press release

Alex Da Corte
14 July 2022 – 8 January 2023

Louisiana Museum of Modern Art presents the first survey in Europe on the American artist Alex Da Corte (b. 1980), promising an intensely visual experience by a young art-world star. Working in painting, sculpture, installation and video, Da Corte often appears in his own films, disguised as anything from Popeye to Eminem and the Wicked Witch.

The American artist Alex Da Corte occupies space with colour, mining the intersection of design and visual culture. Presenting the first in-depth presentation of the artist’s work in Europe, Louisiana is following up on its strong engagement in the artist, which began early in his career with the 2014 acquisitions of his installation Delirium I (2014) and his film Chelsea Hotel No. 2 (2010). In 2019, the collection was robustly supplemented with the installation Rubber Pencil Devil (2019), which Da Corte showed at that year’s Venice Biennial.

Da Corte’s work ranges across most forms of artistic expression. Artists like Andy Warhol, Robert Gober and Mike Kelley are clear role models. Appealing, even seductive, Da Corte's works are fashioned in a seemingly effortless and playfully light style. There is always another side to his art, however, an undercurrent of melancholy and existential dread.

The exhibition brings together new and old works in an all-encompassing scenography designed by the artist. Custom-made floors, painted walls, neon lights and distinctive scents envelop and all but overwhelm visitors to the artist’s universe. In this setting, a selection of Da Corte’s big film installations is shown, along with sculptures, paintings and drawings. Da Corte is also making a number of new works specifically for this exhibition, including a large installation based on Claes Oldenburg’s iconic 1972 Mouse Museum. Overall, the exhibition will provide a comprehensive survey of Da Corte’s work to date.

A key work in the exhibition is Da Corte’s epic Rubber Pencil Devil (2019), featuring a film made up of 57 short segments running a combined two hours and forty minutes. The screening environment is a poetic extension of the film, with sculptural furniture and a football-pitch rug. Da Corte built unique sets for each of the 57 films, a tour de force effort characteristic of his work in general, which often involves exhaustive preparations.

In May 2022, Da Corte’s monumental sculpture As Long as the Sun Lasts (2021) will be installed on Louisiana’s Calder Terrace. In fact, this work is based on one of Calder’s iconic red mobiles, like Louisiana’s own Little Janey-Waney (1964/1976), which Da Corte’s sculpture will replace over the summer.

The exhibition is supported by the C.L. David Foundation and Collection