MONO - Snedkernes Efterårsudstilling / the Cabinetmakers’ Autumn Exhibition 2018

Piqué
designed by:
Hannes Stephensen
produced by: Snedkersind v/Kristian Frandsen

Sunrise
designed by:
Lise og Hans Isbrand
produced by: MoreWood Møbelsnedkeri ApS

 
 

The Cabinetmakers Autumn Exhibition for 2018 has just opened at Thorvaldsens Museum in Copenhagen.

SE - Snedkernes Efterårsudstilling - The Cabinetmakers’ Autumn Exhibition - is an association of 81 designers and manufacturers. Each year their board select a venue for their exhibition and set a theme along with any specific rules for a particular year - often to do with dimensions but this year also stipulating colour - so each work will be restricted to just one colour with the choice limited to either the natural colour of the material itself or to one of the strong and distinctive colours used in the original decorative schemes of rooms in Thorvaldsens Museum.

Each year, guest designers and guest manufacturers can apply to show their work. 

When setting the theme for this year, MONO was suggested to imply a range of associated ideas through monochrome, monolith, monopoly and monologue.

A subheading for the exhibition … furniture shaped by craftsmanship and insight … is crucial. The pieces highlight the skills and the experience of the cabinetmakers who, in some pieces, take their chosen materials to new extremes and, in all the works, take their workshop techniques to the highest level. So the exhibition is in part about the style and the form of each work but the cabinetmakers also represent a long and well-established craft tradition in Denmark so these pieces are about understanding the materials, to know what can be done and how, and to use incredible skills to shape, finish, join, refine or reduce the parts that make each work.

The exhibition is also an opportunity to experiment or to produce designs that might otherwise not be commissioned … the aim is to not only to challenge the skill of the maker but also to challenge the preconceptions of the visitor.

There are forty one works in the exhibition. Most were produced in a partnership between a designer and a cabinetmaker or furniture manufacturer - in many cases a  partnership that is now well-established over many years and over several projects shown at the Autumn Exhibition although several pieces were both designed and made by the same person.

 

the Autumn Exhibition continues at Thorvaldsens Museum until 9 December 2018

Thorvaldsens Museum
SE - Snedkernes Efterårsudstilling

Cupola drejestol / Cupola swivel chair
designed by:
Niels Gammelgaard
produced by: Northern Layers

En stol / A chair
designed by:
Foersom & Hiort-Lorenzen
produced by: Kvist Industries A/S

Introvert position
designed by:
Andreas Lund
produced by: Toke Overgaard

Rum / Encircle
designed by:
Troels Grum-Schwensen
produced by: Malte Gormsen

2Gether
designed and made by:
Steen Dueholm Sehested

Bloom
designed by:
Hannes Stephensen
produced by: Egeværk

Beside
designed by:
Line Depping
produced by: Skagerak Denmark A/S

Guldlok / Goldilocks
designed by:
Monique Engelund
produced by: Sune Witt Skovhus

 
 

MONO - exhibition catalogue

 

The catalogue for the Cabinetmakers’ Autumn Exhibition in 2018 at Thorvaldsens Museum in Copenhagen has a general introduction to the exhibition by the selection board and then for each work there is a double-page layout with a full page black and white photograph for each of the works.

These monochrome images are dramatic and chime with the theme of the exhibition but also give a strong emphasis to the form of each work.

Some pieces have a descriptive or evocative name - so Calm or Look don’t touch and a cabinet for the display of special possessions has the title Ego - while other titles are more straightforward, with works described as Chair or Table and Chair.

Of course the catalogue sets out the name of the designer and the name of the cabinetmaker or the company who realised the work and each entry includes the materials and the dimensions of the piece.

There is also a short paragraph on each work to set out any thoughts that inspired the design or to talk about technical details - many of the pieces use material in an innovative way or the construction is much more complicated than is immediately apparent - and there is a translation in English.

Graphic design is by Studio Claus Due and the black and white photographs were taken by Torben Petersen.

Snedkernes Efterårsudstilling / The Cabinetmakers’ Autumn Exhibition 2018

Thorvaldsens Museum

 

Arne Jacobsen at Designmuseum Danmark

the newly repainted and rearranged display in the Jacobsen gallery at Designmuseum Danmark - the chair standing on the floor is The Ant designed in 1952 and in the case above, against a reproduction of the design Spirea from 1954, the Cylandline range from 1964-1967

The House of the Future designed by Arne Jacobsen with Flemming Lassen for an exhibition in 1929

 

Sometimes it can be as interesting to look at the display cases and the style of the information labels and the lighting in a museum as it is to look at objects on display … and, for obvious reasons, more so when you are in a design museum.

At Designmuseum Danmark they have a space dedicated to furniture designed by Arne Jacobsen. I'm not sure of the date of this display but I would guess that it is over twenty years old.

It is a substantial structure and is itself quite a design item so I can see exactly why it should be kept.

The space is actually square and is on a main through walk down the right-hand range of the museum but under a false ceiling, lit to throw light down into the space, there are three curved areas with raised platforms to make the space circular and that is where furniture by Jacobsen is displayed and there are two large shallow display cases recessed into the walls plus wall space for photographs and panels. These curved platforms pick up shapes in the House of the Future that was designed by Jacobsen in 1929 - in partnership with Flemming Lassen - and as the display includes a copy of a drawing for that house so the echo must be deliberate.

The advantage of this form of display is that the furniture is lifted clear of the floor, giving the pieces at least some protection, but the pieces can still be examined up close and raised up so anyone interested can see some of the details of the construction particularly on the underside.

 

earlier in the summer:
the chairs for St Catherine’s College Oxford; the chairs for the SAS Royal Hotel and a Grand Prix designed in 1957 and The Giraffe for the dining room of the SAS Royal Hotel

photographed this month:
desk and chair for Munkegård Elementary School; The Egg, a Swan Chair and The Drop for the SAS Royal Hotel designed in 1958; an Ant Chair from 1952 and the Skovsneglen / Paris Chair by R Wengler designed by Jacobsen in 1929

 

Display case with flatware AJ designed in 1957, a lamp for St Catherine’s College and the Vola range of taps from 1969

Cylinda line - ‘hollowware’ designed in 1967 and produced by Stelton

Jacobsen is without doubt one of the most important designers from the classic period of modern Danish design in the 20th century and is certainly the Danish designer who the most foreign visitors will know at least something about so I can see exactly why he is given this special treatment.

A recent remodelling of a space further along the same gallery pulls together in one place some of the works in the collection by Kaare Klint but presumably it is felt that to separate out other individual Danish architects or designers for the same treatment would be too greedy on space and make the museum displays rather too fixed in the works and the themes that they explore.

The Jacobsen gallery has just been redecorated and looks good for its fresh coat of paint and for the replacement of photographs that had begun to curl at the edges. What is more interesting is that some of the furniture has been moved around and new pieces brought in so chairs designed by Jacobsen for St Catherine's College in Oxford in the 1960s have been removed. These were less obvious key pieces in the history of Danish design although they show the most refined and most sophisticated use of plywood for furniture in any designs by Jacobsen. They have been replaced with a chair and a desk and a sample of the fabric designed by Jacobsen for Munkegaard Elementary School in the early 1950s.

The main chairs that Jacobsen designed for the SAS hotel in Copenhagen remain - the Egg, the Swan Chair and the Drop - all still in production sixty years later - but the Giraffe Chair that Jacobsen designed at the same time for the dining room of the hotel has gone back to store which is a pity because it shows a very different style and form of chair but just one that did not receive the same popular acclaim as the other designs.

My one criticism of the display is that it shows the ever-present Danish understatement and modesty about what Danish design did and does achieve.

The display cases show the cutlery and the glassware and lighting and so on that Jacobsen designed for the SAS Hotel and there is the absolutely remarkable thing. Arne Jacobsen designed the SAS Hotel, and the air terminal that was originally in the same building, in a style and with a method of concrete pouring that was barely known in Scandinavia and untried at the time in Copenhagen so just for the building design and construction a huge challenge. It is known that Jacobsen had a small drawing office - certainly very small by modern standards - and the core team was actually working in an office in his own home outside the city in Klampenborg in a way he had developed in both the first and the second house as well as this the third house he designed for himself and his family. Yet at the same time, and in a remarkably short period, he designed not just a complicated and challenging building, but also all the furniture including six chairs, at least two of which became truly iconic designs and four of which used innovative materials for an almost unique form of shell design (the first chairs were made with expanded polystyrene)  and he designed carpets, upholstery textiles and all the tableware needed for a large hotel and all equally innovative and all in a period of about five years.

This work by Jacobsen for the SAS Hotel is often described as a good example of gesamtkunstwerk - total design - but even in Denmark that should be taken to be a bit of understatement. Surely the hotel and its interior should be lauded as one of the most incredible personal achievements of any architect in the 20th century.

Designmuseum Danmark

 

MONO - Snedkernes Efterårsudstilling / the Cabinetmakers’ Autumn Exhibition

 

This year the venue for Snedkernes Efterårsudstilling / the Cabinetmakers’ Autumn exhibition is the Thorvaldsens Museum in Copenhagen and the theme is Mono … each work will be restricted to just one colour with the choice of colour limited to either the natural colour of the material itself or to one of the strong and distinctive colours used in the original decorative schemes of rooms in the museum.

The works are also restricted in size to a maximum foot print 90cm by 90cm although the height is limited only by the height of spaces within the museum.

Below is publicity material published earlier in the year with the call for submissions to be considered by the exhibition selection committee. 

MONO - ’furniture with a maker’s touch’ opens on 2nd November 2018

 

MONO - a piece of furniture with a craftsman’s understanding
For Mono, this year's SE exhibition, furniture will be created that demonstrates an engagement and passion for shape, colour and material. Furniture that individually and together expresses quality but also a rhythmic, narrative and simple whole.

With MONO we want to create an exhibition consisting of single-coloured / MONOchrome furniture, furniture that emphasises the individual designer's personal message / MONOlog, and this in conjunction with Thorvaldsenś MONOlithic sculptures and Bindesbøll’s beautiful building

Background:
There are two strong personalities that emerge when you say Thorvaldsens Museum. Bertel Thorvaldsen, to whom the museum was built and whose works it contains and Michael Gottlieb Bindesbøll who is the architect of the building. Both of them, through their work, represent great craft knowledge and a pursuit of the perfect. In addition, Thorvaldsen and Bindesbøll were incredibly adept at using the past in a new and modern way, Thorvaldsen through his new interpretations of ancient history and Bindesbøll through his personal way of using inspiration from Pompeii and Herculaneum.

This year's theme invites:
That the craftsmanship is challenged, perhaps through a new interpretation of the Danish furniture tradition.

That the inner "furniture thread" comes into play, preferably by combining new and old technology. Like Thorvaldsen and Bindesbøll, we strive for the perfect.

That through the materials, the form and the colour, the aesthetic and ethical presence of the furniture is reconsidered.

The goal is for newly thought-out furniture that expresses craftsmanship but also creates a narrative and simple exhibition in interaction with the two great masters.

Requirements for dimensions, materials and colours:
The furniture must have a maximum of 90x90 cm in the floor. The height is free but the furniture must be able to stand everywhere in the museum.

The furniture must be monochrome (one colour) and this can be either the wood's own colour or one of the colours from Thorvaldsen’s museum:

 
 

Ove Arup and the Philosophy of Total Design

 


 This is the second major exhibition at the new Danish Architecture Centre and covers both the early life of Ove Arup and then the major projects around the World of the design and engineering company that he founded in London in 1946. There are profiles of the major engineering projects they have completed including the Sydney Opera House and the Pompidou Centre in Paris with models, drawings, films, interviews and historic photographs.

The story is continued through to current projects including work by the Arup Sound Lab. Arup were the consultant engineers for the road and rail bridge over the sound between Copenhagen and Malmö and for the design and construction of the new building for the Danish Architecture Centre.

  

Ove Arup and the Philosophy of Total Design continues until 17 February 2019
at the Danish Architecture Centre in Copenhagen

WE architecture at Dreyers Arkitektur Galleri

 

"The name WE Architecture is based on the philosophy that architecture is not the result of only one person's stroke of genius" … but  "believe that the best results occur through teamwork and transdisciplinary networks."

 

Jagtvej 69

WE architecture was established in Copenhagen in 2009 by Marc Jay and Julie Schmidt-Nielsen.

Much of their work takes, as a starting point, an exploration of how people and the community respond to and use architecture … what they describe as understanding how physical surroundings "inspire people to create new relationships or to cultivate existing relationships" … exploring the "potential for innovating the framework of communities."

This raises interesting questions because it implies that there can be an enlightened and well-defined relationship of trust between the architect and the end user as well as with the commissioning client. This is not the place to discuss the issue of politics and economics in social architecture, in the broadest sense, in Denmark but possibly a place to raise this important subject.

One project, shown here through a number of models, is a new and ongoing development for Jagtvej 69 in the Nørrebro district of Copenhagen with temporary housing for homeless people and community gardens. This is now an empty plot but was the site of a community centre, Ungdomshuset, which was cleared and demolished in 2007 precipitating street riots … cobbles thrown in the riots are one of 30 objects chosen for an exhibition at the National Museum - Din Ting - to represent key events or movements of the first years of this century. This is precisely what makes Danish architecture so important … designs that responds to the changing needs of society with an awareness of and a sensitivity to broader political issues.

Certainly, looking at the work of the studio over the last ten years it is good to see that so much of their work is in housing, education and culture and all these projects have a strong relationship with their landscape or townscape setting. Models - so massing of elements and overall form - are clearly important as different options for sites are explored through making many models at the initial stages.

The Dreyers gallery has three main levels alongside a steep staircase down from the main exhibition area and WE Architecture have exploited this by stacking up timber boxes to break down the sudden transition from each level to the next. This provides platforms and surfaces for displaying models and photographs of the projects undertaken by the team but they have also incorporated work stations where, for the period of the exhibition, staff will work but are available to discuss their buildings and answer questions.

WE architecture 

the exhibition continues until 2 November
in the Dreyers Arkitektur Galleri at the Danish Architecture Centre

 

ELEMENTAL at Louisiana

 
 

A dramatic exhibition and one of a series at Louisiana under an overall title Arkitekturens Værksteder / Architecture Workshops - ELEMENTAL profiles the work and the approach to architecture of the office in Santiago of Alejandro Aravena.

The process of design is here a main focus of the exhibition that begins with a display of sketch books - a primary stage in their design process. With excellent visuals, on small screens around the edge of the display, you can select a sketch book and explore the contents by swiping through the pages that include both notes and detailed drawings.

In conjunction with this are films running across three large images on a nearby wall that turn through sketchbooks page by page. 

The design process for this exhibition space - from initial ideas through to the construction of the final display - was treated like a specific design project by ELEMENTAL to explain their work process and philosophy. A series of large panels on a lower level of the galleries trace through the whole development of the exhibition from the first letter from Louisiana proposing the exhibition through to the construction in the space. It is rare, as a visitor to an exhibition, to be able to track in such detail the work involved in producing an exhibition on this scale and of this complexity.

There are separate areas with photographs forming a time line for projects and models showing the primary volumes and forms of major buildings. There is a sequence of photographs and drawings of the now famous social housing - half fitted out in the initial construction and half to be completed by the families at a later stage and a sequence of prototypes showing the development of the design of Silla Chair - an open source design. Under a huge suspended box, there is a film of the projects from a drone.

 

ELEMENTAL opened on 11 October 2018 and continues until 28 February 2019
Louisiana Museum of Modern Art

OUT at Statens Museum for Kunst

 

An exhibition of work by the German artist Judith Hopf who is based in Berlin.

In part this work is about how we perceive space - how an artist can organise and manipulate space - and how we respond to space.

And it is also about materials and scale.

The main work, that you see as you enter the gallery, is a diagonal line of three Pears in brick and on a monumental scale - the largest is just under a metre high. That line is reinforced by a low brick wall cutting across the gallery at an angle. 

Untitled (Laptop Men) in polished sheet metal are identifiable as figures holding a laptop and leaning back against the gallery wall but are also like a pictogram but on a life-sized scale.

Suspended around a large video display are curtains hung from the ceiling but stopping short of the floor so you have to duck under the curtain to enter the space to see the video but your legs, from the knee down, seem to become part of the work.

OUT - the video that gives the exhibition its name - shows a high narrow block in front of the open courtyard of an apartment building with distinct features including sun shades over the balconies but, as you watch, the tall block is raised up revealing legs, again from the knees down, showing it is in fact a costume worn by a person and it is our preconceptions and clever perspective and manipulation of perspective that deceives us into seeing it as a building.

As the scene develops there is a short length of hedge on wheels and a young boy playing a full set of drums in what looks like the courtyard of an apartment building.

 

 

the exhibition continues until 30 December 2018
in X-rummet / the X room at Statens Museum for Kunst

Oak Tree - an exhibition of work by Tina Astrup

 

 Tina Astrup graduated as a textile designer from the Danish Design School but also completed a post-graduate degree in furniture and spatial design.

Inspired by the timber and the colours seen in a local saw mill, where oak was stacked and seasoned, the work shown here is a project that has evolved over four years. She takes large disks of timber - sections of tree trunk - or substantial wedges of oak and baulks of wood and enhances both the pattern of the natural grain that mark the growth of the tree but her process seems also to echo mechanical cuts and saw marks that show how a tree is felled and the trunk cut into planks.

She uses vinegar poured over the timber that has been wound tightly with wire … a process that brings out tannins in the timber and creates slashes of dark colour in a way that echoes the effect when textiles are tie dyed.

 
 
 

This changes the character of the oak to make it darker both in terms of colour and in the sense of being much more dramatic.

We tend to see oak now only after it has been worked - so finely cut and planed and smoothed and pale - and see oak as the ideal wood for wide, hard-wearing floor boards or for strong finely-made furniture.

Along with beech and ash, pale or almost white oak is still a hall-mark if not the hall-mark wood for the modern Scandinavian interior. Through the classic period of modern furniture design, the English even talked about ‘light oak furniture’ to distinguish the look they wanted from the ‘dark’ oak of 19th-century and earlier furniture that was regarded as old fashioned or unfashionable.

But oak trees, in the wood or the forest, can be twisted and gnarled - powerful and impressive - and even disturbing.

The cuts and marks on these pieces by Tina Astrup reconnects us with what is, after all, the force - the almost aggressive force - of chopping down a large tree and cutting it into planks and should take us a step back from the product to the natural material and to the way we work with timber to see new possibilities in how designers could work with and use oak in very different ways.

 

Kunsthåndværkere & Designere
Tina Astrup

the exhibition continues until 28 October 2018
at Officinet - the gallery of Danske Kunsthåndværkere & Designere - Bredgade 66, Copenhagen

 

Fortællinger om et sted / Stories of a place

Arkitektens fotokonkurrence 2018 / The Architect's Photo Contest 2018

Following a competition by the association of architects, this exhibition shows the five winning portfolios, each with five photographs of a building or a single architectural project.

In a World that seems to be dominated by superficial Instagram images this is an important exhibition because instead of a quick glance and a swipe right the photographs are presented for careful consideration.

It is difficult to capture, for the record, the qualities and the character of a building in a few images and one function of these photographs is to slow down the process of looking. These photographs are about trying to record what is essential about the style and the form and the materials and the setting of a building.

read more


the exhibition was open as part of the Day of Architecture on 1 October but continues through to the 26 October

Arkitektforeningen
Åbenrå 34
1124 Copenhagen K

Boliger til Folket / Housing for the people

Immediately after the War there was clearly a shortage of housing but also cities realised that poorly-built housing, particularly the dark and tightly-packed housing that had been built in courtyards had to be demolished and replaced with appropriate homes of a much higher standard

The exhibitions at Arkitektforeningen for the Day of Architecture is an opportunity to see here again the exhibition Boliger til Folket / Housing for the people about social housing in Denmark after the Second World War, so through the1940s and 1950s.

This was shown first in Copenhagen in the central library in March 2017 and was reviewed here

This is a second chance if you missed the exhibition the first time round but it is well worth a second look with profiles of several major housing schemes and includes comments by residents from interviews some remembering what the apartments were like when they were new. 

One aim of the exhibition was to re-establish the merits of these apartment blocks by focusing on the quality of the design and the high quality of the initial building work but it also emphasises the reasons for good and sympathetic restoration work to ensure that these buildings not only survive but that they have an ongoing role as good and desirable housing.

KULTUR NATTEN 2018

This year Kultur Natten or Night of Culture is on Friday 12 October.

It is the evening in Copenhagen when museums, many government departments, theatres and the opera house, city hall, the royal palaces and many many other organisations and institutions open their doors to show the people of the city what they do and how.

There are demonstrations, special exhibitions and people only too happy to explain what is done and why. And there is street food and music at many of the venues.

I say it every year but that does not make it less worth saying … spend some time looking at the programme before the evening and try to plan a route to cut down the time you are doubling back or dashing between places but just accept that it really is impossible to see everything. Enjoy the night.

Kultur Natten programme

BIG Art at Kunsthal Charlottenborg

 

An impressive and entertaining exhibition at Kunsthal Charlottenborg with large-scale works created by artists working with the architectural studio of BIG and primarily for major new buildings or for public spaces.

Each work has a video presentation by Bjarke Ingels and this confirms that he is one of the most articulate proponents of modern architecture and planning.

the exhibition continues until 13 January 2019

Kunsthal Charlottenborg

Out of Ousia - Alicja Kwade

 

Through six large gallery spaces at Kunsthal Charlottenborg in Copenhagen, this is the first solo exhibition in Denmark to show the work of Alicja Kwade. ‘Ousia’ is Greek and means being or essence.

One large-scale work in the first gallery, DrehMoment, with large stone spheres balanced on a frame was created in 2018 specifically for Charlottenborg.

the exhibition continues until 17 February 2019

Kunsthal Charlottenborg

farve form stof / colour form texture

detail of 1025 Farben by Gerhard Richter 1974
Parrhesia, sculpture in papier mâché by Franz West 2012
and, in the background Para 1 by Morris Louis 1959

 

Works in this exhibition are drawn from the collection and they mark major themes in art since the Second World War looking at the use of vibrant colour that has an immediate impact and at the exploration of texture and of forms for sculpture that step well beyond realism or, rather, look beyond the realistic depiction of colours and shapes and forms from the natural world.

The exhibition in the lower galleries looks at two other major themes from art from the middle of the 20th century onwards … men and masculinity and war and conflict.


the exhibition farve form stof continues until 21 October 2018
at Louisiana Museum of Modern Art
Gammel Strandvej 13, 3050 Humlebæk

 

Månen / The Moon - From Inner Worlds to Outer Space

 

With more than 200 works including paintings, film, music, literature, photographs, maps and scientific instruments, this major exhibition looks at myths about the Moon; at the way the Moon has been shown in art and in scientific observations and study over centuries and leading to man landing on the Moon fifty years ago.

the exhibition Månen / The Moon continues until 20 January 2019

Louisiana Museum of Modern Art,
Gammel Strandvej 13, Humlebæk

 

LETH & GORI - The Art of Building

 

One of the series of exhibitions of the Dreyers Arkitektur Galleri to show the work of new or young architects, architectural practices and studios.

For this exhibition the architects have produced a timber-framed structure that steps down three levels of the gallery and creates distinct partly- enclosed spaces where models and photographs of their buildings are displayed.

Dreyers Arkitektur Galleri at DAC

Leth & Gori


the exhibition continues at the Danish Architecture Centre until 5 October 2018

 

Din ting - vores historie / Your thing - our history 

 

Thirty objects have been chosen to show trends or mark events that have had an impact and that, in some ways, might represent life in Denmark over the 17 years since the beginning of this century. 

Fifteen objects are from the collection of the museum - important because it makes the point that this is a national museum that is not just about a distant or remote past but is relevant now and looks at the full social and political history of the country through the artefacts it collects because history can be as close as yesterday.

Fifteen objects were selected by a committee from objects suggested by the public. Again this is important because academic staff might feel that they are ‘across’ the major trends of contemporary life and culture but it always helps to get a broad viewpoint. After all, the idea of diversity or at least open discussion about diversity is itself an aspect of life in most modern democracies.

Very few of the objects are what would be defined as design pieces - if your definition of design follows what is seen in design museums or design magazines - but again this exhibition reinforces the most general principle that all man-made objects are designed. They have to be, even if the design is kept in the mind as work starts, and any commercial object that is industrially produced has to be designed - has to be contrived. A manufactured object might not be beautiful or it might not be good design but designed it is.

read more 

the exhibition continues at Nationalmuseet / National Museum of Denmark
Prinsens Palæ, Ny Vestergade 10, 1471 Copenhagen K

confession:
the exhibition opened in November 2017 but I failed to spot it in an upper gallery until recently when I visited the museum with friends who were staying and they wanted to explore and see as much as possible in what was, for them, a new place … it just shows that familiarity breeds laziness

Take My Breath Away - an exhibition by Danh Vo

LOG DOG, 2013

 

Generally, art and sculpture are not reviewed here - on a site that focuses on architecture and design - but this extensive exhibition, showing work by the artist Danh Vo from the last fifteen years, includes pieces that he has chosen from the collection of the gallery and these are presented in a way that challenges our perceptions and preconceptions and uses the architectural space extending across the lobby and the Sculpture Street of the gallery as well as the two main exhibition spaces.

Works include sculpture, furniture, Chinese pavilions in timber and artefacts including letters and photographs. It is the juxtaposition of these elements - so a television and refrigerator and a crucifix together - that tests the boundaries we impose between art works, found objects, discarded or broken art and more mundane household objects that never-the-less have strong and important personal associations.

Danh Vo was born in Vietnam in 1975 and came to Denmark with his family when he was four years old. His work explores themes of migration, colonialism and religion. In the exhibition is a chandelier that hung above the table in the French Ministry of Foreign Affairs where the treaty ending the Vietnam War was signed. He studied at the Royal Danish Academy of Fine Art in Copenhagen and at the Städelschule in Frankfurt. 

the exhibition continues at Statens Museum for Kunst until 2 December 2018

 
 

Chinese pavilions - the pavilion in the middle lobby area with the bronze sculpture It’s Just Not a Waiting Room by Danh Vo from 2013 and the pavilion in the north exhibition hall with commercial shelving used to display some of the works

 
 
 

Sculpture Street with statues from the Royal Cast Collection shown in groups and set on wooden pallets

 
 

GUSTAV’S WING, 2013
Bronze from Pinault Collection

MA TI LONG, 2016
Bamboo bird cage on Roman Corinthian column

UNTITLED, 2018
Roman torso of Venus in marble

 

03.01.1752, 2015
German porcelain recovered from the wreck of the trading ship Geldermalsen that sunk in the South China Sea
Set on a sandstone eagle

08.03, 28.05, 2009
Chandelier from the Hotel Majestic in Paris from above a table where the Paris Peace Accord was signed

 

Bagsider / Flip Sides

 

For the Golden Days Festival this year the theme was The B-sides of History so, for this exhibition, the curators at Statens Museum for Kunst took that literally and present the backs of paintings and drawings in their collection.

And it is fascinating.

read more

the exhibition continues at Statens Museum for Kunst until 10 March 2019