Solo show at Paris-B, Paris FR, 2023
Commission for Banedanmark’s administrative building, Ringsted DK, 2020
Pigmented resin and Railway shards
2 x 300x60x60cm
Banedanmark is a Danish company responsible for maintenance and traffic control on all of the state owned Danish railway network.
Solo show at Kunsthal Nord, 2019
Text by Kunsthal Nord
The virtual world is an essential theme in the exhibition Negative Meadow, which encourages the viewer to explore and sense the intertwinement of the virtual and the present reality. The accelerated evolution of contemporary technologies has affected our perception of time and space, because they are constantly changing our relationship with the immediate reality, and the representation of that reality, on virtual platforms.
The Danish visual artist, Theis Wendt, has worked with installation and sculpture in the specific architectural context of Kunsthal NORD. He uses todays digital flow of images in interaction with the analogue image, to create abstract, spatial installations and sculptures, through which he explores the image as space, surface, reflection and communication.
Negative Meadow is inspired by Kunsthal NORD, situated in the building of a former coal power plant, as ‘the factory’, a representative symbol of how the work force, virtuality, climate change, nature and humans have been fused together in a virtual, omnipresent factory that never closes.
Theis Wendt has been on multiple research visits in order to study Kunsthal NORD and the surrounding city of Aalborg, to ensure a strong connection between the installation and the aesthetic and sensory experience of the building. The architecture of the old coal factory is raw and unpolished. However, through virtual interventions the actual space is expanded and twisted into an alternative reality. The installation hereby portrays a reinterpretation of inner and outer space, an intermediate space where time has momentarily stopped.
The exhibition Negative Meadow may seem dark and dystopian, but there is light in the synthetic darkness. Theis Wendt attempts to place the viewer in an encounter with the world, where seeds of doubt are sown of the world’s material reality.
Group show 'What is Left Behind' at Akershus kunstsenter, 2017
Participating artists: Robin Danielsson / Silas Inoue / Sarah Vajira Lindström / Oliver Kunkel / Theis Wendt
Curated and text by Monica Holmen
The aspects and theories on cause and effect have been much discussed by philosophers such as Aristotle and David Hume. There is a logical and irrevocably connection between cause and effect, action and consequence.
In many guises these are some of the underlying notions in the exhibition What is Left Behind, wherein the five artists base their projects on topics spanning from nature catastrophes and ecological conditions, to contemplation and research on process and formal questions in the studio. Nuclear test bombings, invasive and extinct species, food and flesh, artistic processes and exploration may serve as key words. Consequences of actions – spanning from the seemingly insignificant to rather tumultuous and disruptive outcomes – are visualized in installation, photography, textile, video and sculpture.
Throughout the exhibition we see how these topics resonnate in visual art, but also the outcomes of artistic actions as such. What traces does an artist leave behind in a piece? To what extent is left-overs from the process visible in the finished piece? And how might both local and global conditions echo in a piece of art?
With the two-channel video installation Invisible Presence consisting of Trinitite stones, Theis Wendt poses questions about human’s relationship to nature, and the much-debated geological age of anthropocen who many now believe we have entered.