rounds

& concrete pillars

Dimensions variable

In the collection of the city of

Odense

Vist på “TABLEAU SIGNAL

STOF “Skulptur - triennalen“.

Eventyrhaven 2011

6 indfarvede og bemalede

betonskiver samt betonplinte

Dimensioner variable

Tilhører Odense kommune

Catalogue Katalog

ISBN 978-87-7766-158-7

NIGHT DIVIDES THE DAY /

SCREEN NR. 1

p/s. 146 - 149 ASB

Included in “Facon - place and

colour”, Rundetårn exhibition hall,

Copenhagen 2010

Laquered, painted Mdf-board

5 panels, each measuring 73 x

210 cm

Vist på “Facon - plads & kulør”.

Rundetårn. 2010

Lakeret, bemalet mdf

5 paneler a´73 x 210 cm

Catalogue available

Katalog fi ndes

ALMOST PERFECT

p/s.150 - 157 ASB

Shown in Concept space,

Shibukawa. Japan 2011

Vist på Concept space,

Shibukawa, Japan. 2010

p/s.150

Untitled

Gouache on

Schellershammer G4

42 x 62.5

2011

Uden titel

Gouache på

Schellershammer G4

42 x 62.5

2011

p/s. 151

Untitled

Laquered, painted sandwichserver

42 x 27 x 1.5 cm

2011

Uden titel

Lakeret, bemalet serveringsbakke

42 x 27 x 1.5 cm

2011

p/s. 152

Sngle diamond shelf

Enamel on mdf-board

8.3 x 20 x 9.4 cm

2011

Enkelt diamant hyldemaleri

Lakeret Mdf

8.3 x 20 x 9.4 cm

2011

p/s. 153

Triangle shelf, diamond

version

Enamel on Mdf-board

53 x 52 x 8.3 cm

2011

Trekantet diamant

hyldemaleri

Lakeret Mdf

53 x 52 x 8.3 cm

2011

p/s. 155

Untitled

Gouache on

Schellershammer G4

42 x 62.5

2011

Uden titel

Gouache på

Schoellershammer G4

42 x 62.5

2011

p/s. 156 - 157

Installationview, Conceptspace

Overbliksbillede, Concept space

Catalogue Katalog

ISBN 978-87-994876-0-8

Thanks to Tak til:

Karin & Cleo

Ditte Vilstrup Holm Text Tekst Dan Marmorstein Translation Oversættelse Morten Agergaard Graphic design Grafi sk tilrettelæggelseErling Lykke Jeppesen Colourgrading BilledbehandlingErik Jacobsen Møbelsnedkeriet Erik Jakobsen

BR Bent Ryberg Photography Fotografi ASB Anders Sune Berg Photography Fotografi ELJ Erling Lykke Jeppesen Photography Fotografi LH Leif Hansen Photography Fotografi CW Christian Warrer Photography Fotografi

Eva AndersenThe Meyer Family / Texas

Peterholm.info

Copyright: Peter Holm / Author Peter Holm / forfatteren Edit: Peter Holm

ISBN 978-3-86895-229-2

Peterholm.infoteksas.dk

Also available ALMOST PERFECT / CONCEPT SPACE CATALOGUE

PETER HOLMALMOST PERFECT NEW PAINTINGS & DRAWINGSMAY.14-MAY.21,2011

CONCEPT SPACECONCEPT SPACE/R2309-8, ISHIHARA, SHIBUKAWA,GUNMA, 377-0007, JAPAN

PeterHolm.indd 1 07/10/11 12.02

For this catalogue, I have selected a variation of works ranging from those created in the past to those created in near present, in order to provide an overview of my output. They stretch back to 1996, the year I started making shows “for real”. The work represented include free standing paintings from various series, a selection of work from group-shows and certain combinations of pieces from my one-man shows. Also included are some works on paper and a number of pieces that have never been shown.Last, but not least, there´s also a small woodcarving piece that has issued from the hands of my grandfather. For me, this constitutes a natural circle - a circle that both ends and begins here- a small folkart-piece which suddenly appeared at a magical moment.

Til dette katalog har jeg udvalgt en række værker som et bud på en sammenhæng. De strækker sig tilbage til 1995, hvor jeg for alvor begyndte at udstille. De repræsenterer både enkelte værker/malerier fra forskel-lige serier -, værker fra gruppeudstillinger og værkkombi-nationer fra soloudstillingerne. Derudover nogle værker der aldrig er blevet vist og nogle papirarbejder. Endelig et lille træsnitteri fra min morfars hånd. Dette danner for mig en naturlig lille cirkel som både slutter og begynder her - et lille almueværk som pludselig dukkede op på et magisk tidspunkt.

PETERHOLM WORKS selected works udvalgte værker 1995/2011

peter holm works 1995-2011

Documents

peter holm works

men det

interesting works

competerhol works

bror michael holm

og minimalisme

det var et ophold

det bygger p erfaring