Stolt / Proud .... modern folk costumes designed by Nicholas Nybro

 

Twenty-one “modern folk costumes” by the Danish designer Nicholas Nybro were inspired by cities and regions across Denmark to explore our relationship to clothing that “transcends geographical local disparities” to “reveal a pride in our origins and a sense of belonging.”

Stolt / Proud
Designmuseum Danmark / Design Museum Danmark
Bredgade 68, 1260 København K

from 5 October 2023 to 26 May 2024

Stolt / Proud
Sonderborg, Nørrebro and Aalborg
Christiania
Strynø
Tisvilde
Fanø

 

Thea Dam Søby at Muji

Until Sunday 10th April, Thea Dam Søby is showing her textiles and demonstrating sewing and repair techniques at the Danish flagship store of MUJI on the 4th floor of the Illum department store in Østergade in Copenhagen. Given how much she has been inspired by Japanese techniques for working with textiles it has been an appropriate venue.

Many of the works shown - both clothing and high-quality household textiles - have been given a second life by using various techniques of tie dye and resist die and by beautiful repairs that become part of the story of the piece.

Thea has demonstrated some of the sewing and patching methods for classes held in the store and for that work she sells amazing Japanese needles - the best in the world - and kits with sewing needles and thread.

We talked about this for some time. My mother and both my grandmothers sewed and knitted. They made curtains - not out of necessity but to get exactly what they wanted - and both grandmothers repaired and darned. All three - my mother and both grandmothers - had drawers or boxes or large bags full of thread and offcuts of material and buttons and patches. Anything and everything was kept in case it could be useful because that was what most women of their age did.

Now, Thea cannot assume that women who come to her classes have needles at home or even a grasp of basic skills.

On Thea's Instagram site there are photographs of a re-dyed white-denim jacket she produced for a fashion journalist ... and I then realised that I had completely forgotten that there was a period when people wore white or faded denim .... jacket, trousers and shirts ... the whole works.

I'm not convinced that I could get away with wearing one of Thea's kimono-style jackets but the household textiles are amazing. The strong colours - mostly deep blue but also some mauve - are striking and where they are applied to antique linens the textures and the patterns of the weaving are incredible and they have a feel and a quality that is rarely matched by modern textiles.


Theas Handmade Textiles
Thea Dam Søby on Instagram

 
 

Langebro in new colours

Langebro - the main road bridge from the city centre to Amager - is hung with scaffolding as the ironwork is repainted.

Langebro was designed by Kaj Gottlob (1887-1976) and was opened in 1954. There are three wide arches with the outer in brick and the central opening arch in iron to cross the harbour - here well over 100 metres across. It carries a wide deck - about 33 metres wide - with three lanes of fast-moving traffic in each direction and bike lanes and footpaths on both sides.

With the construction of the BLOX building, the elegant silhouette of the bridge and the copper-clad bridge tower has been lost when seen from the south. The iron railings and the gantry towers were white or grey white but were recently basically dirt and rust …. hence the need to repaint.

The new colour scheme has pale grey-blue paint for the gantries; very dark blue for the railings, and a deep steel grey for the ironwork of the central arch below the bridge deck. This goes some way to restore a stronger upper edge to the bridge when seen from the quay and is a phenomenal improvement.

Are there drawings or records that show the original colours? - Gottlob certainly used strong colours in many of his buildings and for his furniture and interior designs- or was this an inspired choice by the city engineers?

To give greater strength to the railings, without using heavier ironwork, there are, inner and outer lines of rails that are staggered.

note:
the scaffolding that, in effect, hooked over the top of the railings with heavy concrete blocks on the pavement to counterbalance platforms hanging out over the water.

the old ….

and the new

 

Koloristerne 2021 at Den Frie

L1176452.JPG

With restrictions because of the pandemic, all galleries and museums in the city are closed and the major show of works by Koloristerne - The Colourists - at Den Frie Centre of Contemporary Arts has been cancelled but if the public cannot go into the gallery then the artists can bring some of their works to the exterior of the building.

Carsten von Würden, chairman of the Colorists, says about the project:

“Several studies have recently indicated that what we especially miss here in the closure is art and culture. The physical encounter with art cannot be replaced by a screen. Eventually we are also so tired of the screen all together, so with this manifestation we artists would like to give people the opportunity to have a physical encounter with art! We are therefore super happy to be able to give everyone who comes past Oslo Plads an art experience in a good safe environment outdoors, with a group of Denmark's most talented painters! ”

continues until 21st February 2021 at Den Frie Centre of Contemporary Arts,
Oslo Plads, Copenhagen

KOLERISTERNE
DEN FRIE

 

Members of Koloristerne:
Søren Ankarfeldt, Eli Benveniste, Martin Berge, Asger Harbou Gjerdevik,  Jørgen Teik Hansen, Nanna Hertoft, Ingvald Holmefjord, Ida Kvetny, Anker Mortensen, Lisbeth Nielsen, Niels Reumert, Hartmut Stockter, Kurt Tegtmeier, Helle Thorborg, Inge Lise Westman, Maria Wæhrens og Carsten von Würden.

Invited guests:
Christina Hamre, Signe Jais, Jacob Oksbjerg, Esben Klemann, Michael Norre, Lærke Lauta, Jean Marc Routhier,
Sophus Ejler Jepsen, David Noro, Anne Torpe, Jon Pilkington, Søren Sejr, Anne Sofie Meldgaard og Regitze Engelsborg Karlsen.

 

3daysofdesign - UKURANT OBJECTS

UKURANT was founded in October 2019 by Josefine Krabbe Munck, Kamma Rosa Schytte, Kasper Kyster and Lærke Ryom and they describe themselves as a community and a platform to provide support for young designers across disciplines.

They are questioning the mass production of design where large and well-established companies aim primarily for low manufacturing costs or rely on a back catalogue where an old designs can be given a new life.

The exhibition has “Experimental furniture and design objects by 24 young designers showing how a new generation challenge traditions, experiment with materials and technologies, question cautious aesthetics and challenge commercial design.”

Some of the aims of the group are set out in the catalogue for the exhibition so "UKURANT acknowledges design objects as functional and sculptural. We find that the industry undermines this statement. UKURANT insists on combining an artistic practice with commercial products and challenge the biased notion of commercial design." 

Many of the designs challenge conventional forms and all experiment with materials either by using standard and well-established materials in less conventional ways or by using new materials for different outcomes for standard design products such as chairs. Several designers here are doing what all good designers should do and that is working with a specific material to understand what can or can't be done and to experiment with new techniques or new tools to push that material to new possibilities.

What is common to most of the works is a move towards strong textures and the use of bold and solid shapes that are a clear rejection of minimalism in recent Danish design where the aim so often seems to be to pare down or reduce structure so that designs, for furniture and household objects, can become thin or flat so appear to lack bold confident form or distinct character. Many of the works in the exhibition have a sense of drama and a scale that occupies space in a way that is closer to the theatre and closer to the baroque style of the 17th century than to the rationalism of Danish design from the 1820s or the functionalism of modern Danish design since the 1950s.

The exhibition was designed by Emil Qvist for the basement space of Nyt I bo in Store Kongensgade in Copenhagen and was one of the major events of 3daysofdesign that was moved on to early September from the Spring because of the pandemic. Normally, through 3daysofdesign, this design store makes space available throughout the ground-floor shop area for smaller design companies to show their products but this was a major exhibition and establishes Nyt I bo as a significant gallery venue.

photographs and basic information about the designs

3daysofdesign
UKURANT
Nyt i bo

When Waters Retract - Lars Ryom
Smoke Cloud Chandelier
- Christian and Jade
Artificial Formations - David Ronco
Illusory Functions - Margarida Lopes Pereira
No. 13 - Therese Hald Boesen

 

Foame - Bonnie Hvillum

Where do we go?

Around the city, during the three days of 3daysofdesign, there are interesting exhibitions in interesting venues.

“Where do we go?” is a small exhibition in what had been the space of the Menu showrooms in Nordhavn.

Lucie Kaas with the curator Jens-Peter Brask focused attention on the global refugee crisis with 15 works - kokeshi sculptures painted by contemporary artists and designers that took as their starting point the question "When we leave our homes, where do we go?"

The works were to be auctioned through Bruun Rasmussen with the proceeds donated to the Danish Refugee Council.

3daysofdesign
Lucie Kaas - Where do we go?

 

just because ...........

The design store Hay is at the east end of Amagertorv and has it’s showrooms up on the second and third floor and the last time I was in there I looked out and realised that the light over the roof scape, looking towards Christiansborg, was good and, as always, if you have a camera, why miss an opportunity?

Copenhagen has the most incredible roof scape and up here, on a level with the gutters, you can see that architects and craftsmen spent effort and money on dormers and gables and entablatures that people can barely see from the ground.

This is not a great city for ornate chimney pots but then you can’t have everything.

 
 

PORCELAIN PLUS - Göransson + Manz + Nordli

This is the last opportunity to see Porcelain Plus at Officinet - the gallery of Danske Kunsthåndværkere og Designere in Bredgade in Copenhagen - as the exhibition closes tomorrow 29 February 2020.

Porcelain Plus has been curated by Bettina Køppe of the gallery Køppe Contemporary Objects in Nexø on Bornholm.

Here are shown works by three major Scandinavian ceramic artists with all three working in porcelain and all three artists use slip pouring or casting.

All three show how their works have evolved as they explore specific ideas or a number of themes but also, through the development of their skills and their specific techniques, they explore the qualities of their chosen material to discover what is possible and what is not possible as they exploit what is essential about the qualities of porcelain.

But here, with the current works of the three artists, their pieces could hardly be more different.

exhibition review

Porcelain Plus at Officinet -
the gallery of Danske Kunsthåndværkere og Designere
in Bredgade in Copenhagen -
opened on 7 February 2020 and continues until 29 February.

Officinet, Danske Kunsthåndvækere & Designere
Køppe Contemporary Objects

Mia Göransson
Still Life, 2017

Bodil Manz
Dessau ll, 2019

Irene Nordli
Opløst Venus, 2020

 

Copenhagen Light Festival

For the Light Festival, there are 45 light installations at locations around the city and these vary in scale.

Aurora Sky picks out the facade of one of the large buildings on Rådhuspladsen - the square in front of city hall - in blue and turquoise to compete with the other neon signs of the huge square whereas at Stormbroen - at the south-west corner of the Christiansborg canal - patterns like those in the infamous lava lamps of the 1960s flow through the arches of the bridge while the normal traffic and night life of the city pass across the bridge, apparently oblivious to the light show below. The bright, sharp-green line by Båll & Brand cuts right across the city while the thin elegant fronds of Rest by Group 3 in an open courtyard alongside one of the office buildings of Nordea on Christianshavn are just waist high and change from red to blue as people approach.

photographs of a number of the installations

the festival continues through until 23 February
and details of all the light works with maps and information about related events can be found on the official festival site

Copenhagen Light Festival 2020

 

The Wave returns to Ofelia Plads

 

The annual Copenhagen Light Festival opens officially on Saturday 1 February with 37 major installations that have been set up on squares and streets and across the facades of buildings around the city.

The Wave - a popular light installation by the art collective Vertigo - has returned to Ofelia Plads and was already attracting a crowd this evening.

It's a series of triangular frames that run down the pier on the north side of the national theatre to form a tunnel 80 metres long. Richly-coloured light pulsates or ripples down the length and, as people move through the tunnel, they are surrounded by a mesmerising sound track with five choral works composed by Louise Alenius and performed by singers from the Opera House.


the festival continues at outdoor venues around the city until 23 February 2020
maps and information can be found on the festival site
Copenhagen Light Festival 2020

restoration of the railway station at Østerport

 

Østerport station is at the centre with its distinct hipped roof. The track to Klampenborg and Helsingør is to the north and the later tracks, along the line of the fortifications, to the south - the bottom left corner of the view. The road across the front of the station is here called Oslo Plads with the Nyboder houses to the south - the bottom of the view - and the edge of Kastellet - the earthworks of Kastelvolden to the right and the trees and lake of the public park of Østre Anlæg to the left. This was taken before work on the metro station was finished but the glass pyramids over the metro platform and the steps down into the station can be seen in front of the apartment building north-west of the station

photograph of the station from the marshalling yard to the south taken in 1896 - before building work was completed

the construction of the Boulevard line in 1917 to link Østerport to the central railway station. The corner of a building on the left is Statens Museum for Kunst with the trees of Østre Anlæg beyond and Østerport station in the distance

 

outline history of the station …..

1897 Østerbro Station  designed by Heinrich Wenck (1851-1936) completed

Station known to local people as Østbanegården

1917 Boulevardbanens / Boulevard Railway constructed along the line of the old city defences across the north side of the old city to connect Østerport through to the Central Station via new stations at Nørreport and Vesterport

1923 Østerport Station rebuilt under Knud Tanggaard Seest (1879-1972) chief architect for Danish Railways from 1922 to 1949

1934 suburban line to Klampenborg opened

1 July 2000 new service started with trains from Helsingør to the central station and then on to the airport and across the newly-opened bridge to Malmö. 

September 2019 Metro Station on Cityring opened

Danske Statsbaner - DSB or Danish Railways - have restored the railway station at Østerport with an extensive and major project that has taken two years.

The station was designed by Heinrich Wenck (1851-1936) and it was completed in 1897 as the terminus of the coast line from Helsingør to Copenhagen although, twenty years later in 1917, the Boulevardbanens or Boulevard Railway was constructed along the line of the old city defences across the north side of the old city to connect Østerport through to new stations at Nørreport, Vesterport and then on in a wide curve to the Central Station.

The railway lines here are below street level and the distinct station building runs across the top at street level and faces on to a broad street called here Oslo Plads but in fact a part of the busy main road out from the centre to Hellerup and on along the coast to Klampenborg.

The building takes the form of a large elongated hall parallel to the street with timber posts that support a large hipped roof. Inside there are two cross corridors, running back from the street with high barrel ceilings lit by semi circular windows set in large dormer windows in the front and back slopes of the roof.

Over the years the interior had been altered with secondary walls subdividing the space but, with the restoration, waiting rooms and a large information office have been removed and suspended ceilings taken down to open out the space.

In the new arrangement, there is still a large station store, a coffee shop and office space but by using glass walls there are now open views diagonally through the building that creates a new feeling of this as an open and unified space.

Archaeological investigation uncovered the original colour scheme and this has been reinstated using linseed oil paint with deep iron red and dark blue green colours that give the interior a richness but without being overbearing … an effect that is in part achieved because the paint finish is matt rather than having the gloss of a modern paint.

The terrazzo floor has also been restored.

The original building had a deep veranda across the front and the ends but in the alterations in the early 20th century, the outer walls were moved forward to the front edge of the roof but it was not possible to reinstate those features.

It is where the building looks weakest because this later brickwork, along with poorly detailed windows, look too simple and too rustic or 'vernacular' for what is a major public building.

However, we should just be grateful that the building survived because in the 1960s there were plans to demolish the fine 19th-century station and replace it with a high-rise tower although, fortunately, that scheme was abandoned.

A strong feature of the new arrangement of the interior is the broad and open corridor that runs across the full width of the building to provide a clear access to the doorways to the staircases down to the platforms so circulation seems obvious and rational with good natural and good electric lighting and careful placing of signs and departure boards. At one end the corridor takes you out to the Irma food store - while keeping under cover - and at the other end there will access to take passengers out and down to the new metro station that opened at the end of September.

With the completion of the large new metro station, this restoration of the railway station is part of the complete re-planning of public transport for passengers coming into or travelling round or through the city.

Østerport will now be a major hub with an interchange between suburban trains, a regular service with trains to the airport and from there over the sound and on to Malmö and the new metro circle line and with local buses and links to the ferry terminal for the boats to Oslo and with the terminal for cruise ship further out at Nordhavn. For now these links are by bus or taxi but the metro station at Østerport will be the start of the next stage of the metro line with the completion of the M4 line to Orientkaj and then an extension to the terminal for cruise ships.

Passenger numbers for Østerport are expected to increase from 30,000 to 45,000 people a day.

The work on the restoration has been by KHR Architecture who designed the concrete shopping centre and the sunken office with a pyramid roof and a third staircase down to the platforms for the trains to Sweden that are all also being restored and extended.

Autumn is here

 

With Kulturnatten this Friday, it feels as if we are definitely into Autumn.

There are still a lot of tourists here but there is a marked change as outdoor tables at cafes and restaurants are packed away or blankets and heaters are brought out but, if you find a spot in the sun, then it’s still pleasant to sit outside for a morning coffee.

The leaves are beginning to change but it will be a week or perhaps more before the parks in the city and the forests out at Klampenborg and Charlottenlund take on their full Autumn colours.

For me, the light at this time of year shows the city at it’s best. There can often be clear bright, deep blue skies and, with the sun now lower in the sky, even in the middle of the day, the shadows are rich and heavy so architecture and sculpture around the city looks fantastic for photographs. Of course, evenings arrive earlier and earlier but in that transition from late afternoon to early evening the light over the water of the harbour and the lakes is amazing and even rain can mean striking dark grey skies.

 
 

Kähler at CHART Design Fair August 2019

 

The Kåhler pottery was founded by Joachim Christian Hermann Kähler in 1839 and this exhibition at Den Frie - for the CHART Design Fair - is in part to mark their 180th anniversary. 

Initially, Kähler produced stoves and cooking pots and kitchenwares. Two sons - Hermann A Kähler and his younger brother Carl Frederik Kähler - took over the factory in 1872. After a fire in 1875, a new factory was established and the company began producing finer ceramics, particularly vases, and began working with ceramic artists including H Brendekilde, L A Ring and Carl Lund and later Karl Hansen Reistrup and then Svend Hammershøi who became the artistic director of the company. 

Kähler experimented with shapes, glazes - particularly a hallmark deep red lustre - and with decorative techniques of painting by hand.

The exhibition here showed a range of their pieces through the history of the factory that show how, as a commercial company, they had to respond to changes of fashion but also, by employing well-established and talented artists, they could also set certain styles. 

Plaster casts for slip-pouring moulded, rather than thrown, pieces and sample strips of glaze colours gave some insight into the technical aspects of the high-quality ceramics.

In 1974 the factory was sold to Næstved municipality and then passed through a number of owners including Holmegaard but since 2018 has been part of the Rosendahl Group.

Kähler

Copenhagen Gay Pride

 

This has been Copenhagen Gay Pride week with events all round the city with the highlight probably being the parade today with thousands taking part and huge crowds making it a major event.

The city has been decked out with rainbow flags and the colours of the rainbow on major buildings and for light shows.

Refshaleøen as a venue for the Copenhagen Photo Festival

Although there are exhibitions all over the city, Refshaleøen is the centre for the Copenhagen Photo Festival.

The area - with huge but abandoned buildings from the shipyards here until the 1990s - has an incredible atmosphere - part dereliction and decay and part alive with energy as the area is being transformed.

It's definitely photogenic with amazing materials, colours and texture and with strong contrasts between areas of decay hard against buildings and areas being given a new life.

But there is an odd disjunction ….

The area has become a playground for the city. Of course that's not in itself a bad thing because Copenhagen needs somewhere where people can make a noise - the heavy metal festival Copenhell is out here at the end of the month - or make a mess and it's somewhere artists and makers and young start-up companies can find work space with low or relatively low rents for now in this interim period before developers and money men move in and they are driven out. The area feels consciously edgy but maybe slightly hyper because everyone knows the clock is ticking.

There are actually expensive places here to eat and drink alongside a huge variety of foods from the food market … and I'm not knocking any of that … I'm as middle class as you can get and come out here to Lille Bakery to buy some of the best bread in the city … but ……

And this is where my inner puritan kicks in …Refshaleøen was a huge and, for the post-war Danish economy, a crucial industrial site where thousands of men worked and worked hard and the memory of that is fading and disappearing. Machinery, hoists, cranes have all gone with little remaining to tell you what was done and where.

I'm not romanticising work that must, for many, have been hard and grim. It's just that it is now 30 years since ships were made here so there must be fewer and fewer people alive who actually worked in the yards. Should people now still try to understand all that and remember? Do we need to understand how we got here to make sense of where we are going?

If you stopped any of the foreign students arriving in droves on their bikes or any of the tourists off the ferry and asked them then very few would even know that this part of the city had been a shipyard. Does that matter?

My first trips to Copenhagen were after the ship yards closed, so I have no first-hand idea of what this area was like through the 1950s and 1960s, except from looking at old photos and maps  and maybe that is the other odd thing that few visitors will understand … this land was claimed from the sea, became a major industrial area and failed and dismantled and abandoned in just three decades. In an age when we are more and more concerned about our impact on our planet, is Refshaleøen a stark example of man moving in, transforming a landscape and moving on leaving the mess … so a monument to hubris … or a lesson in pragmatism … our ability to salvage and make something new once the old is no longer of use?

And if I missed the shipyards, I do remember the area before gentrification began … exploring and taking odd photographs of scrap yards and wire fences and vicious guard dogs and feeling uneasy, knowing I was intruding, and waiting to be challenged or seen off at any moment.

Again I'm not romanticising that in any way but maybe cities need scruffy land on the edge of regulations and outside planning and controls although, I guess, that is not on the agenda of the politicians and developers.

 

previous posts:

Is This Colour? - an exhibition by Kontempo at The Round Tower

 

Kontempo, an association of textile designers in the Nordic region, was founded in 2015. With a board of eight textile and furniture designers who meet once a month, they are "working to raise awareness about contemporary textile work and practices."  

Is This ….? …. is a series of exhibitions by Kontempo with Is This Colour? being the third following Is This Textile? in 2016 and Is This Knit? in 2017.

Here, twenty four works are shown that, using many different materials and styles, explore aspects of colour. The Gallery is in the Trinitas Church, the parish church for students, in an upper level that housed the university library, and access is via the brick spiral ramp in the tower. With windows on both sides - with views over the city - there is amazing natural light through the space and that is exploited in the exhibition so that what is clear, immediately, is that surface, texture and shadow all have a crucial role in how we perceive colours.

KONTEMPO
the exhibitions continues at Rundetaarn / The Round Tower until 23 June 2019

the framework
ide Blichfeld

NCS S 1080 Y20R
Kitt Dusnia

compleat
Charlotte Østergaard

colour lab
Louise Sass

duotone
Eva Fly

translucent faces
Henning Larsen

There I Belong at Statens Museum for Kunst

 

There I Belong is the first in a new series of exhibitions under the title SMK Plus where contemporary artists will explore the collections of the National Gallery.

For this exhibiion - Inspired by the works of the Danish painter Vilhelm Hammershøi who lived and worked in Copenhagen around 1900 - the artists Michael Elmgreen and Ingar Dragset have collaborated with Marianne Torp and Tone Bonnén, the museum's curators of contemporary art.

Spartan interiors by Hammershøi are restrained and calm but they are enigmatic - paintings that tread a fine line between being self contained or depictions of a life of painful isolation. The paintings resonate with a contemporary audience, reflecting aspects of modern taste and restrained Scandinavian interiors.

There may be windows in these rooms but the view out to a world beyond is usually obscured by thin, translucent curtains … the natural light entering the room is crucial but a sense of place not so because these are studies in light but never put people, objects or place under a harsh spot light. Figures in the paintings are detached, generally absorbed in what they are doing, inward looking, often with their back to the viewer and in many of the paintings we do not even know if they are reading or writing or simply sitting with head bowed in quiet contemplation. Open doors indicate that there are rooms beyond but barely hint at a lived life.

Interior with the Artist's Easel, takes this to an extreme because, when painting the picture, the artist himself should be at the easel. The only conclusion has to be that there is a second easel at the point where the viewer is standing so are we the artist? Perhaps we have been co-opted into this quiet and private world but this is the ultimate antidote to that modern scourge - the selfie - where the photographer shows themselves at the centre of the scene, always the subject of the view, inevitably relegating an event or scene beyond to a secondary role.

The second gallery - a large space - shows the work Powerless Structures (8 doors) by Elmgreen & Dragset from 2000-2002. These are the most simple, basic, standard white doors imaginable, with plain white door frames but each is a variation in a theme of a detachment from the real or the functional … one door has handles and hinges on both the left and the right side so it would be impossible to open - another has a handle that is not on the door but on the wall alongside so it might or might not open - one door is slightly open to reveal a locked door immediately behind - one door is folded and wrapped around the corner of the gallery - a pair of doors on adjoining walls at another corner are separate but linked by a security chain as if someone might be able to squeeze through from a room on one side to another room without being able to get into the gallery.

This work, or a version of this work, was shown at Statens Museum for Kunst in 2015 in Biography - an ambitious set of major installations by Elmgreen & Dragset. Then, the doors were part of a corridor and a series of rooms that were in what appeared to be a government or public office building. If not obviously dystopian then the corridor was completely anonymous and designed to smother any sense of self. On entering you had a choice to go one way or the other but with no signs or notices to say where you were or why you were there although you could get a ticket from a machine to wait for your number to be called but it never would be, of course, and if you proceeded past these doors you could only return to where you started.

By now placing these doors on the four walls of a large gallery, the work takes yet another step back and pays homage to Hammershøi but expands his space until it is monumental in scale.

The exhibition includes photographs, paintings, sculptures and video by other artists - all taking the theme of doorways and spartan anonymity - with works by Njideka Akunyili Crosby, Lilianna Maresca, Francesca Woodman, Robert Gober, Annika von Hausswolff, Ugo Rondinone and Thomas Ruff. Only the work by von Hausswolff is from the museum collection with the other works either courtesy of the artist or on loan from galleries and private owners.

 

the exhibition at Statens Museum for Kunst / The National Gallery in Copenhagen
continues until 1 September 2019

Interior with a young woman sweeping, 1899

Interior, No 30 Strandgade, 1906-1908

Interior with the Artist’s Easel, 1910

the Biennale - to play and learn together

 

This work by Kristine Mandsberg has prominent labels that read "please touch".

Play and, through play, early learning is one of the first stages where a child not only begins to explore and understand the physical world but also begins to build bonds with parents, siblings and a growing circle of friends.

Copenhagen has remarkable playgrounds with a huge range of equipment to test agility, to stimulate the imagination of children and to encourage play and the production of toys and furniture for children has been important in the works of many designers.

Kristine Mandsberg trained as a textile designer in Kolding and once you know that then the structural form of Three of a Kind, with warp and weft, becomes intriguing.

She also describes herself as an illustrator and the bold simple shapes here and her use of strong, bold colours has to come from a graphic sensibility.

But it was not just children who spent time twisting and turning and resetting these pieces. It was interesting to watch adults set and re set the pieces … perhaps not to find the inner child but seemed to reflect, at least, the way humans are curious about complex and adaptable structures.

These works have an element of mechanics about them … reminiscent of old wood football rattles that are never seen at matches now.

Biennalen for Kunsthåndværk & Design

kristinemandsberg.com

 

Fællesskab anno 2019 / Community anno 2019

Catalogue for Biennalen for Kunsthåndværk & Design / The Biennale for Craft & Design 2019

The forward for the catalogue has been written by  Hans Christian Asmussen - designer and lecturer in design and on the board of Danske Kunsthåndværkere & Designere / the Danish Association of Craft and Design.

He discusses the growing importance of our sense of community and the eighteen projects chosen for the Biennale consider, in one way or another, our "notion of community - some with a critical voice, some in a playful tone, some tenderly, but all striving to explore the value that community offers."

This is about how artists, through their work, explore complex ideas, express what they feel and give the viewer reasons to think and reconsider by emphasising or challenging a view point or simply by shining a light on aspects of our lives that possibly we need to reconsider.

There is a longer essay on Community by the design historian and design theorist Pernille Stockmarr. She makes the crucial observation that with the frequent use of terms such as 'sharing economy', 'co-creation', ‘co-design', 'crowdsourcing', and 'crowdfunding', the concepts of community and cooperation have a strong and important relevance.

Historically, the concept of community is strong in Denmark with a well-established welfare state; a strong sense of family and friendship; a strong and ongoing role for the co-operative movement in retailing for food and household design and a strong volunteer movement through various sports and hobby associations.

In part, political change outside Denmark and the growing pressure to resolve threats to our environment has lead many to question what motivates us and those uncertainties make us reconsider our priorities and help us decide how we can move forward as local or wider communities.

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