Simon Dybbroe Møller
Simon Dybbroe Møller (born 1976) finds his artistic models in the ideals and utopias of modern artistic currents in addition to design, architecture, literature, and music. His works are influenced by appropriation, subjective interpretation, translation, and repetition. In doing so, they challenge the viewer to the extreme because they are given the task of deciphering all of these references. In the process, the conditions of sight and perception itself as well as the question of its reliability is placed in the foreground. In spite his rejection of the eternally new and the play with art historical references, Møller’s work retains a fascination for the sources of artistic production during the nineteen sixties and nineteen seventies such as reduction, logic, chance, geometric perfection, perception, and inspiration – with the goal of updating them and nevertheless bestowing his works with a mystic aura as it were. This approach is also very clear in the photographs “2AM” (2003) and the wall piece “Upside down, upside down, upside down” (2005) exhibited here. Møller is interested in the essence of a piece or a work idea which ultimately emerges through his treatment. With this conceptual approach he no longer stands for a purely subjective, self-reflective, metaphysical cognition that can still be felt in many of his artistic models.
