notes, reviews and photographs about current design, design shops, cafes and restaurants and exhibitions and galleries in Copenhagen
news, notes, photographs and thoughts about design, architecture, planning and townscape and exhibitions in Copenhagen
An exhibition of works by the furniture and spatial designer Clinton Stewart that “is an exploration, and observation of the way that we embrace and create associations images and objects that we interact with.”
the exhibition continues at OFFICINET, the gallery of
Danske Kunsthåndvækere og Designere /
The Association of Crafts and Design
Bredgade 66 until 18 May 2019
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
Shown in this outdoor exhibition are seventeen innovative study programmes or research projects by graduate students from the Royal Academy Schools of Architecture, Design and Conservation and each represent one of the 17 UN Sustainable Development Goals.
Rigsdagsgården - the courtyard immediately in front of the parliament building in Copenhagen - is an amazing public space that is easily accessible for everyone and has a regular series of open-air exhibitions but, more important, given the subject of this exhibition, it brings these problems - and the urgent need to find potential solutions - right to the doorstep of national politicians.
These are innovative and imaginative projects that show architectural, design-led or conservation solutions to major global problems but all are based on established design principles and the use of existing technology or of technology being developed now.
This is the best of Danish architecture and design that can and should be harnessed to tackle serious problems that have to be resolved now.
Solutions shown here are a response to huge range of serious questions including questions about:
how we can reclaim methane gas from melting permafrost as a source of green energy
how to use sustainable materials to design textiles and make them a preferred choice
how we create healthcare solutions for elderly citizens that involve people and maintain their dignity
that developing traditional handicrafts can be a starting point for women to start a local business
how novel solutions can ensure that people everywhere have access to clean water
design solutions can tackle the problem of over production of food or food waste and encourage people to share food resources to combat hunger
the design of lighting in the class room can be used to reduce noise levels and encourage calm and concentration in schools
research can find a way to use the waste from fish farms to fuel biogas energy
major architectural projects - changing the use of large but now redundant buildings - can reduce inequalities by enabling everyone in a community to participate
hemp can be an alternative to cotton because cultivation requires less water and less fertilisers
Each project is shown across two large panels for maximum impact but are repeated - two or more projects to a panel - on the side of the exhibition towards the pavement - where the text is in English.
There are important statements here from Jakob Brandtberg Knudsen, Director of the School of Architecture; Mathilde Aggebo, Director of the Design School; Rikke Bjarnhof, Director of the School of Conservation and Lene Dammand Lund, Rector of KADK.
Det Kongelige Danske Kunstakademis Skoler for Arkitektur, Design og Konservering
The Royal Danish Academy Schools of Architecture, Design and Conservation
the exhibition of graduate projects from KADK in Rigsdagsgården
the courtyard in front of the parliament building in Copenhagen
continues until 30 June 2019
DESIGN X CHANGE, at Designmuseum Danmark today, is a major and popular annual event that is part of the Danish Design Festival.
There were demonstrations and displays in Grønnegården - the great courtyard at the centre of the museum - and lectures in the upper hall and all around the theme of sustainability in design.
DESIGN X CHANGE continue at Designmuseum Danmark tomorrow - Sunday 5 May 10.00-17.00
for information about companies and organisations taking part and for details about lectures see DESIGN X CHANGE
uden stråforkter / no straw shortener - are two works by the designer and visual artist Christina Christensen. One work is with rye from fields near Odder, and the other with reeds from Kysing Beach, and both with cotton, linen and brass.
Through their work, many of the artists who exhibited at the biennale communicate complex ideas or raise important issues about our lives … both in our immediate communities but also, more generally, about how we respond to and how we do or how we should appreciate and respect our broader natural environment.
These woven panels raise interesting issues about both how we see and use natural materials and about the impact on nature of human intervention.
Over recent decades research by plant breeders has lead to the development short-stemmed grain crops - to reduce damage from wind or rain, and to increases yields - but, as a consequence, secondary uses for the product from taller varieties are lost.
Until the second half of the 20th century, corn was not simply harvested for the nutritional value of the seed but the long stalks were a sustainable raw material.
Straw (and in many areas reed) was used for thatch where stone slates or fired clay tiles were not available locally or were too expensive for ordinary buildings.
Now, we worry about air miles or about the cost and effect of shipping food, fashion clothing and goods round the globe but I'm curious to know how many people think about where the materials for the construction of their home come from and the environmental impact of those materials at the source, at the factory, and from the transport of the materials.
Generally, in the past - so before the twentieth century - transport of building materials was difficult and expensive. If you were wealthy then you could buy a fashionable fireplace or elaborate panelling from the nearest city or import an exotic wood like mahogany for a staircase to be made by a local craftsman, but for ordinary people, building an ordinary house, materials, generally, came from the local area - often from no more than five miles away - unless you were by the coast or on a river, or, from the 19th century, by a canal or then a railway, when transport costs were less prohibitive.
So, it is fantastic to see the architect Dorte Mandrup using thatch for not only the roof but also for the external cladding of the walls for the new Wadden Sea interpretation centre at Ribe on the west coast of Jutland.
But straw and reed were not just used for building but were also used to make mats or to make furniture - in areas, where good timber was not available - and for making household goods and toys - but how many people now have things in their homes made from straw or reed?
I had a set of table mats that lasted for nearly 20 years before they finally disintegrated and I have a few traditional Dutch Christmas decorations - small birds and stars - that are woven in straw, and every year, for more than 30 years, they come out of the cupboard to be hung on the tree … good and sustainable examples of rural crafts that have much more meaning than tinsel and baubles.
For more than 20 years I measured and recorded and assessed historic buildings of all periods and a good number were thatched. My job was to measure, record and date the timber-work of the roof structure but I have to admit that I rarely thought about the thatch … more than just to note the material and any pattern on the ridge or eaves that reflected the traditions of that area.
Looking at the work by Christina Christensen, reminded me when I first thought about long straw. I had been asked by BBC radio to collaborate on a programme about a thatched building in Oxfordshire and was there to talk about the date of the roof timbers - the form and techniques of construction suggested it dated from the 14th century and that had been confirmed by dendrochronology - but the main contribution to the programme was from a plant archaeologist.
What was so important about that particular roof was that it had never been stripped back for the thatch to be replaced completely. For over 600 years it had simply been patched and repaired with new layers over the old core of straw thatch. Not just exposed roof timbers but also the underside of the thatch itself were blackened with soot from the original open hearth that had been at the centre of the house until the 16th century when a new fireplace with a closed-in chimney was built.
From within the roof space, huddled in cramped space above modern ceilings, with me and the radio interviewer, the archaeologist drew out straws that were not far off 2 metres long and some still had their seed heads. From these he was able to identify the specific types of corn grown in the area in the middle ages - types of corn that were often specific to a relatively small area and certainly no longer grown - and identifying them was important for understanding medieval farming but also important for studies on bio diversity.
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.
This evening, the prestigious Biennaleprisen from Danske Kunsthåndværkere & Designere - the Biennale Prize from the Danish Association of Craft and Design - was awarded to Katrine Borup, Pernille Mouritzen and Bess Kristoffersen for their work Revl og Krat / Wheat and Chaff … an installation that is a curated collection of natural objects - including soil, branches, bark moss and grass - with crafted objects, photographs and notes.
It is a collaborative project by artists who work in the woodland around Dyrehavehuset / Deer Park House - a historic timber-framed lodge that is close to Tystrup Lake - 70 kilometers south west of Copenhagen - and was part of the extensive estates of the historic house at Gunderslevholm.
In the catalogue, the artists acknowledge the influence on their work of the American academic, author and teacher Donna Haraway and cite her recent book Staying with the Trouble.
This is about connections and stories; about art, science and political activism and about trying to understand our environment and about showing respect for nature.
Dyrehavehuset, Rejnstrupvej 5, Fuglebjerg - has been restored and is now the studio of Bess Kristoffersen.
The web site for Deer Park House has a specific page to illustrate some of the workshop sessions and the works produced at the studio for Revl og Krat.
bessktistoffersen.dk
pernillemouritzen.dk
katrineborup.dk
dyrehavehuset.dk
Naturen Vinder Biennaleprisen 2019
Pernille Stockmarr, curator, Designmuseum Danmark
Peder Rasmussen, ceramicist
Christina Zetterlund, lecturer and curator Linnéuniversitet
the exhibition with all eighteen works selected continues until 5 May 2019 at
Nordatlantens Brygge, Strandgade 91, København K
I am curious about the translation of the title of the work.
In dictionaries revl is generally translated into English as batten or possibly lath (plausible as this is a woodland lodge) and krat as a thicket so presumably the saying implies something useful coming from something that might be dismissed or might be seen to be useless … in terms of potential materials, the tangled branches of a thicket are less useful than a carefully nurtured tree from managed woodland.
This has been translated in the catalogue as Wheat and Chaff … where wheat is the grain or seed that you keep and use for food or for planting for the next crop while the chaff is the husks that are discarded after the crop is winnowed.
Is the implication therefore that if you appreciate the chaff then you can use everything?
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.
The exhibition for the prestigious Danish award for the crafts - the Biennalen for Kunsthåndværk & Design - opened today at Nordatlantens Brygge / North Atlantic House in Copenhagen and continues until 5 May 2019.
Artists and designers selected to exhibit this year are:
Anett Biliczki
Helle Vibeke Jensen og Mette Saabye
Mariko Wada
Mia Lagerman
Signe Fensholt
Margrethe Odgaard
Ole Jensen
Kristine Mandsberg
Christina Christensen
Katrine Bidstrup
Kunstnergruppen RØRT: Ædelmetalformgiver og sygeplejerske Kristina Villadsen, Ædelmetalformgiver og arkitekt Maja Røhl, Ædelmetalformgiver og cand.comm. Maria Tsoskunoglu, Ædelmetalformgiver og grafiker Nanna Obel
Katrine Borup, Pernille Mouritzen og Bess Kristoffersen
Sarah Winther
Sarah Oakman og Maj-Britt Zelmer Olsen
Bitten Hegelund og Uffe Black
Bodil Manz og Jacob Manz
Charlotte Østergaard
Sisse Lee
A major exhibition of work by the artist, designer and ceramicist Axel Salto (1889 - 1961) opened in February at Øregaard Museum in Hellerup - just along the coast to the north of the city.
Salto studied painting at the Royal Academy and graduated in 1914.
By 1916 he was living in Paris where he met Picasso and Henri Matisse and on returning to Denmark he produced, edited and wrote for a short-lived but influential journal Klingen / The Blade that was published between 1917 and 1919.
He was a member of the Grønningen group of artists and one of The Four with Svend Johansen, Vilhelm Lundstrom and Karl Larsen who exhibited together between 1920 and 1929.
In the 1920s he began to design ceramics and his stoneware pieces were produced in the workshops of Carl Haller at Saxbo keramik in Frederiksberg and he also produced designs for porcelain by Bing & Grondahl with his work shown at the Paris exhibition in 1925.
This exhibition shows a full range of his ceramic works from small stoneware bowls with incised decoration or bold moulding with Japanese-style glazes to large-scale works with scenes from Classical mythology or stylised nature.
Paintings and strong and very confident ink and line-work drawings, including designs for the ceramics, show clearly the style Salto developed from his training as a painter.
He also worked with the book binder August Sandgren and a selection of designs for end papers are shown in an upper gallery which have a distinct feel of the 1930s with deep colours and stylised and small repeat patterns.
the exhibition continues at Øregaard Museum until 23 June 2019
the bauhaus #allesistdesign
Vitra Design Museum
Bundeskunsthalle
2015
This is a large scale installation by the artist Ingrid Kæsler that looks at how we see colour and how we perceive space and also explores the boundaries of the traditional techniques of how textiles can be coloured and how designs are printed or transferred.
At the centre are four large banners - they are described as membranes - that are hung one behind the other and you are encouraged to walk through the narrow space between them to see how the colours and sense of space and distance changes as you look along or through the work.
These banners all the same size but are made up from separate horizontal strips of polyester with 12 strips to each - of different widths and painted in strong acrylic colours. There are six colours, reminiscent of the colours of the rainbow but deliberately different and they are repeated in exactly the same sequence - so a run of six and then the same sequence of six to make up a complete banner. This creates what is almost a modulation or wave across the work as the banners ripple across the surface with the slight vertical folds of being hung free of the wall but also a gentle rising and falling of the bands of colour from front to back from banner to banner.
Each finished banner was laid out over a large squares of aluminium sheet that was turned through 45 degrees to form in effect a lozenge or diamond and the colour was transferred from the textile to the aluminium to create what are, in effect, translucent windows through which you can see through the work and see light from the gallery windows and the colours of the sequence of banners with a surprising sense of aerial perspective - surprising in that the colours are so strong but the distance between them is tightly confined. It is when you look through, from one to the next, that you see that the word membrane is appropriate.
One starting point or inspiration for the work was thinking about how light is refracted by a crystal.
The aluminium squares are actually made from four separate long narrow panels set side by side to form the square and with the colour transferred these have been set out on the floor on either side but not in the original sequence. Where the edge of the aluminium has left slight traces on the textile and where small areas of paint have not transferred each has a trace or an echo of the other so you can reconstruct where each aluminium sheet was placed when the colour was transferred.
The banners are 3 metres wide and three metres high and the aluminium panels are 1.5 metres by 1.5 metres so there is also a precise relationship between dimensions and scale and how we read space and proportions and about we do or do not make these connections.
Extract continues until 21 April 2019
at Officinet,
Danske Kunsthåndværkere & Designere,
Bredgade 66, Copenhagen
Ingrid Kæseler
Claudia Comte
Copenhagen Contemporary 8 February - 1 September 2019
This is a stunning exhibition in the main hall of Copenhagen Contemporary with the huge space filled with Spruce trunks that are six metres high but stripped of their bark and set on a carpet with a digitally-printed grid that becomes increasingly distorted as you move through the work.
The first rows of tree trunks are upright and set on the grid implying a carefully managed forest rather than natural woodland but the grid might also suggest the grid of roots through which, from recent research, trees are now thought to communicate.
At the centre of the space is a large ceramic sculpture - the only dark form in the space - and beyond that the trunks are falling, either toppled by the ground appearing to collapse or with the apparent hollow created by the falling timber.
You are encouraged to climb on or over the trunks but watching people, it was clear that, as in a forest, the calm and the soft light means most slow down, talk quietly or sit and think - self absorbed. Light from windows and views out have been muted with white fabric that, as in a forest, undermines any sense of distance and direction.
The trees were around 100 years old when they were felled and the growth rings on the cut ends adds that dimension of time to the strong command of the corporeal space.
Donna Huanca
22 March to 1 September 2019
Donna Huanca grew up in Chicago. Her parents are Bolivian and she studied in Houston, in Maine at the Skowhegan School of Painting and Sculpture and Städelschule für Bildende Künste in Frankfurt and she now lives and works in Berlin. This is her first solo exhibition in Scandinavia.
The title, Lengua Llorona, means ‘crying tongue’.
There are sixteen oil paintings on a monumental scale, set away from the gallery walls and at angles to create secondary spaces as you move around the works, and smaller painted-steel sculptures - cut out in complex silhouettes - are set in front of or alongside the larger works. Colour bleeds on to the walls in places and areas of white sand across the floor are shaped and moulded with delicate ephemeral patterns, so this site-specific show occupies the space in an intriguing and very complex way.
Through the gallery there is the scent of Palo Santo - from a holy South American tree and used for cleansing rituals.
There will be a seres of eight performances in the exhibition space during the exhibition period with models decorated with paint and textiles as living paintings.
The exhibition has been curated by Aukje Lepoutre Ravn and performance dates are listed on the gallery site.
Marianna Simnett
Copenhagen Contemporary 8 February to 26 May 2019
This is the first solo exhibition in Scandinavia by the London based artist and is performance art without the artist present as Marianna Simnett is central to both works.
I found the Needle and the Larynx disturbing but that is a confession and not a criticism because a key role of the artist is to challenge our perceptions and easy complacency. The uneasiness was not because I am queasy about needles - I am not - but this is presented as the grimmest of a Grimme’s style fairy story told as a voice over about a young girl who threatens and punishes a surgeon because she wants him to make her voice deeper. The film is of Simnett herself having Botox injected into her larynx to stiffen the vocal chord so that the vocal range is restricted and the voice drops. It is actually that disjunction between the tale, performed like a black bed-time story, and the clinical calm of the injection process that seems shocking.
Faint with light is in a separate gallery - a darkened space where a bank of long light tubes set horizontally respond to the breathing pattern of the artist as she hyperventilates until she faints when the breathing becomes slow and calm and the light patterns subside. The effect is hypnotic and very powerful … the effect of hyperventilating is obvious both in the sound track and in the visual light patterns but here there is absolutely no story or narrative so no reasons are given … this is a highly dramatic act of sound combined with the most simple and abstract use of space and light that again sets up a challenging disjunction. Here it is perhaps not the act itself - of collapse and recovery - that is shocking but that this is on a never-ending loop. There is no respite.
The Copenhagen Architecture Festival - CAFx - begins tomorrow and runs through to 14 April with events throughout the city and also in Aarhus and Odense.
With the title Irreplaceable Landscapes, this major exhibition at the Danish Architecture Centre starts with the new Icefjord visitor centre and research centre that overlooks the Sermeq Kujalleq glacier in Ilusulissat on the west coast of Greenland.
Then, in the main exhibition space at BLOX, are models and information panels for an astounding trilogy of buildings - the three new visitor centres designed by Dorte Mandrup in three different countries that overlook three of the distinct seascapes of Vadehavet / The Wadden Sea.
Vadehavscentret - The Wadden Sea Center - overlooks the marshland of Vester Vedsted in Denmark; the Vadehavscenter - Wadden Sea World Heritage Center - in Wilhelmshaven in Germany incorporates the remains of a war-time bunker and Vadehavscenter - The Wadden Sea Center - is on the tidal waters of Lauwersoog in the Netherlands.
Irreplaceable Landscapes continues at the Danish Architecture Centre until 26 May 2019
“This exhibition has been created by a group of young crusaders who are passionate about making society better. It is the result of a collaboration with Roskilde Festival, which every year builds a temporary city with its own unique brand of broad-mindedness, tolerance and acceptance. Here, young people can get involved, party and celebrate their freedom. This exhibition is a product of the spirit: They have been invited to speak out - to share their ideas for our common future.”
Sustainable Cities
continues at Danish Architecture Centre In Copenhagen
until 2 June 2019
This exhibition is on the three levels of the staircase gallery at the Danish Architecture Centre and is about art projects that have been used to bring about positive changes in vulnerable residential areas.
People living in these large housing schemes can feel marginalised or can be isolated by poverty and many, newly arrived in Denmark, are separated from the support of family or old friends. Becoming involved in art - or merely being given access to something new and something that is special to where they live - can improve day-to-day life or can stimulate a new interest; create a sense of involvement; bring a new sense of pride to an area and can create a sense of ownership and a sense belonging to a place.
Several of the projects give people an opportunity to tell their own story as an individual rather than being simply an anonymous part of a larger statistic about crime or poverty … statistics that quantify and define problems but can only be a starting point for resolving them.
Projects shown here are in Tingbjerg in Copenhagen; Gellerupplaned, to the west of the city centre in Aarhus, and a projects around Blagværd, a northern suburb of Copenhagen, including Kunst Vild in VærebroPark in Gladsaxe.
Communities Without Walls
continues at Danish Architecture Centre
until 2 June 2019
A major exhibition has opened at Designmuseum Danmark on the history, the staff and their teaching and the work of the Bauhaus school of architecture and design.
This reassessment was conceived by Vitra Design Museum and Bundeskunsthalle, Bonn to mark 100 years since the opening of the Bauhaus.
review to follow
the exhibition continues until 1 December 2019
Designmuseum Danmark
An exhibition at Officinet - the gallery in Copenhagen of Danske Kunsthåndværkere & Designere - to show the works of the Danish artist Torgny Wilcke and the English artist Simon Callery.
Both artists have used the colour yellow for a common element and both use what are essentially functional every-day materials - for Callery heavy canvas and Torgny Wilcke timber and corrugated metal strip for roof covering.
Both work on a large scale with a strong presence in the space and both hint at potential practical uses for their works … the wall pieces by Simon Callery reference storage and the large floor pieces by Torgny Wilcke have been used for seating so they are challenging boundaries between art, craft and design.
Both use proportions to bring order and to assume control of the space in the gallery.
the exhibition continues at Officinet until 24 March 2019
Bredgade 66, Copenhagen
Danske Kunsthåndværkere & Designere /
Danish Association of Craft and Design
Torgny Wilcke
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