Rasmus Nilausen
 

For Rasmus Nilausen, painting is intuitive and instantaneous—like talking—yet also deliberate and editable—like writing. It is a theory and practice of vision and artifice, as well as a language that is part learned and part contrived, at times easily translatable, at others rather baffling. Nilausen revels in the elision of brushstrokes with text, image, word, symbol and quotation, and he draws as much on minor subjects, such as puns, pilcrows and punctuation, as on traditional genres such as the still life. His canvases sometimes look like notebook pages or application windows that might vanish with a click. Classical allegories can meet cartoonish motifs in his work, and its ongoing thesis on looking and representing the world is told through a growing cast of characters: eyeballs and tongues, mirrors and arrows, fingers and candles. His 2019 solo exhibition Bluetooth incorporated a further ideogram, the logo of the digital wireless standard of its title, a runic symbol evoking the initials of Harald Bluetooth, who united the tribes of Denmark and Norway in the 10th century.

Rasmus Nilausen is a graduate of the Universitat de Barcelona (2010), where he has taught painting since 2019, and Chelsea College of Arts, London (2011). From 2017 to 2018 he was a research fellow at the Jan van Eyck Academie, Maastricht. He has had solo exhibitions at Overgaden, Copenhagen (2019); Team Gallery, New York (2019); and garcía | galería, Madrid (2018, 2014, 2013). His group shows include Painting: Ongoing Renovation, Museo Patio Herreriano, Valladolid (2021), and Across the Sand, CentroCentro, Madrid (2020). rasmusnilausen.dk

To reconstruct the disorder of a possible city. To use the model, not as an element in a project, but as the representation of something that already exists.
Jordi Colomer