Viewed in its entirety, Gro Sarauw’s practice can be likened to that of an essayist, though it presents itself as sculptural gesture across disciplines, space and time.
The artist proffers the term transcalar to identify a certain pragmatism with which she navigates. The transcalar describes an operative — an embodiment extending beyond theoretical acknowledgement towards manifestations in the tangible.
T R A N S C A L A R
Gro SARAUW 20.02. — 23.03.2019 *
For this exhibition, Sarauw specifically opted to implement the transcalar in a negotiation of the post-nostalgic vis-à-vis a time complex presenting itself in light of the resurgent techno-milieu in Copenhagen. Over the past year and a half, her investigation, participation and handling thereof resulted in this suite of work debuting at Surdez ApS.
Her show is presented over two parts — a suite of image-sets that divides and straddles the temporal framework of the exhibition period. Image-material is sourced from photos taken and developed in the 1990s. The photographs were shot again by the artist, her compositions printed on silk and animated by a choreography of LEDs flashing at a frequency on par with current techno beats.
These image-sets present a cinemagraphic discography in-and-of itself — one that materialises in portrait-like dialogue with their depicted protagonists. A co-operative is thus effected throughout Sarauw’s execution of the transcalar — as exemplified with this show, she invited Freja Sigsgaard-Hansen to contribute a supplementary text titled Transcalar Futurity; whilst Mio Nordentoft reads aloud from his poem, Hafnia Ekstase at both openings. It is the childhood photographs of these two figures that provide Sarauw with source imagery for the exhibited suite of work.
Despite depictions of intimate familial settings, the legible personal narratives resonate distinctively on a collective level — as if overwritten by their culturally emblematic scenography.
* The exhibition opens February 20th and will open anew on March 7th.