Into the Woods - an exhibition of work by Lene Thomsen

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Into the Woods is an installation by the Danish textilformgiver (textile designer) Lene Thomsen at Officinet - the gallery of Danske Kunsthåndværkere & Designere - the Danish Association of Artisans and Designers.

Created over the last year and created specifically for this exhibition, the works were inspired by trees, leaves, moss and, perhaps above all, the layering of light and form and colour found in the natural setting of woodland.

Lene Thomsen is a textile designer who trained at Kolding and now works primarily with screen printing. Works shown here are printed on silk, linen, or cotton and on very fine wool and she uses sheer fabrics and textiles that are layered and draped to create depth and a sense of space with weaving, sewing and gathering, where different materials are combined, for an intriguing and strong sense of volume.

In some works Lene Thomsen applies Shibori techniques that are Japanese - ways of forming patterns using folding, winding and embroidery before finally dyeing - and various Japanese reservation techniques are used traditionally and experimentally. These are also described as resist techniques - ways to block the dye reaching the fabric and often used to create texture - for instance by using a temporary coat of wax that is removed after the fabric has been dyed.

Patterns are overlaid or shifted or slightly offset and different intensity of dye are used, again to create a sense of depth, so, for example, to create an interpretation of the dappled light through layers of leaves and branches in the canopy in the woods.

Generally, there can be a temptation to see textile printing as simply a form of graphic design, so flat, but here, with the textiles displayed on wood frames, Lene Thomsen shows that textiles can have a strong presence in three dimensions as the works have to be explored from all angles as you walk around the gallery space.

Into the Woods continues at Officinet until 5 June 2022
Officinet, Danske Kunsthåndværkere & Designere, Bredgade 66, 1260 København K 

Lene Thomsen

 

 

note:
As for many of the artists and designers working towards a major exhibitions at Officinet, Lene Thomsen was able to spend several months at Statens Værksteder for Kunst in Copenhagen.

It is an amazing resource, in an old warehouse - Pakhus at Gammel Dok in the centre of the historic city - where designers and artists, with a scholarship or attachment, can use extensive facilities there that they may not have access to in their own studio or maybe not with the space to work at scale. The workshops also provide an environment for the intense focus and the long hours required for a complicated or demanding project.

The online site for the workshops has pen portraits of artists and projects that include photographs of their work in progress that gives, at least, an impression of the level of technical skill and the mastery of materials that is at the core of the work of formgivers and crucial to the development or evolution of their work.

Lene Thomsen at Statens Værksteder for Kunst
Statens Værksteder for Kunst

Kvinder skaber rum / Women in architecture - an exhibition at the Danish Architecture Center

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A major new exhibition about women architects, planners and designers in Denmark has just opened at the Danish Architecture Centre.

The title - Kvinder skaber rum or Women Create Space - was inspired by an extended essay by Virginia Woolf - "A Room of One's Own" - that was published in 1929. It was based on two public lectures where Woolf discussed free expression and stated that women have to be financially independent if they are to create anything of importance.

In the exhibition - where text is in both Danish and in English - an English title for the exhibition is given simply as Women in Architecture which seems to be much less nuanced than Kvinder skaber rum.

My Danish is poor but I believe rum, as used here, means both room specifically but also space and surely that should be understood as both the tangible space of an actual room but also space in the way we talk about giving people space to grow or space to develop.

So, designing and bringing to reality a room or a series of rooms is a basic and, some would say, the most obvious part of the work of any architect but here 'rum' as space implies that women have also had to create a physical space for themselves as architects - often by establishing their own independent studios.

For many women, working in design and in architecture, their careers have also been about convincing male colleagues and clients that the different experiences and different perspectives that women bring to design should also mean a different approach to architecture that is as relevant as any male contribution. There are areas where design and the construction of buildings, particularly in the recent past, have suffered because there was not a more balanced approach. Not all the worst modern buildings can be seen as simply the consequence of male ego or the playing out of “boys and their toys” but many can.

The first section of the exhibition focuses on seven Danish architects whose work covers the period from 1925 to the end of the century and, generally, concentrates on one specific work or, at most, a few projects for each architect rather than attempting to explore a complete career.

For Ragna Grubb, the first of the women, it is her amazing design for Kvindernes Bygning, or House for Women, in Copenhagen and, for Karen Clemmensen, it is Kildeskovshallen - a swimming pool in Gentofte, about 8 kilometres north of the centre, that represent their work.

Ragna Grubb worked with other women in a closely-organised, female-focused society. Kvindernes Bygning / The Women's House in Niels Hemmingsens Gade that, in part, used funds from a Women’s Exhibition and, following a design competition, was realised after funds were raised publicly.

The building was completed in 1937 with lecture and banqueting halls for women and a restaurant and a hotel for women. There were shops on the ground floor to provide an income and the building has an ingenious plan with separate staircases and complicated separation of the different functions. It is a remarkable building that deserves to be better known. Plans are displayed here in the exhibition in drawing cabinets.

The style of the building is, surprisingly, rare in Denmark. The facade and main features of the interior appear to reflect the Functional movement of the period but are closer in style to International modern and the work of Bauhaus architects in Germany than most works by men at this time.

For Hanne Kjærholm her professional space was created, initially, by working with her husband - the architect and furniture designer Poul Kjærholm - but she established her own studio in 1959 and from 1958 followed her own career as a teacher and as a ground-breaking and influential academic at the Danish Royal Academy. Drawings are shown here for the Kjærholms own house in Rungsted that she designed and where she combines a very precise engineering sensibility with a clarity of space but a focus on natural materials that add warmth and that is a combination of qualities that has rarely been matched.

Ulla Tafdrup brought a practical and clinical analysis to ergonomics with her designs for kitchens that were arranged with separate zones for cold meals, hot meals, and washing dishes. These principles were applied to the design of homes at Søndergårdspark built 1949-1950 with small but well-planned kitchens that had hatches between the kitchen and dining room to link the spaces ... changing the relationship between cooking and dining that, by stages, evolved into the open-plan kitchen and living area so common now.

There is an interesting point made here that until domestic appliances and kitchens became more efficient, women spent a considerable amount of their time on housework so those improvements were crucial before a larger proportion of women could seek work or, in the case of architects, establish successful and demanding careers. The exhibition makes the important link here to the work in Germany of Margarete Schütte-Lihotsky who designed the 'Frankfurt Kitchen' in 1927 - an early and important ergonomic design for the kitchen in an ordinary home.

Grethe Meyer worked initially at the Danish Building Research Institute but then set up her own studio and she is now best-remembered for her designs for tableware and, in particular, the simple and honest Stub drinking glasses designed in 1958 for Holmegaard; the Blåkant / Blue Line faience from 1965 and the Ildpot stoneware - that was first produced in 1976 but recently reintroduced by FDB. They are all shown in the exhibition. Meyer inspired women by running a successful studio while raising her daughter as a single mother at a time when such an attempt to combine roles was not common.

 

the opening section of the exhibition on the work of Ragna Grubb … the wallpaper reproduces the design for the restaurant in Kvindernes Bygning

Kvindernes Bygning from Arkitekten in 1939

 

Søndergårdspark kitchen

is this what happens when you let a man
design a kitchen?

 

Both Karen Clemmenson and the younger architect Susanne Ussing seem to have worked within established and strong partnerships that were both professional and personal.

Kildeskvshallen - a swimming pool set on a surprisingly tight but densely-wooded site in Gentofte, about 8 kilometres north of the city centre - was designed by Karen and Ebbe Clemmensen and opened in 1969. It is a building that demonstrates qualities that define Danish architecture from that period with a focus on detail, on quality and on materials with fittings that were specific to that project. It marks a period when general levels of wealth in the country were increasing but it was also a period when the state was taking on a major role in commissioning and building innovative schools, hospitals and civic buildings.

Susanne Ussing was one of the first architects to criticise industrialised concrete buildings and she began to explore ways of building homes that were very different to the large and uniform apartment blocks in the city and tried, for the first time, to include ideas from the families who were to occupy the finished homes. With Carsten Hoff, she worked on several experimental housing schemes. Thy Camp in 1970 was a collective and a social experiment where architects tried to design and build what people actually wanted rather than imposing what the architect thought families could or should want.

At an early stage, Anne Marie Rubin established a career in planning and was the first architect in Denmark to run a studio that focused on urban planning. Again, like Hanne Kjærholm, she was also a prominent academic with a professorship to teach at the university in Aalborg. Her work on planning for the coastline of Denmark was innovative and influential in trying to protect nature and achieve a balance between building and setting.

 

Kildeskvshallen

  • Kvinderne får deres eget hus / A house for women - Ragna Grubb 1903-1961

  • Kvinder på Kunstakademiet / Women at the academy - Hanne Kjærholm 1930-2009

  • Revolution i køkkenet / Revolution in the kitchen - Ulla Tafdrup 1907-1996

  • En moderne kvinde / a modern woman - Grethe Meyer 1918-2008

  • Et tæt samarbejde / A close collaboration - Karen Clemmensen 1917-2001

  • Kysten tolhører os alle /  The coast belongs to us all - Anne Marie Rubin 1919-1993

  • Nye måder at bygge og bo på / New ways of building and Living - Susanne Ussing 1940-1998

 

A new research project on women in Danish architecture has been established at the University of Copenhagen and they have had a strong input in the exhibition.

The research group, looking at women in Danish architecture from 1925 to 1975, includes Henriette Steiner, researcher and project manager; Svava Riesto, researcher and project manager; Jannie Rosenberg Bendsen, researcher and architecture historian; Frida Irving Søltoft, project assistant; Liv Løvetand, visual communication; and Mathilde Merolli, head of communication.

That period, in the middle of the 20th century, is now seen generally as the 'classic period' for Danish architecture and design yet the role of women, when women first entered the profession, has barely been acknowledged.

An important section of the exhibition - Kvinder der tegner Danmark i dag / Women designing Denmark today - includes interviews with prominent Danish architects and planners who work in the industry now including Dorte Mandrup, Rosa Lund, Mette Tony, Lene Dammand Lund and Tina Saaby.

There are subtitles in English and it is well worth spending the time to listen to all the interviews as they each select an object that influenced their work and talk about women who inspired them and they talk about their careers and their thoughts on the balance of numbers - men to women - at all levels from the design studio to partnerships and at board level.

They are all remarkably restrained when they are asked to comment on men and misplaced egos but it is interesting when Dorte Mandrup expresses curiosity and, presumably, frustration that men are now wanting to build on the moon or on Mars when it is very clear that we still have so much to sort out here on Earth.

In the final part of the exhibition, there are contributions by three architects from outside Denmark ..... Tatiana Bilbao from Mexico; Siv Stangland of the partnership Helen & Hard from Norway and Débora Mesa of Ensamble Studio in Spain.

Each has designed an installation for the exhibition: Tatiana Bilbao, a series of circular brick structures that look at transitions from public to private space … an idea that was inspired by a commission to design buildings for a Cistercian monastery in Germany; Siv Stangland an impressive and innovative timber-framed structure designed for the Serbian artist Marina Abramovic and Débora Mesa an innovative construction that explores her approach to space and materials.

 

  • Eget Værelse Tatiana Bilbao Estudio A Room, You and Us

  • Eget Værelse Ensamble Studio: The Room - Débora Mesa

  • Eget Værelse Helen & Hard: Body and Mind Spa - Siv Stangland

These are perhaps too close to installation art and the exhibition would have benefitted if more on buildings designed by the three international architects had been included to put the works by Danish architects into an international context in order to see where there are similar problems now in other countries or if the approaches of these architects diverge. For instance, there was a little but not enough about Tatiana Bilbao working with local communities in Mexico to build appropriate public housing that could have been linked to Danish studies.

Throughout the exhibition there are comments and statistics that provide a wider, political and social context so, for instance, The Danish Academy was founded in 1754 but it was not until 1908 that women could study in the School of Architecture and it was not until 1915 that Danish women gained the right to vote.

Denmark has a strong reputation for building good social housing and the exhibition mentions important national studies that sought to understand how people were living in their homes, including the housing study Fællesudvalgets Boligundersøgelse / The Joint Committees Housing Survey of 1949 - where a team visited and measured 500 apartments and talked to residents to determine how homes in the future should be designed - and, from 1951, Vore køkkener, by Enforsøgsrapport fra Dansk Almennyttigt Boligselskab / Our Kitchens - a report from DAB that was a non-profit housing association.

Many of the interviewers would have been women and it would be interesting to know if that influenced the surveys and if husbands and wives, answering questions back then, wanted the same or different improvements in their homes and fascinating to know if houses built now reflect or ignore what was hoped for seventy years ago.

Søndergårdpark housing scheme
Ildpot by Grethe Meyer from FDB Møbler

Kvinder i Dansk Arkitektur / Women in Architecture 1925-1975
Danish Architecture Center
13 May 2022 to 23 October 2022 

Kvinder i Dansk Arkitektur / Women in Danish Architecture 1925-1975

 

Space Saga at the Danish Architecture Center

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Space Saga - a new exhibition about recent research into how people could live on the moon - has just opened at the Danish Architecture Centre and in time for the start of the school winter holiday.

There are certainly plenty of things to occupy children and trigger their imaginations - including a chance to build a moon module in Lego - but intriguing and complicated concepts are also explored that apply more widely to life down here on earth ….. so, for instance, on how light or lack of light effects our sleep patterns, and with a direct impact on our mental and physical health, and important questions are raised about the food we need rather the food we want and the importance of smell and taste in our lives.

With space exploration, there is the stress of very real isolation or, rather, isolation with a few other people in a tightly-confined space so this exhibition is, in part, about how humans have been such a successful animal because we find the ways that help us adapt to even the most extreme and hostile environments.

At the centre of the exhibition is the Lunark module from SAGA Space Architects that was built to help understand how people could survive if a long-term or even a permanent settlement was established on the moon.

In 2020, Sebastian Aristotelis and Karl-Johan Sørensen took the pod to Moriusaq -a bay over 1,000 kilometres north of the Arctic Circle in Greenland - where, for 60 days, it was a base for them to investigate the “psychological effects associated with isolation” in an extreme and hostile environment.

The form of the pod, with interlocked and hinged panels, was inspired by Japanese origami so it could be collapsed down for transport but, unfolded, held within a light aluminium frame and anchored down, it formed a stable structure.

I would not survive for long in such a confined space … I find it difficult to cope with small spaces so I need to look out at sky and light at regular intervals and I tend to pace up and down at regular intervals as I work. On top of that, I suffer badly from SAD during long winter nights so would certainly have failed any profiling tests for selection for this trial although, on the plus side, and for reasons I’ve never been able to fathom, I have never suffered from travel sickness or jet lag so maybe not a complete non starter.

When you look inside the pod, it’s clear that it was designed primarily as a tightly-organised lab in which to work because there is no real space for anything else. There is a small table or workbench on each side, that can be folded back, and with two chairs and a very small stove on the floor - cooking was basic so about boiling a kettle for hot water to rehydrate dried food - and, above on each side, there are cramped bunks buried into the thick insulation panels. In the small lobby of the entrance, or what is euphemistically called the airlock, there is a toilet and that is about it.

The mission was the subject of a series of programmes - Eksperimentet: 60 dage på månen - that were broadcast in June 2021 but can still be viewed on the DR tv channel (in Danish).

A Space Saga
Danish Architecture Centre
from 12 February to 4 September 2022

 
 

Tidskapsler - København i 1990'erne / Time Capsule - Copenhagen in the 1990s

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It was strange but a huge amount of fun to walk round this new exhibition at the Museum of Copenhagen.

There are more than 700 time capsules here - compact perspex boxes - 16x16x26 centimetres - that were produced in 1996 - in the year that Copenhagen was the European City of Culture - and then stored away with a promise that all would be revealed after 25 years.

Before going to the exhibition, I would have said that I remember the 1990s quite clearly. However, half the time, objects in the capsules looked so familiar that surely this was all only yesterday but then I'd see something I'd forgotten all about and, with that shock of remembering, I'd realise it really was all a life time ago ... just how could anyone have done that, worn that or used that or could ever thought that seemed normal.

In one time capsule, there was a membership card for Blockbusters and I had completely forgotten about the ritual trip down to the store, literally a block away, on a Friday or a Saturday afternoon to rent a couple of videos if it was going to be a quiet evening.

And it was clearly a very different time and a very different city because, back in the 1990s, Copenhagen was on the brink of bankruptcy with high levels of unemployment. The port had been in decline for at least a decade and much of the housing in the city, particularly in Vesterbro, was very rundown.

Many who could, had abandoned the central districts and moved to new suburbs like Rødøvre or Lyngby. In 1950, there were around 768,000 people living in Copenhagen but the population declined through the 1960s, 1970s and 1980s and by 1990 there were only about 465,000 people living here. That’s a significant decline.

With hindsight, the turning point may well have been when Copenhagen was chosen as the European Capital of Culture in 1996. That triggered new investment in culture and it was certainly seen as a way to stimulate tourism but there would also be important, long-term gains.

Film making and theatre in the city and art and literature were reinvigorated and there was a new optimism in planning and development.

The city began to see the harbour as a potential resource with important new projects for civic building along the harbour with work starting on an extension to the national library that was to leap the old port road so, instead of looking inward to a garden and to the parliament buildings, it staked an early claim to the water frontage. Work began on a new opera house at the centre of the inner harbour and new developments of office buildings were started on either side at the south end of the harbour, including on the site of the old Burmeister & Wain engineering works immediately below Knippelsbro and, below Langebro, along Kalvebod Brygge, on the city side, and along a new harbour park - Havneparken - on the Amager side.

Presumably, back in 1996, the idea behind these time capsules was not just to capture that moment in time - the zeitgeist - but were a way to make people focus on what was good or bad about their lives in the city and perhaps decide what was important for the future.

Individuals and all sorts of societies - including schools, clubs and workplaces - made time capsules and the boxes are filled with an incredible range of objects from condoms, to needles from the drug culture in the city, along with music cassettes and, CDs - then a new and more expensive technology for playing music - and there are floppy discs; a spool of labels for adding bar codes and even mobile phones that were then relatively novel and relatively expensive. There are guide books to the park at Frederiksberg and bus and train timetables.

One box has a single capsule of Fontex .... an anti depressant that was, apparently, discovered in 1972 but first prescribed in 1986.

The time capsules are grouped by general themes and these include:

Kulturlivet / Arts and culture
København som filmby / Film City Copenhagen
i byen i København / out on the town in Copenhagen
Den Første Pride / Copenhagen's First Pride
Body and Mind
Everyday life
Hiphop
Comedy

 

 Alongside the time capsules are photographs and larger objects from the collection to provide a context with separate sections reflecting many aspects of popular culture and particularly music and club entertainment.

Major cultural events and trends discussed include the Dogme Collective of film makers - Lars von Trier, Thomas Vinterberg, Kristian Levring and Søren Kragh-Jacobsen - and there is a director's chair with the name Lars von Trier on the back.

Display panels alongside the time capsules explain the emergence of grunge and techno and a fast-developing and rapidly changing youth culture with amazing artefacts like pairs of Dr. Martens boots and Buffalo Boots.

Copenhagen was the first city to launch free bikes that were financed by adverts. They could be unlocked with a 20 DKK coin that was returned when you returned the bike.

But the exhibition also reflects serious problems and concerns of the time like the aids epidemic. Aids spread through the 1980s and 1990s and in 1996 the first EuroPride - part of a campaign for the recognition of gay rights - was held in Copenhagen and the largest single item in the exhibition is an aids quilt.

The journalist Lasse Lavresen is quoted as saying "The 1990s was a decade of irony when nobody meant what they said, and everybody thought history had been relegated to the past."

In one time capsule there is a sperm sample and maybe, just maybe, that can be seen as ironic - or possibly sardonic - but how many kids put on a pair of Buffalo Boats with the hope that it was seen as a comment on contemporary politics or even as simply a sarcastic gesture? For some, what they chose for their time capsule was a shout of defiance and for others a cry for help but irony? No, not irony but certainly there is a vitality that makes life in the city now seem rather bland in comparison.

 

Københavns Museum / Museum of Copenhagen
Tidskapsler - København i 1990'erne / Time Capsule - Copenhagen in the 1990s
the exhibition opened on 4 February and continues until 31 October 2022

Stamsteder – Københavns sidste værtshuse / The local - Copenhagen's last pubs

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Stamsteder – Københavns sidste værtshuse marks the publication of a new book on "brown" pubs in the city and is described as a pop-up photographic exhibition by the Museum of Copenhagen.

The book was written Anders Højberg Kamp and Johannes Jacobsen with photographs by Thomas Skou and is published by Savador Books.

It records brown pubs and they have played a crucial role in the life of the city, acting as social centres and, for the old, the lonely or the desperate, as homes or a place to escape from home and their regular drinkers as families.

There were over 1,000 pubs in the city and it's suburbs in the late 1980s but that number is down to 200 now.

"The places contain stories and secrets as dark as the darkest bitter, and merry as a light ale and the party can continue until the bright morning ..... (but) the winds of urban renewal blow out into every nook and cranny of the city."

In the exhibition there are photographs of 14 pubs from 14 districts across Copenhagen and Frederiksberg.

Indre by - Centralhjørnet
Vesterbro - Pinden
Østerbro - Bassinet
Frederiksberg - Vinstue 90
Nørrebro - Sorte René
Amager - Cafe Schelenborg
Islands Brygge - Café Isbjørnen
Christianshavn - Fingerbøllet
Christiania - Woodstock
Sydhavnen - Café Fremforalt
Valby - Den Gyldenblonde
Vanløse - Jydeholm Bodega
Nordvest - Café Fuglereden
Brønshøj-Husum - Husum Bodega

Stamsteder – Københavns sidste værtshuse
Københavns Museum / Museum of Copenhagen,
Stormgade 18, Copenhagen
from 1 December 2021 to 2 January 2022

Maker's Dimension at Bygning A

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Maker’s Dimensions shows final projects by fifteen students who graduated this summer from the Royal Academy Crafts schools for glass and ceramics on the island of Bornholm.

Studying at the academy, gives students time, facilities and support to not only develop their technical skills but also an opportunity to experiment - to take ideas in new directions or to find a balance between technical methods and the intrinsic or potential qualities of the materials they are working with - and time to discover and develop a distinct and appropriate personal style.

What can be seen here are the works of young designer-makers who are exploring colour and texture, experimenting with pure forms or using pattern and repetition and testing the qualities of and potential limits of glass and clay.

My Materials, My Tools, My Components, My Collaborative Partner
Hanna Torvik


Works in the exhibition are by:
Annamaria Margareth Hartvig-Clausen, Armel Desrues, Clara Rudbeck Toksvig, Hanna Torvik, In Kyong Lee, Jasmin Franko, Josephine Alberthe Molter, Laura Godsk Vestergaard, Maren Gammelgaard Aaserud, Maria Kildahl Mathiasen, Nathalie Cohn, Sara Vinderslev Mirkhani, Signe Boisen, Thea Dejligbjerg Djurhuus, and Tiphanie Germaneau

Maker's Dimension
26 November 2021 to 9 January 2022
Bygning A, Kløvermarksvej 70,
2300 København S

Det Kongelige Akademi på Bornholm
– Crafts in Glass and Ceramics

update:
Bygning A had to close on 19 December - because of legislation for the control of Coronavirus-19 - but they will reopen on Sunday 16 January 2022 and Maker’s Dimensions will now continue through to 30 January 2022


Ego
Laura Godsk Vestergaard

Kenophobia
Jasmin Franko

Vases Communicant
Armel Desrues

An Ode
Marta Kildahl Mathiasen

 

POET SLASH ARTIST at Kunsthal Charlottenborg

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Commisssioned initially for the Manchester International Festival and curated by Hans Ulrich Obrist and Lemn Sissay, the exhibition has been reconfigured for Denmark and includes the works of 35 Danish and international artists and poets. 

Work from Poet Slash Artist will also shown in streets, and at train stations and bus stops at several hundred locations across Denmark.

This is the first exhibition of what is to be a biennale event.

Poet Slash Artist
20 November to 31 December 2021
Kunsthal Charlottenborg, Nyhavn 2, Copenhagen

 

70% LESS CO2 - Conversion to a Viable Age

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An important exhibition has just opened at the Royal Academy schools of Architecture, Design and Conservation.

Students and teaching departments were asked to submit their projects for inclusion and 31 were chosen for the exhibition to illustrate how new ideas, new materials and new methods of construction or manufacturing will help to reduce global emissions of CO2 by at least 70%.

Significant levels of CO2 are produced by the fashion industries from the production of the raw materials through manufacturing and through high levels of waste and around 10% of the global emissions of CO2 are from the ubiquitous use of concrete in all forms of construction so several projects here suggest major changes to what we make and build and how we use materials.

But there are also projects on using new materials from algae, lichen and mycelium and even one project that uses pine needles for insulation.

There are short assessments of all the projects on the academy site.

70% LESS CO2
Det Kongelige Akademi
Arketektur Design Konservering
Danneskiold-Samsøes Allé 53, København K
7 October 2021 - 14 January 2022

CHRISTIANIA 50 YEARS VAR-IR-BLIR …. an exhibition of posters at Kunsthal Charlottenborg

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To mark the anniversary of Christiania, Kunsthal Charlottenborg has a fascinating exhibition of posters produced by the Free City from their early political posters for the women’s movement and gay liberation through to posters for alternative theatre or progressive rock events in Christiania or for productions at their circus.

The posters are hung on the walls of the main staircase on the first flights up to the cinema and then on up to the main galleries.

To coincide with the exhibition there are screenings of seven documentaries by Nils Vest about Christiania that will be shown on a loop in the cinema.

CHRISTIANIA 50 ÅR VAR-IR-BLIR / CHRISTIANIA 50 YEARS
Kunsthal Charlottenborg, Nyhavn 2, København K
21 September 2021 - 14 November 2021

 
 
 

UKURANT 2021 - PERSPECTIVES

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Ukurant was founded by Kamma Rosa Schytte, Josefine Krabbe Munck, Kasper Kyster and Lærke Ryom.

Following an open invitation, and with more than 200 applicants, the works of 17 designers and artists were selected for this exhibition.

These works explore the overlaps between design and art and form and material with a strong emphasis on colour and texture.

The exhibition was design by Frederik Gustav and has been supported by the Danish design company Muuto.

photographs of all the works

Ukurant Perspectives, at Amaliegade 38

Perspectives was part of 3daysofdesign
but remains open every day through to Sunday 26 September

note:
Det Classenske Bibliotek in Frederiksstaden was built in the 1790s to house books collected by the industrialist and landowner Johan Frederik Classen.

Det Classenske Bibliotek, Amaliegade
Revalued, Elly Feldstein
Passive Coated Chair, Carsten In Der Elst
Lath Chair, Tanita Klein
Monolith, Baptiste Comte
Side Table, Alexander Kirkeby