Denmark

Daniel Milan, New Works – Copenhagen – Denmark



From August 3rd to August 26th 2012 – Danish Graphic artists

Daniel Milan exhibition presents a series of brand new and very detailed graphic work done on stone and copper. A representation of powerful relationships between people, twins, the snake, a cave with spears – beauty and …resolution.

Daniel Milan has previously been working in Bavaria, Japan and the Balkans and created series of almost anthropological character. The new images are created on the basis of a strong accumulation of experiences and relationships from a long stay in Uganda 2009-2011.

The works are conducted in the Faroe Graphic Workshop Steinprent in Torshavn and Schaefer Graphic Workshop in Copenhagen.

The first floor shows exclusively a memorial and tribute room of spectacular works of deceased artists that have influenced Daniel Milan artistic activities.

Danish Graphic artists


The Essence of Colour – The Art of Queen Margrethe II – Ishoj – Denmark



From January 28 to July 1, 2012 – ARKEN Museum of Modern Art

With 135 works THE ESSENCE OF COLOUR is the biggest exhibition to date of H.M. the Queen’s art. At the exhibition we enter a personal universe and follow the Queen’s artistic development over 35 years. The subjects range from the close surroundings through imaginary landscapes to the most recent depictions of radiantly coloured rocks and bones.

Nature – both idyllic and dangerous – is a central subject for the Queen. The colours in the Queen’s art express the essence of a spirit. They evoke emotions and states of mind where words are not enough. The works in the exhibition range wide, from gentle watercolours through expressive paintings to imaginative découpages. In the découpages she has recomposed cuttings from art sale catalogues and magazines into new, magical worlds where anything can happen. We encounter both the humour and seriousness of the artist Queen Margrethe II.

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Henri de Toulouse-Lautrec – København – Denmark

Henri de Toulouse-Lautrec, La Clownesse Assise, Mademoiselle Cha-U-Kao, 1896


From 17 September 2011 to 19 February 2012 – National Gallery of Denmark

In the autumn of 2011 you can meet the French artist Henri de Toulouse-Lautrec, 1864-1901, at the gallery. He attended a range of art schools he embarked on the project of depicting the entertainment scene then flourishing in bohemian Montmartre in Paris.

The exhibition will present a wide range of works, focusing mainly on Toulouse-Lautrec’s prints housed at the Gallery’s Department of Graphic Arts. Pivotal points of the exhibition will include the urban space and how it stages gender and identity.

Toulouse-Lautrec comments on modern life in his depictions, often by means of striking effects. For example, he would utilise the mass media of the time, such as posters, for rapid dissemination of information.

Innovative and visually radical, Toulouse-Lautrec’s sharp voyeuristic gaze takes us into a wildly proliferating world of entertainment. Here we find theatres, circuses, brothels, cafés, and dancehalls – a world in which urbanites bring their desires into play, regardless of gender or class.

Museum Hours


Picasso, Tales from the Labyrinth – Copenhagen – Denmark

Pablo Picasso, The Tauromachia, 1934. © Succession Picasso / billedkunst.dk


16 October 2010 – 27 February 2011 – National Gallery of Denmark – Statens Museum for Kunst

Pablo Picasso (1881-1973) is a beacon on the art scene of the first half of the 20th century. More than any other artist Picasso would ceaselessly reinvent his art, turning experimentation into his life’s work. His mastery extended to most aspects of art: Painting, sculpture, ceramics, and graphics.
The majority of the Picassos housed at the Royal Collection of Graphic Art hail from the pre-1950s era. As a result, the exhibition Tales from the Labyrinth traces the overall lines of development that characterise his work from the first half of the 20th century, particularly within graphics. One of the themes forming a coherent link through Picasso’s graphic production from the entire period is his treatment of time as a prominent aspect in the works.
The exhibition title Tales from the Labyrinth refers to one of the exhibition highlights: Picasso’s important graphic series the Vollard Suite from the 1930s. The series was created for the art dealer Ambroise Vollard from 1930 to 1937 and comprises a total of 100 prints. The images presented have a highly narrative quality, featuring aspects such as main characters and dramatic climaxes. At the same time, however, the tale has a labyrinthine structure which makes it difficult to piece together a sequence of events, thereby identifying a true beginning and end.

Time is a recurring theme in Picasso’s graphic production until the post-war years. Time is treated as an aspect of the mode of representation and as an aspect of the narratives which the artist has illustrated. The Vollard Suite’s suspension of time appears again in other parts of the artist’s graphic production. His Cubist etchings from the 1910s, which show their subject matter from several angles simultaneously, bring together “before”, “now”, and “after” in a single moment without taking chronological order into consideration. A similar disregard for chronology is evident in the illustrations for Ovid’s metamorphoses from 1930, only now with links to myths about transformations of form and identity.

The bull and bullfighting are fundamental motifs in Picasso’s art. Having depicted bullfighting scenes from an early stage of his career, he engaged with this circle of motifs in earnest from the 1920s onwards. Here, he focused on confrontations between the bull and the horse belonging to the mounted bullfighter, the picador.
The confrontation can take on sexual qualities where the bull is cast in the role of the man and the horse plays the part of the woman, or it may take the form of pointedly highlighted acts of violence.

In the Vollard Suite from the 1930s certain scenes take place in an arena or bullring, but the bull has been replaced by the Minotaur, a figure from Greek mythology who was part man, part bull and dwelled in the labyrinth by the palace at Knossos on Crete. The Minotaur is pitted against a classical sculptor whose studio it invades and with whose model it engages in debaucheries. Taking the form of man-as-bull, the Minotaur represents the untamed, the animal-like.

The fact that Picasso attributed symbolic significance to the bull is also apparent from the political satire The Dream and Lie of Franco, where the bull represents Spain and is repeatedly shown attacking the steed of self-appointed crusader General Franco.

In Picasso’s depictions of bulls from the time following World War II the artist returns to bullfighting again, now with particular emphasis on the kill itself. For the kill, the bullfighter inserts so-called banderillas in the animals’ neck. Other works from the period show that Picasso may have viewed this drama as having symbolic significance; they depict the relationship between man and woman as the relationship between bull and bullfighter in this very situation.

Museum Hours


Christian Lemmerz – Ghost – Aarhus – Denmark

October 9th 2010 – February 6th 2011 – Aarhus Museum of Modern Art
With works in materials ranging from marble to margarine Christian Lemmerz challenges the concepts of life and death, body and soul, goodness and evil. With his at the same time beautiful, fascinating and repulsive sculptures he leads the viewer into a captivating universe – a universe where aesthetics lead spectators through different aspects of the human psyche, through the spiritual strata of the mind and its darker, repressed sides.

THE EXHIBITION
Over the course of two years, ARoS has worked closely with Christian Lemmerz on setting up the comprehensive exhibition, which features his large-scale, painstakingly crafted marble and bronze sculptures as the central works. For the first time the huge sculp-tures are displayed together and by placing the works within simple, yet impressive architecture, the audience gets a chance to move around the sculptures and explore how Lemmerz uses the classical materials to create a series of large-scale sculptures which masterfully unite his unique approach to sculpting with a range of modern, relevant, and at times provocative themes.
Christian Lemmerz – Ghost also presents a series of Lemmerz’ other sculpture works. In several of the works you can see Lemmerz ‘preoccupation with the body, the abnormal and the deformed, and with sculptures made of margarine, bronze, plaster, silicon, aluminum and plastic you get a good idea of how many different materials Lemmerz has worked with in his art.
The exhibition also presents a series of Lemmerz ‘newest works in silicone and Jesmonite – materials borrowed from the movie world, where they are usually used to make ‘special effects’.

ABOUT CHRISTIAN LEMMERZ
Christian Lemmerz was born in 1959 in Karlsruhe, Germany and now lives in Italy and Denmark. He participated at a wide range of exhibitions in Europe, USA, and China, e.g. in Brussels, Cologne, Barcelona, The Hague, Paris, Toronto, São Paolo, and New York.
Christian Lemmerz is represented in several private collections, in The Saatchi Collection in London, and at a number of Danish art museum, including The National Gallery of Denmark (Statens Museum for Kunst), where he recently showed the exhibition Largo, 2009-10), Horsens Kunstmuseum, and ARoS Aarhus Kunstmuseum as the museum owns a total of 20 sculptures and video works by Christian Lemmerz as well as a range of graphic works by the artist; all were created from the early 1980s on-wards.
Lemmerz has also created illustrations for books and crafted stage sets for several opera and theatre productions. He has re-ceived a wide range of grants and awards for his artistic work.

Museum Hours


Make Yourself at Home – Copenhagen – Denmark

Mie Mørkeberg: »U.t.« 2009 Acrylic and Indian ink on paper Photo: Privateje Courtesy Galleri Tom Christoffersen


From 4 September to 21 November 2010 – Kunsthal Charlottenborg

The exhibition Make Yourself at Home features ten artists and artists’ groups from around
the world, all of whom present works that address the notion of hospitality. The contemporary
world is characterised by the constant movement and displacement of people, but also by
the increased unwillingness of countries to welcome migrants. Make Yourself at Home looks
at how artists interpret the concepts of home and hospitality in a globalised world, and
includes works – many made especially for the occasion – that explore issues of hospitality
at the individual, institutional or national level, and which touch on themes of human
migration, colonial heritage and international conflict.
Denmark has always prided itself on its ideal of ‘hygge’ (‘cosy living’), but it also reflects the
changes in international relations in the wake of 9/11, which have undermined the perception
of the safety of the home, and have made countries less open to receive foreign guests. The
ambiguity and unease that can underlie the ideals of home and hospitality have long been
analysed by thinkers, and Derrida describes the expression ‘make yourself at home’ as a
self-limiting invitation: please feel at home, but remember that this is not your place and that
you should respect my rules. The complex and sometimes double-edged nature of hospitality
informs all of the works in Make Yourself at Home.

One of the most common gestures of hospitality is the act of sharing food with others, and
this is evoked in Endless Döner, a work by Danish artists’ group A Kassen. The piece is
situated in Runddelens Kebab, one of the many kebab shops that can be found in the
Nørrebro district of Copenhagen, and consists of a kebab loaf in the shape of Endless
Column, the celebrated Brancusi sculpture. The piece was inspired by Brancusi’s own
sources – Romanian folk art – and returns the modernist artist’s work to its popular roots. A
Kassen are also represented by a new piece which intervenes into the architecture of
Kunsthal Charlottenborg: the artists have removed some of the glass panels which normally
screen the attic from the galleries, thereby allowing the visitor to see parts of the house that
are normally hidden.
The Belgian artist Philip Aguirre y Otegui has always had an interest in migration. The artist
was born of a father who fled the Franco regime, and has himself travelled extensively in
Latin America and Africa. One of his works at Kunsthal Charlottenborg is Cambiamos el
Mundo (‘Let’s change the world’), a wall painting which shows a dinner party in full swing,
and which is both an homage to hospitality and a satire on evenings spent changing the
world over a bottle of wine. The artist is also represented by a number of sculptural pieces,
including three different works depicting life-size figures carrying a mattress, water jugs and
plates respectively. These works suggest the artist’s interest in basic human needs, as well
as in the mechanics of displacement and dislocation.
The piece Untitled (Ghardaia), by the French-Algerian artist Kadia Attia, is an installation of
couscous moulded into the shape of a city. The architecture is reminiscent of a traditional
building type found in the Mzab valley in the Algerian desert, a style which had a major
influence on Le Corbusier, who visited the region in the 1930s and who was inspired by its
airy and hospitable buildings. The Swiss architect’s theories of social housing went on to
inform buildings around the world, including schemes built by the French in Algeria in the
years before independence. Attia’s reconstruction of this architecture using the North African
staple of couscous – a highly unstable material – is a subtle gesture of reappropriation.

The Danish artist Kenneth A. Balfelt creates what he calls ‘functional art’, works in which art
is used to develop new situations in society, and which have often involved people at the
social margins including the homeless and drug addicts. For this exhibition Balfelt has
worked on facilities for socially vulnerable people in Enghave plads, a square in the
Vesterbro district of Copenhagen. In collaboration with the ‘beer drinkers’ in the square – and
with the help of local organisations – he is creating a space which the former can share with
so-called ‘normal’ people. The work is an ongoing investigation, and will result in a public
space equipped with furniture and facilities that can be used 24/7.

Another approach to hospitality is visible in the video Home 2, in which the Swiss artist Olaf
Breuning
depicts the world tour of a traveller from the West, taking in Japan, Papua New
Guinea and Ghana. The traveller makes absurd efforts to become the ‘other’ that he meets,
in a satire on the western romantic look at non-western societies. Breuning is also
represented in the exhibition by sculptural works, including The Humans, a group of six large
figurative sculptures in marble and bronze that are displayed in the courtyard, and which
represent a satirical account of evolution and primitive life. Breuning often uses a playful
perspective to portray his subjects, yet behind it lies a web of social analysis and multiple
narratives.
In the paintings of Danish artist Mie Mørkeberg the domestic sphere becomes a stage for
uncanny psychological experiences. Home is staged as a Biedermeier set, and evokes
feeling of uncertainty or fear. The starting-point for the new wall painting that the artist has
made at Kunsthal Charlottenborg is an ordinary living room with old-fashioned furniture and
bric-a-brac, but one which contains traces of other worlds. Any place acquires an identity
through performative actions, and in the case of Mørkeberg the imperative to escape
becomes the beginning of something new.
Notions of hospitality are usually associated with people, while material objects are left out,
but the Nigerian artist Otobong Nkanga has a sharp focus on the materiality of life. The
Taste of a Stone, which Nkanga has made for the exhibition, is a work in a number of
chapters. The first chapter centres on a curious stone, and operates as an introduction, while
also suggesting the particular hospitality of places of worship.
The other chapters arerepresented in five short videos which tell different stories connected with the stone: stories
of love, rejection, fear, submission and dependence. These videos are presented on
monitors scattered within an architectural installation made from wood, glass and marble, a
structure which functions like a brain – a container of memories.

Nigerian photographer George Osodi was invited to stay with three different families in
Denmark, who opened their doors as part of the hospitality network New Life Copenhagen.
The latter was created by the art collective Wooloo to host activists during the UN Climate
Summit in Copenhagen in 2009, and is now an ongoing project. During his stay Osodi made
a photo essay documenting the life of the families that housed him, a work that is realised as
three slide projections. It is still in question whether the artist himself will be allowed to enter

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