Lars Nørgaard (1956-), Witnesses to an Overall Solution, 2000
Lars Nørgård’s drawings are crooked and incomprehensible and entertaining. The latter feature in particular redeems their built-in peculiarities, which are not very deep.
They quite simply turn the rational world inside out, for example by presenting spectators with a drawing of a door, a letterbox with teeth, an arm, and a boxing glove – all organically interconnected.
Things continue indefinitely in the same absurd vein in picture after picture in the Department of Prints and Drawings’ large work named 119 Drawings after the number of a hotel room by the Red Sea where Lars Nørgård stays one month every year. Each morning between 6 and 7 he produces a large number of drawings in a single sitting, collecting the best in 119 Drawings – a universe of figure clashes in every constellation imaginable, all seeming to have their own reversed logic in an endless play of meaninglessness.