The Loaded Woman by Helle Mardahl.

art
1/25/2010

Helle Mardahl’s right royal orgy.


by Hynam Kendall


Her background is white, her early work minimalism. “Traditionally Denmark,” she calls it. That changed at Central Saint Martins. Suddenly Mardahl saw things in colour, in detail. Just look at her latest show of 3D collage, painting and photos, Stage Power, held in Berlin’s tastemaker gallery Circleculture, where rogue royal family members, distorted body shapes and supersized features aplenty, revel amongst goblin paintings, consumer goods and decadent relics - all awash of colourful brights.

 Johann Haehling von Lanzenauer, the Director of Berlin’s urban art emporium Circleculture gallery, stumbled upon Helle Mardahl’s Apartment Gallery exhibit in 2007. The 150 square metre installation, What Does Not Live Inside, was typical Helle; a right royal orgy of consumption. Wall prints, collages and sculptures gave the impression of a decadent and upper class milieu, a gigantic sculptural chandelier, for example, formed the centre of the exhibit. But the seemingly polished surfaces of the installation props were juxtaposed with Helle’s band of oddball characters; a transsexual king, an egotistical queen, a prince, a voyeuristic maid.  The complete royal family appear often in Mardahl’s work, the surreal rogues’ gallery cast list growing ever larger from show to show, and here the already hefty collection revelled amongst reconstructed artefacts and colourful collages. Johann was entranced by this royal fairytale, both Grimm and grim in equal measures, and, two years later, in the middle of September 2009, after much bandying and effort, commenced work with Mardahl on her latest show. 

On January 20, Mardahl’s latest, Stage Power, was unleashed at Circleculture: a raucous party of likely characters, introducing ever more to the already established who’s who of oddball monarchs. Taking anywhere from a week to a year to complete, the 3D collages, paintings and staged photography unfolds into theatre, into a theatrical cast of players ready to cause mischief and mayhem. Mardahl has set the stage, and it’s up to us to roll up roll up… 


Hynam Kendall: "With Stage Power, the artist distances herself from the clichés of fashion" - so says the press release. What are the clichés of fashion that this is referring to? 

Helle Mardahl: I suppose the main cliché of fashion I consciously distance myself from with my work would be the notion of disposability, its whim of NOW, as well as mass production and the creative limitations. Having said that, fashion is an extremely important part of who I am as well as my work, both in the way it’s produced and as part of the story that’s being told. 

HK: How do you incorporate fashion without it being clichéd, then? 

HM: By looking at the technical skills of clothing production, the elements of stage and the theatrical aesthetics of fashion, which are all part of the foundations of my work. 

HK: The show is also self-styled as a "Haute Couture production"… 

HM: Yes, because of the hand craft, the large staff group, the extreme, laborious, painstaking detail, the skilfulness, the technique, the experimentation, the finish, the wealth, the luxury, the beauty. 

HK: What do you think the ideals of the fashion world have to offer the art world? 

HM: My world thrives on a constant development. It’s an excitingly fast-moving creative scene. It’s related to the human consciousness, to the individual. It’s about surface, instinct, expression and basic human needs. It’s a language unto itself, a dialogue, and a positioning tool. 

HK: There are many other recurring themes other than fashion. For example, there are a lot of connotations to childhood, also, in this show. There are myriad visual signifiers of youth scattered about the pieces, for example there’s images of Garfield in The Loaded Woman. Is it your own youth that you’re exploring? 

HM: Well it’s really interesting that you have mentioned this. I use the imagery of toys, in this case a regular teddy bear, leaving it open and flexible to the viewer, who in this case recognized it as Garfield. We are all children, and most of us used to have a teddy - a safety net and a good reliable friend. It’s more to do with how the viewer relates to the image and what they see. There are so many various elements of everyday life within the works that each viewer can pick up on a different aspect, creating their own interpretation and in turn, elaborating on the story that’s already being told. The Loaded Woman, to take the example you mentioned, has taken the responsibility to carry and to manage her life; she’s carrying it all on her shoulders, her self, her life, her possessions.  

HK: Using recognizable brands in these pieces, are you, in a time when the economy is king, commenting on materialism and overconsumption? 

HM: Sure, what I’m doing has a lot to do with the culture of overconsumption in which we are living. My work confronts the increasing human demand of status symbols in a world where diamonds, teddy bears and jewellery are confused with love, social positioning and attention. The overwhelming excess in the works pinpoints a consumer culture out of control and its impact on contemporary society. To bring in recognizable items starts a story in your head, an identifiable story, which only you are in charge of, only you can relate to and only you can complete. 

HK: There’s also a sexuality to the work...

HM: Sexuality is one of the most basic elements of the human condition. I have always been fond of the body, the shapes, the differences, the personality, and I’ve always had an addiction to draw it, to document it, to play with it. What I do with sexuality is playful, clashing, beautiful and primal. It’s tolerant, open minded and accepting. It’s understanding, loving and moreover, positive. 

HK:  You can be fiercely political; in this series what personal politics are you expressing? 

HM: I play with society’s opinions and judgements: Hierarchies, social positions, sexualities, divisions, roles, neglected peoples. I’m creating a scene that’s full of energy and actions, which clashes and queries these social norms, agendas and opinions. It talks about society’s need to divide, its need to be heard, seen and accepted. This position comes from my observations of living in a Danish society, watching the changes of acceptance and public opinion, the message however, is universal. 

HK: With your colourful cast of players, your shows are always more like theatre. The shows often look like elaborate fairytales. More than an artist, I want to call you a storyteller… 

HM: Yes, do. I am a storyteller. 

HK: And this is just your latest chapter… 



Helle Mardahl’s Stage Power runs at Circleculture gallery until March 6, 2010.  

                                                                                                                http://circleculturegallery.com

 

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