dirty

tora schultz

19 august–14 october 2022

1
Tora Schultz | Wiper, 2022 | Print on aluminium | 79 x 125 cm each | Edition of 3
2
Tora Schultz | Stratification, 2022 | Stainless steel, ten red plastic trays | 235 x 50 x 55 cm
3
Tora Schultz | Face down Ass up, 2021 | Found birch wood table, linoleum insert designed by Magnus Olesen produced at Botium, birch wood chair | 117 x 200 x 90 cm
4
Tora Schultz | Stratification, 2022 | Stainless steel, ten red plastic trays | 235 x 50 x 55 cm
5
Tora Schultz | Dirty | palace enterprise | 2022

Dirty
Tora Schultz

Spotlessness is a virtue. The longevity of male conversation remains as certain as war and so there are plenty of hours available for polishing while facts are served around me. Polished skin and face, nails that can rip stuff before neatly repairing other stuff, polished crystal glasses for eternal servings poured for eternal sirs. Something tasty to devour.

Politeness is a virtue. Letting my lowered gaze spark with the pseudo-glow of submissive excitement while compliments are thrown at my feet. Great service, great legs. Throats cleared and filled up again until next day’s well-mannered zeal. The art of making someone believe that an obvious favor is not a favor. Subdued voices until the screams.

Hotness is a virtue. Water needs to be more than 80 degrees to properly kill bacteria on used kitchen ware. That’s hot. I am perfect tits and skinny fingers and the shiniest hair, long enough to throw out the virgin’s window. That’s hot. I am gone. That’s hot too. Presence can be such an obstacle. My torso is ripe. Who is a better wiper.

Purity is a virtue. I am my body and its possessable functions, and they’re filthy when I detonate them, and they’re humiliating when I curb them, and I’m criminal when they’re exploited, and ass is always invitation, and instinct (someone else’s) will be my life partner.

Service is a virtue. The etymological overlap between virginity and servant in the shape of a maiden mädchen maid is too sad and obvious to dwell on, and language doesn’t furnish the world. Crotches do, inevitably owned or employed. Could only the birth giving sex resurrect its native anger once more. Once more point out its own land and master it. Reach for its own fruits and eat them. The sky is still fair from the scents of these fruits.

Pace is a virtue. Young eyes, glossy with elevated indifference, for him to seduce and impregnate and desert. Motel fantasies, their ground floor criminal inclined to just imagine himself as a near-angelic excitement provider. Hungry for foam, skin, wheels, decision-making. I share the highways with someone more dangerous, less endangered and what their hearts sincerely crave are dolls or multiple wordless heads. Ride and die.

Kindness is a virtue. It’s kind (and mandatory) to help with/manage the household with a bland smile glued to my face because that’s what I learn immediately after being born. It gets me jobs. There is a service industry and who do we think came up with that. It’s kind to sit down and maintain the gentle femme interest-nod: knowingly of the sheer triviality of whatever I’m being presented for as groundbreaking, probably unknowingly of the fact that uncritical sweetness becomes a risk zone. Sour faces must be less rapeable.

Shame is a virtue. Hiding bulks for the camera until the camera learns that capturing bodies is essential to devalue them. I suck up any pride left and strip before a lens and I’m probably able to genuinely love the flesh that’s never only mine. I suck up any juice left because that’s what I’m forced to and then the juice giver leaves with a cocky whistle and an undamaged cock and this is true until juice becomes poison, but it just never will.

Transparency is a virtue. To clean is to prepare for usage.

By Nanna Friis

education

2015–2021 MA Royal Institute of Art, Stockholm, SE

upcoming

2026 Permanent installation ’The Shelter’, at Deep Forest Art Land, Kibæk, DK

2025 Opening Night, Copenhagen, DK (Duo w/ Julie Falk)

2025 COI, Copenhagen, DK (solo)

2025 Grønningen, Den Frie, Copenhagen, DK (group)

2025 Performance, ARoS Aarhus Art Museum, DK

solo exhibitions

2025 highlight, Viborg Kunsthal, Viborg, DK

2025 FILES, Aarhus Kunsthal, Aarhus, DK

2024 FILE, palace enterprise, Copenhagen, DK

2023 LISTE art fair, Basel, CH

2022 Bitch on Wheels, O-Overgaden Kunsthalle, Copenhagen, DK

2022 Dirty, palace enterprise, Copenhagen, DK

2021 STAND HARD, Bizarro, Copenhagen, DK

2021 2001,NSFW/3e våningen, Göteborg, SE

2021 Stranger Inside, Galleri Mejan, Stockholm, SE

group exhibitions

2025 The Art of Collecting, Moderna Museet, Stockholm, SE

2025 SUPERGAMES, dummy, Copenhagen, DK

2024 Do it, Socle Du Monde, HEART Herning Museum of Contemporary Art, Herning, DK

2024 Group Therapy, ARKEN Museum of Contemporary Art, Ishøj, DK

2023 X. A CAPITAL DESIRE, Bicolore, Paris, FR

2023 Issues Gallery, Stockholm, SE

2022 Another Surrealism, Den Frie – Centre of Contemporary Art, Copenhagen, DK

2022 Another Surrealism, Kunstmuseum Sønderjylland, DK

2022 P for Perspective, Simian, Copenhagen, DK

2022 Norberg Festival, Norberg, SE *

2022 Clown Kingdom, Le Bicolore, Paris, FR

2021 Downtown, Issues Gallery, Stockholm, SE

2021 Split Screen, SKF/Konstnärshuset, Stockholm, SE (Duo)

2021 MONSTESUPPE, KØS – Museum of Art in Public Spaces, Køge, DK *

2021 Frusen Glädje, TreKronor Culture, Stockholm, SE

2020 Tracking Distribution, Index – The Swedish Contemporary Art Foundation, Stockholm, SE *

2020 MMXX, Konstakademien, Stockholm, SE

2019 A Play A Tale, Rundetårn, Copenhagen, DK

2019 World Bone, Arcway, Copenhagen, DK

2019 Cloak of Mercy, Horse and Pony Gallery, Berlin, DE

2019 Feed them with the pages, W:I:P Konsthall, Stockholm, SE 2019 UTTRAN II, Rönninge, Stockholm, SE

2018 It’s about time, Skulpturlandsby Selde, Selde, DK

2018 Souvenirs of affairs, Galerie A.M. 180, Prague, CZ

2018 Like a chicken with its head cut off, DELFI, Malmö, SE

public collections

ARKEN Museum of Contemporary Art, Ishøj, Denmark

Kunstmuseum Brandts, Odense, Denmark

KUNSTEN, Museum of Modern Art, Aalborg, DK

Museum Sønderjylland, The Art Museum in Tønder, Denmark

Moderna Museet, Stockholm, Sweden

New Carlsberg Foundation, Copenhagen, Denmark

Novo Nordisk Foundation, Copenhagen, Denmark

public comissions

2022 Hometown, Stockholm, SE *

awards & grants

2025 Astrid Noack Prize

2024 Aarhus Art Prize

2024 Working grant, The Danish Arts Foundation

2023 Læge Inger Goldmanns Fond

2023 Working grant, The Danish Arts Foundation

2022 Carl Nielsen og Anne Marie Carl-Nielsen Talent Grant

2022 Sigrid Fridman legat för unga skulptörer

2021 Niels Wessel Bagges Kunstfond Honorary Grant

residencies

2025 ISCP, New York, 4 mdr. Studio Grant, International Studio & Curatorial Program, The Danish Arts Foundation, US

2024 IASPIS, New York 12 mdr. Studio Grant, International Studio & Curatorial Program, US

2023 Art Hub Residency Fall, 5 mdr. Studio Grant, Copenhagen, DK

2023 IASPIS, Stockholm 6 mdr. Studio Grant, Konstnärsnämnden, SE

2017 AZ-WEST, Institute of Investigative Living – Andrea Zittel, US

2016 Abisko Scientific Research Station, Abisko, SE

bio

Born in 1991, Aarhus, Denmark

Lives and works in New York, US

 

Tora Schultz is a Danish sculptor. Her affinity for existing objects is profound as is her way of going about them. Operating in the opaque intersection between producing and preserving, her methods include shaping, bending, burning, disclosing. A preoccupation with meticulous treatments of hard materials is often seen in her work, with an equal devotion to bare their internal qualities while exposing functional assets and shortcomings. Tora Schultz applies a discrete insistence on the handmade and the wordless.