New works by Jimmy Merris and Julie Verhoeven, curated by Lars Sture.

For the exhibition Julie og Jimmy go dogging, Julie Verhoeven and Jimmy Merris have been invited by curator Lars Sture to collaborate. The resulting project will consist of an ever-expanding range of media and techniques.


Drawing on a visual archive of cultural highs and lows Verhoeven and Merris’ work investigates issues surrounding contemporary society. Works on paper, video and performance, assemblages, objects and sculptures merge in a complex installation that offers a simultaneously humorous and disturbing portrait of everyday life.


In an excerpt from the essay Jimmy et Julie Vont En Bateau, written by Paul Pieroni, Exhibitions Curator at SPACE. London, we find the following paragraphs:


Theoretically (and we blame Kant for this), the aesthetic attitude proper to a work of art is predicated on the viewer (as judge) establishing critical distance from the object of concern. Start far away from the work, adopting a disinterested disposition, then do everything you can to preserve that disposition - the way it cleaves art away from the everyday - while creeping (and it is creepy - this attitude) ever closer to the art work in question, zoning into it, purifying your mind towards its sensual force, getting lost in its singularity while divorcing this experience from any pre-existing information or intention you might hold: be it regarding either the work, the world or both.

This aesthetic attitude cultivates in the viewer a strong sense that the work before you is not of this world, not marked by the grub and sparkle of the everyday, but instead always elsewhere. Occupying an ideal mind vacuum, access to which requires a purge of sorts, the aesthetic attitude disavows the world, pushes it away.

However, an alternative (you can call it a bastard, one amongst many) can be posited. A model for the viewer based not on purging life from experience, but letting it flood in. A model (I hope) that makes more sense in relation to the fibrillating mess and plurality of Julie and Jimmy's vitalist collaboration, one perhaps just a little more real...


Th essay Jimmy et Julie Vont En Bateau is written especially for the exhibition and can be read in its entirety here



Jimmy Merris (b. 1983, London). Recent solo exhibitions include London, Bloomberg SPACE, London 2013 and Deep Joy on Home Soil, Studio Voltaire, London, 2012. Group Shows include Awesome Tapes From Africa Mate, Bold Tendencies, London, 2013; Yes I Will Yes, American Contemporary, New York, 2013 and Young London, V22, London, 2012.


Julie Verhoeven  (b. 1969, London). Recent solo exhibitions include Whiskers Between my Legs'- ICA, London (forthcoming) 2014;
Your Fly is Open, Stedelijk Museum's – Hertongensosch, The Netherlands, 2013 and Ladies, Lets Rip! The Holburne Museum, Bath, UK, 2013. Group Exhibitions include Sacre 101, Migros Museum, Zurich 2014; ICA Off -Site: Art, Club Culture, Fashion, London, 2013 and Antibody, (with Anthea Hamilton), Lisa Cooley, New York, 2013.


Lars Sture, London (UK) and Solund (N),  graduated from the Curatorial Program at the Art Academy in Bergen. His activity as a freelance curator includes exhibitions for The Ministry of Foreign Affairs, Galleri F15 as well as a number of larger and smaller art institutions. His latest curatorial project were the exhibition TREKK – Contemporary Art from Iceland, with Katrín Sigurdardóttir, Steingrímur Eyfjörð, Haraldur Jónsson, Örn Alexander Ámundason and Ragnar Kjartansson in Sogn og Fjordane Art Museum, The Life and Times of the Oldest Man in Sogn og Fjordane with Anne-Marie Creamer and Vestlandsutstillingen 2014.

This exhibition is supported by BKH-stipend from Hordaland Art Centre.


Five different external curators have been invited to create the exhibition programme at Hordaland Art Centre in 2014. We will produce five new exhibitions, many with new works by artists. The curators are free to choose how they wish to respond to the invitation to curate an exhibition for Hordaland Art Centre – with its particularities connected to architecture, profile, history and economy.

Since the beginning of the 2000s Norway’s fifteen art centres have been going through a process of change where the artists who govern the centres have strived for professionalisation. This process has led to a more prominent position for the curator, which should be actively discussed. Exhibitions are now larger collaboration projects with several voices. During 2014 Hordaland Art Centre wants to make visible these voices and asks who can speak through the institution and how.