Info via CCVA.fas.harvard.edu
Simon Dybbroe Møller’s work deals with the weighty architecture of the pre-digital. Withstanding the present leap towards dematerialization and the progress narrative of technology, Møller tackles the very physical connections between our bodies and what we used to call nature.
We think to ourselves, we construct. It exists, people pour concrete. They spray it onto steel structures. First the skeleton, then the flesh. Race drivers pour champagne over the heads of their competitors. Spray it into the crowds. Dubuffet’s parents were wine merchants. Béton brut, extra brut, art brut. We play games. We kill time.
We invite friends over. We cook. We photograph the meal. Look what I made. We talk and maybe we speak about coffee reading fortune telling. We go out, to eat. We photograph the meal. Look what I experienced. We start eating. We talk and maybe we say, “Experiencing hunger when looking at a plastic replica of a meal, is like getting sexed up by looking at an undressed mannequin.” We move from eroticism to pornography. We swallow. We appropriate.
Simon Dybbroe Møller
Simon Dybbroe Møller grew up in Greenland. He studied at the Kunstakademie Düsseldorf and the Städelschule in Frankfurt am Main. Møller is currently working on a solo show titled Buongiorno Signor Courbet for Francesca Minini in Milan and on commissions for the Centre Pompidou and the Museum of Contemporary Art Cleveland. He has had solo exhibitions at Kunstverein Hannover, Frankfurter Kunstverein, Aarhus Kunstbygning and University of Michigan Museum of Art, among others. His work has been included in the Turin Triennial and the Momentum Biennial in Moss Norway and in group exhibitions at the MOCA, Detroit, Kunst Werke, Berlin, CCA Wattiss, San Francisco, Museum Ludwig in Cologne, The Barbican, London, GAM, Turin, The National Gallery in Copenhagen and Hamburger Bahnhof, Berlin. Simon Dybbroe Møller currently lives in New York