Bugada & Cargnel

Gardar Eide Einarsson

A Manifesto for Philosophy
2009
185 x 185 centimeters
Unique

A Manifesto for Philosophy (2009) is inspired by the cover of the American edition of French philosopher Alain BADIOU's new book, the solemn title contrasting with the minimalist black hole pattern.

Gardar Eide Einarsson

Heritage
2009

The wall painting Heritage (2009) uses Gothic font unexpectedly found in a Japanese book from the 1970s, and refers both to the notion of legacy in art and to the hazy quote 'Heritage Not Hate' used to define American South doctrine.

Gardar Eide Einarsson

Kaligula (Caligula)
2009
acrylic and pencil on canvas
152 x 122 centimeters
Unique

Kaligula (Caligula) (2009) transposes the cover of a Czech Edition of Albert CAMUS' play from the same period, depicting Caligula as an idealist.

Gardar Eide Einarsson

Nada (1985)
2009
acrylic and pencil on canvas
160 x 120 centimeters
Unique

Nada (1985) comes from the eponymous album cover by influential post-industrial band Death in June, whose over-romanticized imagery, linked to a gay sub-culture, included symbols revolving around authoritarianism, violence, and death; here, a mysterious figure comes out of the void.

Gardar Eide Einarsson

Towards a Quaker View of Sex
2009
214 x 183 centimeters
Unique

Towards a Quaker View of Sex (2009) pictures the title and abstract form, designed to avoid any sort of ambiguity, of the cover of a 1960s pamphlet exposing the views of the puritan religious movement on sexuality.

Gardar Eide Einarsson

Untitled (BBQ)
2009
steel, wood, paint
138 x 90 centimeters
Unique

This sculpture reproduces a home-made barrel barbecue spotted by the artist, decorated by its owners with a Dixie flag whose drippings seem inspired by Gardar EIDE EINARSSON's work.

Gardar Eide Einarsson

Untitled (Color)
2009
41.6 x 41.6 centimeters
Unique

Untitled (Color) (2009) reproduces the icon used in chat rooms by the German teenager who killed fifteen students from his school in March 2009 before being shot by the police, delivering a surprisingly cool message: 'Abandon the post, get a drink'.

Gardar Eide Einarsson

Untitled (Grid 1)
2009
c-print
37 x 32 centimeters
Unique

Published in newspapers, two ID pictures of Norwegian petty criminals (Untitled (Grid), 2009), pixelated to ensure anonymity, thus making their publication paradoxical, verge on modernism.

Gardar Eide Einarsson

Untitled (Grid 2)
2009
37 x 32 centimeters
Unique

Published in newspapers, two ID pictures of Norwegian petty criminals (Untitled (Grid), 2009), pixelated to ensure anonymity, thus making their publication paradoxical, verge on modernism.

Gardar Eide Einarsson

Untitled (Light)
2009
153 x 110 centimeters

Gardar Eide Einarsson (born in 1976 in Oslo, lives and works in New York City) explores in a wry and minimalist way representations of authority, order and power, and their ambiguities. He uses pre-existing images that he imports into the field of art as black and white, often large format paintings, photographs or sculptures. The diptych Untitled (Light) is a blown-up of a photograph from a 1970s police manual, illustrating how to hold a flashlight without risking to get shot at. A light in the night, these images tend strangely towards minimalism and conceptualism. But this representation of the law enforcement agent also reverses the sense of danger, and shows the policeman as a threat hidden in the night.

Gardar Eide Einarsson

Untitled (Void)
2009
88 x 133 centimeters

Gardar EIDE EINARSSON shows, in the form of a diptych, blown-up images from 1970s police manuals prints illustrating how to open a door safely (Untitled (Void), 2009).