Erik Lindman

Balke (Prélude)


Paris, Front Space

For the safety of our visitors and staff, masks must be worn by all visitors upon entrance and hand sanitiser will be provided at the door and throughout the gallery.

Inquire about the exhibition:
inquiries@alminerech.com

The gallery is open from 11 am until 7 pm.

  • , Balke (Harlequin), 2021
    Acrylic, epoxy resin putty and canvas webbing on panel
    61 x 45.7 cm
    24 x 18 in
  • , Balke (Verdigris), 2021
    Acrylic, epoxy resin putty and canvas webbing on panel
    61 x 45.7 cm
    24 x 18 in
  • , Balke (Morning), 2021
    Acrylic and epoxy resin putty on panel with aluminum artist’s frame
    121.9 x 91.4 cm
    48 x 36 in
  • , Balke (Day), 2021
    Acrylic and epoxy resin putty on panel with aluminum artist’s frame
    121.9 x 91.4 cm
    48 x 36 in
  • , Balke (Night), 2021
    Acrylic, epoxy resin putty and canvas webbing on panel with aluminum artist’s frame
    121.9 x 91.4 cm
    48 x 36 in
  • , Diptera, 2021
    Papier-mâché, epoxy resin paste, marble dust and acrylic paint
    40.6 x 30.5 x 12.7 cm
    16 x 12 x 5 in
  • , Bust, 2021
    Papier-mâché, epoxy resin paste, wood, marble dust and acrylic paint
    38.1 x 20.3 x 20.3 cm
    15 x 8 x 8 in
  • , Après Aurore, 2021
    Found metal, epoxy resin putties and pastes, wood and enamel paint on plywood base
    45.7 x 21.6 x 16.5 cm
    18 x 8 1/2 x 6 1/2 in
  • , Après Aurore, 2021
    Found metal, epoxy resin putties and pastes, wood and enamel paint on plywood base
    45.7 x 21.6 x 16.5 cm
    18 x 8 1/2 x 6 1/2 in

Press release

Almine Rech is pleased to present Erik Lindman's seventh solo exhibition with the gallery, on view from September 4 to October 2, 2021.

These new paintings are dedicated to the early 19th century Norwegian Romantic painter Peder Balke, whom Erik Lindman describes as a fellow bricoleur: Balke utilized balled up rags, strié swipes—a host of decorative painting tricks, to execute his fantasy-charged Northern landscapes. “Balke’s paintings are not overstated at all,” Lindman argues “they are the result of a man using what is at hand…” positioning this little known Scandinavian in line with contemporary practices that open the pictorial to signs appropriated from everywhere, adjacent vocabularies to far-flung syntactical realms.

In Lindman’s works there has almost always been a prize at the center, something retrieved from elsewhere then repurposed within, providing a subject, figure or contrast with the surrounding frontal plane, be it painted or another surface, such as plywood or burlap.

— Joe Fyfe, painter and writer 


Selected press