<\/li>\n(Thanks to Marlene Sharoff)
\nhttps:\/\/www.facebook.com\/photo.php?fbid=10219941386758025&set=a.4313646932369&type=3&theater
\nARTIST: Nina Beier, \u201cEmpire\u201d 2019
\nNina Beier tackles some messy copies and creates some others herself. Pieces of collectable porcelain dinnerware inhabit birdcages that imitate man-made architecture. Installed on the gallery\u2019s parquet flooring, the antique china doesn\u2019t seem out of place in this formerly domestic space. Each hand-painted plate or vessel belongs to a series called Empire that was produced by Royal Copenhagen. Porcelain ceramics imported from China became coveted status symbols in Europe as early as the 14th century. They were quickly and widely copied, yet European craftspeople couldn\u2019t match the quality of Chinese exports for another nearly 400 years.<\/p>\n
By placing things into an uneasy state of cohabitation, Beier causes them to become more honestly themselves \u2013 as if an exhibition could also be group therapy for wayward commodities. Whether this is the case for the art dealer surrounded by paintings of himself is harder to say, but the short circuiting of the dynamic between a gallerist and the works they exhibit reveals something interesting about the machinations of art.
\nExcerpt: \u2013 Patrick Armstrong<\/p>\n","protected":false},"excerpt":{"rendered":"
Nina Beier – Metro Pictures Croy Nielsen Showing Nina Beier Standard Oslo, Nina Beier Works (Thanks to Marlene Sharoff) https:\/\/www.facebook.com\/photo.php?fbid=10219941386758025&set=a.4313646932369&type=3&theater ARTIST: Nina Beier, \u201cEmpire\u201d 2019 Nina Beier tackles some messy copies and creates some others herself. Pieces of collectable porcelain dinnerware inhabit birdcages that imitate man-made architecture. Installed on the gallery\u2019s parquet flooring, the antique … <\/p>\n
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