Formsignage

FORMSIGNAGE ARNE SCHREIBER ELLEN HYLLEMOSE FRANZISKA HÜNIG ILONA KÁLNOKY KERSTIN GOTTSCHALK MALENE LANDGREEN MARIE SØNDERGAARD LOLK NICOLA STÄGLICH REBECCA MICHAELIS RUTH CAMPAU SIMON CALLERY TORGNY WILCKE TROELS AAGAARD

17. august – 15. september 2013

17. august – 15. september 2013

FORMSIGNAGE ARNE SCHREIBER ELLEN HYLLEMOSE FRANZISKA HÜNIG ILONA KÁLNOKY KERSTIN GOTTSCHALK MALENE LANDGREEN MARIE SØNDERGAARD LOLK NICOLA STÄGLICH REBECCA MICHAELIS RUTH CAMPAU SIMON CALLERY TORGNY WILCKE TROELS AAGAARD

FORMSIGNAGE

Forord Lis Langvad – Lyngby Kunstforening

Med denne udstilling er det kunstnernes intentioner med malerier, skulpturer og installationer at forholde sig til Sophienholms lokaler og give de besøgende kunstneriske oplevelser i 3 dimensioner med flere fortolkningsmuligheder. Hvor brugen af materialer og udnyttelsen af rummene åbner for genkendelighed uden nødvendigvis at være umiddelbart forståelig.

Vi siger tak til Torgny Wilcke og de øvrige udstillende kunstnere for samarbejdet med at få udstillingen op at stå.

Den udstillende gruppe af kunstnere – 13 tyske, engelske og danske billedkunstnere – har givet udstillingen navnet ”Form–Signage”, hvor signage kan oversættes til markering eller tegn.

Det er vores håb, at de besøgende vil være åbne for indtrykkene og få en spændende kunstoplevelse med det såkaldte ”udvidede maleri”.

Udstillingen sætter fokus på fysisk form, materiale og udseende over for tegn som markering og installering i rummet.

Udstillingen er kurateret af Franziska Hünig, Rebecca Michaelis, Nicola Stäglich og Torgny Wilcke.

Også tak til Statens Kunstråds Billedkunstudvalg, Statens Kunstråds Internationale Billedkunstudvalg, Grosserer L.F. Foghts Fonds og Beckett Fonden, hvis støtte har været en afgørende forudsætning for udstillingens gennemførelse.

Lyngby Kunstforenings formål er at formidle samtidskunst. Med kunstforeningens årlige udstilling i Sophienholms dejlige lokaler giver vi et bud på, hvor kunsten også bevæger sig hen. Vi indgår i Sophienholms udstillingsplan med en udstilling, der giver en vekselvirkning og balance til årets øvrige udstillinger på stedet.

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Lyngby-Taarbæk Kommune skal takkes for endnu en gang at stille Sophienholm til vores rådighed, og Sophienholms leder, Benedicte Bojesen, og hendes personale skal have tak for stor hjælpsomhed og godt samarbejde.

FORM SIGNAGE / SOPHIENHOLM 2013

Foreword Lis Langvad – Lyngby Kunstforening translated by DAN A. MARMORSTEIN

The primarily objective of Lyngby Kunstforening [Lyngby Art Association] is to disseminate contemporary art. With the art association’s annual exhibition, held every year on Sophienholm’s lovely premises, we offer our bid on what direction art is moving, actually. We take our place on Sophienholm’s exhibition scheme with a show that provides interaction with – and also serves to balance – the rest of the year’s exhibitions at the venue.

ists’ intentions all along to relate – with their paintings, their sculptures and their installations – concretely to Sophienholm’s stately halls and to endow the visitors with artistic experiences unfolding in three dimensions that allow for several possibilities of interpretation, where the use of materials and the artists’ respective ways of appropriating the rooms open up for recognizability, without necessarily being immediately graspable.

The exhibiting group of artists - thirteen German, English and Danish artists – have given their exhibition the name, “Form-Signage” – with the term “signage” being employed here in the sense of both marking and sign.

It is our fervent hope that the visitors will be open to the impressions and will obtain an exciting art-experience with the so-called “expanded painting”.

The exhibition focuses on physical form, material and appearance, in their confrontation with signage, in its capacity as marking, sign and installation in the space.

With this exhibition, it has been the art-

FORM SIGNAGE / SOPHIENHOLM 2013

The exhibition is being curated collaboratively by Franziska Hünig, Rebecca Michaelis, Nicola Stäglich and Torgny Wilcke.

Once again, another round of gratitude must go out this year to the municipality of Lyngby-Taarbæk – for putting Sophienholm at our disposal. We would also ask that Sophienholm’s director of exhibitions, Benedicte Bojesen, and her staff accept our heartfelt thanks – for their ready-and-willing helpfulness and for the good climate of collaboration.

Thanks also to Statens Kunstråds Billedkunstudvalg [The Danish Art Council’s Visual Arts Committee], Statens Kunstråds Internationale Billedkunstudvalg [The Danish Art Council’s International Visual Arts Committee], Grosserer L.F. Foghts Fond [Carpet-textile merchant L.F. Foght’s Fund] and Beckett Fonden; the generous support bestowed upon the project by these organizations has been indispensable in connection with the mounting of this exhibition.

We would like to thank Torgny Wilcke as well as all the other exhibiting artists for working with us to get the exhibition up and running.

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FORMS Form versus markering eller tegn i rummet af Torgny Wilcke 2013

bet, gryderne m.m. gør et rum til køkken og kakler gør det til et badeværelse og arkivskabet og kontorstolen gør det til arbejdsværelset og sofaen det til en stue og andet igen gør det til et værksted, et møderum o.m.a. Eller udenfor hvor noget lignende sker med brug af vejskilte, bannere, cykelskure, halvtage, p-båse, cykelstier, fortorve m.m.m.

”Form – Signage” kunne måske også skrives som ”form versus markering eller tegn i rummet”, og titlen peger på centrale forhold i deltagernes måde at lave og udstille kunst.

Deltagerne arbejder med et udvidet maleri, hvor der bruges klassiske kunst materialer, oliemaling, lærred og gips på lige fod med byggematerialer såsom tømmer, træpaneler, metal, formica, plexiglas og tekstil. Og med form tænkes dels på fysisk form som materiale, udseende og hvordan værket rent faktisk er lavet, men også på form som værkets idé og den plan, som det er udført efter, man kunne sige værkets ”støbeform”.

Værkerne installeres i forhold til de fak-

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tiske rum, vægge, vinduer, møbler og interiøret på udstillingsstedet Sophienholm, og forskellen mellem liv og kunst kommer i spil på en anden måde end i maleriet over sofaen derhjemme eller i de hvide kuber på museerne. Værkerne bevarer egenskaber, som de besøgende kender fra hverdagen, men værkerne er åbne for fortolkning og har også karakter af noget andet.

Med signage eller skiltning fokuseres på at disse kunstnere er optaget af at placere og installere deres værker, så rummet bruges og ændres med betydende markeringer og tegn. Og det er OK, hvis nogen med de her ord kommer til at tænke på tegn og markeringer i deres hjemlige rum, hvor komfuret, køleska-

På ”Form – signage” er skiltningen ikke så åbenlys; her er skiltningen eller tegnet materialerne, som ’tegn bag tegnene’. Det er især brugen af hverdagsmaterialer, der signalerer et særligt forhold til værkernes tilstedeværelse i rummet. Denne relation mellem materialer og rum sætter tanker i gang om mod og medspil til huset, dets historie eller indretning og til en dagligdag udenfor.

Med markering i rummet påvirkes det aktuelle rum, og det bruges som det det er. At bruge det aktuelle rum er fx at gøre det til et held at det er en smuk villa med smukke gamle rum, høje paneler og parketgulve.

Kuratorgruppen Nicola Stäglich, Franziska Hünig, Rebecca Michaelis og Torgny Wilcke har tidligere gennemført 3 udstillinger under navnet ”Crossing Abstraction” i Bethanien, Berlin 2009 og Erfurt Kunsthaus og Forum für Konkrete Kunst, Erfurt, Tyskland i 2012.

FORM SIGNAGE / SOPHIENHOLM 2013

SIGNAGE Form versus markings or signs within the space

by Torgny Wilcke 2013 translated by D AN A. M ARMORSTEIN

“Form – Signage” could perhaps also be voiced as “form versus markings or signs within the space” – the title points to central conditions related to the various participants’ ways of making and exhibiting art.

The artists taking part in the show are working with an expanded kind of painting, where classical art materials such as oil paints, canvas and plaster are used on equal terms with construction materials like lumber, wood paneling, metal, Formica, Plexiglas and textiles. And what is implied by the use of the word form is, in part, physical form as material – as appearance – and refers to how the work has actually been made but also touches upon form as the work’s generating idea and the plan according to which it has been executed: one could also speak about the work’s “mold”.

The works are installed in relation to the existing rooms, the walls, the windows, the articles of furniture and the interior decoration found at the exhibition venue, Sophienholm, and the difference between life and art comes into play in a way that is essentially different from what happens with a painting positioned over the sofa at home or inside the white cubes at the museums.

The works retain qualities and attributes that the visitors know from every-

FORM SIGNAGE / SOPHIENHOLM 2013

day life but, at the same time, the works are open to interpretation and also take on the character of something else .

By highlighting the notion of signposting or signage , there is a focus aimed at the fact that these artists are interested in placing and installing their works in such a way that the space is being put to use and is being altered by significant markings and signs.

And it’s alright if someone, prodded by these particular words, comes to think about the signs and markings in their own domestic spaces, where the stove, the refrigerator, the pots and pans, etc. turn one space into the kitchen while the presence of tiles turns another space into a bathroom and the file cabinet and the office chair turn yet another space into a study and the sofa turns space into a living room while some other kind of article might give rise to a workshop, a conference room ... and so on and so forth. And then again, moving outdoors, something similar happens with the use of road signs, banners, bicycle sheds, lean-to’s, parking bays, bicycle paths, sidewalks, and so on.

At “Form – signage”, the signposting is not always so obvious: here, the signage or the sign constitutes the materials, as “signs behind the signs”. It is especially the use of everyday materials that signals a special relationship to the

works’ presence in the space. This relationship between materials and space sets thoughts in motion up against – and in interplay with – the building, its history or its interior design as well as to the everyday life going on outside the building . With the marking in the space, what are being affected are both the current space and the way in which it is being used as it is. Making use of the current space is, for example, a way of making a virtue of the fact that this is an exquisite villa – with beautiful old rooms, tall wainscoted panels and parquet floors.

The curator group, Nicola Stäglich, Franziska Hünig, Rebecca Michaelis and Torgny Wilcke has previously prepared and mounted three exhibitions, presented under the name ”Crossing Abstraction”: first at Künstlerhaus Bethanien in Berlin, in 2009, and then at Erfurt Kunsthaus and at Forum für Konkrete Kunst in Erfurt, Germany, in 2012.

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FORMSIGNAGE

At trylle med rummet Af Torben Sangild

Forestil dig et maleri. Et helt almindeligt maleri på lærred som hænger på væggen. Et maleri, der som et vindue viser en anden verden og et andet rum, et virtuelt fantasirum. Forestil dig så, at maleriet sprænges, ikke bare at rammen går i stykker, men at maleriets virtuelle rum eksploderer ud i det reale rum, det rum du står i, så elementerne spredes ud, og du selv står midt i det hele, midt i et reelt rum, der samtidig er maleriets rum. Sådan kan man måske bedst forstå det udvidede maleri, selv om der ikke er foregået nogen eksplosioner, selv om kunstnerne har nørklet stille og roligt med at komponere rummet.

Den følgende tekst er skrevet før udstillingen og dens værker blev til, og handler derfor om nogle mere generelle træk ved den type kunst, som kendetegner de deltagende kunstnere. Der er indsat tre uddrag af et interview med kunstnerne Torgny Wilcke og Troels Aagaard, der sammen har redigeret dette katalog.

En lille historisk fortælling om maleriet Der var en gang en forestilling om maleriet. Forestillingen var en række ideer i hovedet på folk. Forestillingen gik ud på, at

FORM SIGNAGE / SOPHIENHOLM 2013

et maleri var et lærred, der var spændt ud på en firkantet blændramme og bemalet af en kunstmaler med olie- eller akryl-maling med henblik på at hænge på en væg. At der altid havde eksisteret maleri, der ikke levede op til disse krav, gjorde ikke noget, for forestillingen var stærk, den var nemlig enkel og i bogstavelig forstand firkantet. Med den forestilling i hovedet, kunne man forholde sig til noget så vanskeligt som kunst. Og fordi langt det meste kunst også levede op til forestillingen, ja, skabte den, var forestillingen ikke det store problem.

Det gik først rigtig galt, da nogle mennesker begyndte at skabe en myte ud af forestillingen. En myte om, at forestillingen ikke bare var en forestilling, men selve maleriets essens. Og en amerikansk mand, der hed Clement, gik så vidt som til at mene, at det fineste maleri var det, der var tættest på den rene essens. Og det var helt abstrakt og rent og meget, meget maleriagtigt. Og folk lyttede til ham, og mange troede på det, og han var også rigtig god til at skrive om det, men samtidig var der nogle, der var trætte af ikke at være lige så fine, og så gjorde de oprør.

De lavede alt muligt andet. Mange synes slet ikke man skulle lave maleri mere, men nogle gjorde det alligevel, bare på en anden måde. Noget af det lignede reklamer og collager og havde virkelige ting klistret på. Noget gik ud over rammen og ud i det konkrete rum i stedet for fantasirummet, brugte alle mulige materialer og blandede sig med skulptur og med installation og med design og så kaldte man det for udvidet maleri, og så lød det alligevel lidt fint, og årene gik og der var færre og færre dogmer, men alligevel syntes man, at man skulle fortælle historien om det traditionelle maleri og reaktionen mod det, og nu gør jeg det også, og det er bare fordi forestillingen stadig er ret stærk oppe i mange hoveder.

Men egentlig er det slet ikke den historie, der er den mest interessante, for den er fortalt så mange gange, bare i et andet sprog. Det mest interessante er ikke, hvad det udvidede maleri ikke er, men hvad det så er. Ikke at se det som noget negativt (et oprør), men noget positivt (en udtryksform).

Rummet, kroppen, atmosfæren I stedet for det imaginære rum, som et

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traditionelt maleri skaber, er det nogle helt konkrete rum, disse værker udfolder sig i. Det er maleri i tre dimensioner, der ikke er begrænset til lærred og maling, men som sætter genstande med former og farver i rummet og skaber en samlet komposition i tre dimensioner, som man kan gå rundt i.

Der er en forskel mellem at vandre med øjet i et imaginært rum og at vandre rundt med sin krop i et konkret rum.

Denne forskel bliver tit formuleret som værende mellem noget rent visuelt på den ene side og noget kropsligt på den anden. Det er ikke helt rigtigt. Al kunst virker kropsligt, også et billede. Vi sanser det primært med øjet, men ikke kun. Hele vores sanseapparat er i brug, ikke kun de fem sanser, man plejer at operere med. Vi har 17 sanser, hvis man tæller det hele med – inklusive den balancesans, som hel konkret er afgørende, når vi fornemmer om et billede er i balance. Og også vores tankeapparat og vores føleapparat er med, og de er tæt forbundne, tættere end vi normalt tror. Hele vores sensibilitet er i princippet på arbejde, når vi ser, eller rettere oplever, et billede.

Det som gør sig gældende, når billedet bliver til et rum, vi kan gå ind i, er, at visse dele af vores kropslige sanselighed aktiveres mere direkte og i højere grad. Vi bevæger os ikke virtuelt, men reelt rundt i rummet. Vi anskuer tingene fra forskellige vinkler, går rundt om dem, navigerer i forhold til dem, fornemmer deres stoflighed, selv om vi som regel ikke må røre ved dem. Og ikke mindst orienterer vi alle elementerne på en meget direkte måde til vores krops placering og skala. Der er en stor forskel på, hvordan vi oplever ting, som er cirka på størrelse med os, ting der er meget større end os, og ting der er meget mindre end os. Det er nogle helt basale skalaer. Vi føler os i en vis forstand lidt overlegne i forhold til meget små ting og en lille smule truet af de store. Vi relaterer mere jævnbyrdigt til genstande på vores egen størrelse. Hertil kommer tingenes placering i forhold til vores krop: Er de under os, kryber de langs gulvet eller hænger de over vores hoveder eller står de over for os? Det gør alt sammen en forskel for vores oplevelse.

Et andet aspekt af mødet mellem rum og krop og sensibilitet er, at alle rum har en atmosfære. Atmosfæren er en slags objektiv stemning, altså den stemning, der møder én, når man træder ind i rummet, og som er forskellige fra rum til rum. Mange regner slet og ret stemninger for subjektive, fordi det ofte kan være svært at skelne mellem den indre

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stemning og den ydre, idet de da også påvirker hinanden. Men der er altså en masse stemningsskabende elementer derude i rummet. Tænk bare på Hammershøi. Denne skelnen mellem den subjektive stemning og den ydre atmosfære er nødvendig for at forstå, hvad vores omgivelser gør ved os, hvad de påvirker os med. Alt i et rum er med til at danne dets atmosfære – noget dog mere end andet: Proportionerne, farverne, lyset, akustikken og lydene, genstandene og menneskene i rummet og så videre. En atmosfære er en kompleks og i sagens natur luftig størrelse, men den er der altså.

Sophienholms rum har på forhånd en særlig atmosfære af gamle herskabslokaler med stuk, rosetter og høje, udskårne træpaneler. Mødet med dette gammeldags, stueagtige rum og den nutidige kunst skaber en række forskellige kontraster og atmosfærer, der skifter fra rum til rum.

Sophienholms stille stuer Torben Sangild Kunstnerne på denne udstilling arbejder meget med det konkrete rum, de udstiller i. Hvad kendetegner udstillings-rummene på Sophienholm?

Torgny Wilcke Det er nogle meget smukke rum, som også hurtigt kan blive kedelige, hvis man ikke gør noget ved dem. Det er jo en villa med stuk, og bortset fra størrelsen giver det en fornemmelse af hjemlighed.

Der er en helt anden intimitet end man fx finder på Statens Museum for Kunsts nye tilbygning, der er nærmest det modsatte. Vi ville lave en anden udstilling, hvis vi stod i en fabriksbygning. Jeg kan godt lide fx at bruge panelerne når de er der. Det handler om at gøre rummets form og størrelse til en styrke, ikke et problem.

Troels Aagaard Rummene er nærmest Hammershøiske. Det er jo et lidt bedaget sted, nærmest en tidslomme. Det ligger så skønt og er så smukt; man kan komme sejlende dertil, og det er rigtig hyggeligt, men der er også en fare for, at det bliver et søndagsudflugtssted. Det handler så om at se det som en mulighed - at komme med nogle værker, der ikke ligner dem, der plejer at hænge der. At give folk en

anden oplevelse, end de er vant til. For eksempel er en kunstner som Kerstin Gottschalk meget opmærksom på rummet og tager samtidig nogle ret voldsomme greb, som kan spille op imod Sophienholms gamle stuer.

Torgny Wilcke Der er et rum, der hedder ‘mezzaninen’, som normalt ikke er så populært at udstille i, fordi det er lidt lavloftet og besværligt. Jeg spurgte så forsigtigt Ruth Campau, om hun ville udstille der, for hun er jo god til at arbejde med konkrete rum. “Det er det smukkeste rum på Sophienholm!”, udbrød hun, så hun og mezzaninen passer bare sammen.

Palet Som sagt befinder mange af disse værker sig i en gråzone mellem maleri, skulptur og installation. Når de alligevel insisterer på at se deres værker som maleri, skyldes det nogle helt grundlæggende forhold ved maleriet, som ikke handler om rektangulære lærreder med oliemaling, men snarere om en særlig malerisk sensibilitet og arbejdsproces. Det er lidt abstrakt, men lad mig pege på to ting: Arbejdet med farven og med forskellige lag.

Alle kunstnerne har så at sige en palet, en række foretrukne farver, der går igen, og som bliver en del af den enkelte kunstners stil. Nogle har flere paletter, de kan veksle imellem, men der er grundlæggende en stor bevidsthed om farvekomposition hos disse kunstnere. Og det vil være tydeligt, når man bevæger sig fra rum til rum, at man møder en ny palet, en ny farveverden. Hvad enten farven er malet på eller er komponeret af allerede farvede materialer, er det en malerisk farveholdning, der gør sig gældende.

Flere af kunstnerne arbejder med en lag-på-lag-æstetik, som man også kender fra maleriet. Det kan være lag af maling, som hos Marie Søndergard Lolk, men det kan også være lag af andre materialer, som hos Simon Callery, hvor trærammer og stoffer lægges på og fjernes igen i kompositionsprocessen.

Form og skønhed Torben Sangild: Det første af ordene i udstillingstitlen er også det mest velkendte, nemlig ‘form’. Hvordan ar-

FORM SIGNAGE / SOPHIENHOLM 2013

bejder disse kunstnere med formen?

Det er jo indlysende, at de arbejder meget æstetisk, men hvorfor ‘form’?

Torben Sangild: Men I mener simpelthen, at der er en særlig nordisk tone?

Torgny Wilcke: Jeg ser form som noget meget bredt: Både den fysiske form og ideens form, ideen med værket. Farven er også en del af formen, og endda helt ned i farvens tekstur.

Troels Aagaard: På godt og ondt er Cobras farveholdning en del af vores kultur, som vi ikke kan ryste af os.

Det danske maleri er dybt forankret i Cobra - det norske og svenske minder mere om det tyske med nogle hårdere farver. Ligesom de store møbeldesignere med Danish Design har sat kæmpestore forhindringer op for nutidens designere, har der inden for maleriet tilsvarende været en idé om, at hvis ikke det lignede Cobra, var det ikke troværdigt som maleri.

Jeg kommer selv fra den type maleri, og troede at det var sådan kunst skulle se ud, men har gjort op med det og fundet et andet sprog.

Troels Aagaard: Materialets betydning og udseende er altafgørende.

Man vælger en mat fordi den er mat og fordi det skal se sådan ud, ikke fordi den tilfældigvis står på hylden.

Torgny Wilcke: Jeg står aldrig over for et hvidt lærred og lader mig inspirere. Og det gælder vist alle på denne udstilling. Vi har alle et projekt, vi vil afprøve; et sted, vi vil hen.

Torben Sangild: Skønhed er på den ene side et historisk belastet begreb, og på den anden side ikke til at komme uden om, når man arbejder så æstetisk som I gør her. Hvilken rolle spiller skønhed for jer?

Torgny Wilcke: Skønhed er jo noget kulturelt forskelligt. Nogle af de tyske kunstnere har fx en farveholdnig, som er en del anderledes end min mere jordfarvede tilgang.

De bruger nogle farver, som jeg synes er fascinerende, tæt på brutal, det ville være en kæmpe udfordring for mig at prøve at bruge de farver og det hænger vel sammen med en baggrund i nordisk maleri og lys, mørkemaleri, Munch, COBRA og den slags.

Torben Sangild: Synes du dine egne farver er smukke?

Torgny Wilcke: Ja, det synes jeg faktisk. Jeg synes de er enormt smukke.

Også ret rå. Samme farve kan være både grim og smuk, det er måden farven er brugt, farven er også materiale. Det kan være enormt fedt og givende at lave et maleri med en svær, håbløs farve. Ellen Hyllemose har talt om ”Farvens materialitet”, der er fx forskel på den samme farve malet tyndt, perfekt glat, tykt og fedt pålagt masse og så det der er malet på lærred, MDF, papir, høvlet eller ikke høvlet træ.

FORM SIGNAGE / SOPHIENHOLM 2013

Hverdagen og fortryllelsen Mange af kunstnerne på udstillingen bruger hverdagsmaterialer som det der ’males’ med eller på, frem for maling, lærred og ramme. Forskellige tekstiler, træplanker, spejle, pinde, møbler, køkkenudstyr osv. Dermed trækker de på readymade-traditionen, altså dette at benytte allerede formede genstande, som ellers tjener et andet formål.

Dette greb indebærer en dobbelt bevægelse, hvor hverdagsgenstandene fortrylles, samtidig med at kunsten affortrylles. Hvis vi tager fortryllelsen først: Når de genstande, vi omgås til daglig indgår i en æstetisk komposition, mister de noget af brugsfunktionen til fordel for en æstetisk værdi. For eksempel hvis man tænkte sig, at en almindelig paletkniv indgik i en komposition, så vil man anskue den på en anden måde end når man står og skal lave pandekager. Man vil være mere opmærksom på dens form og farve.

Og man vil få en anden sensibilitet over for den, som måske endda kommer i spil, næste gang man står ved stegepanden igen og har en praktisk omgang med den.

Men at dens brugsfunktion forsvinder, betyder jo ikke, at vi glemmer den.

Som hverdagsgenstand peger den tilbage på sin brugsfunktion, og den glider derfor ikke gnidningsløst ind i en æstetisk sammenhæng. Det er her affortryllelsen af kunsten sætter ind; dette at kunsten bliver hevet ned på jorden, kommer tæt-

tere på hverdagen, mister den aura af ophøjet parallelverden, som den nogle gange er blevet gjort til.

Spændingen mellem hverdagen og det maleriske er ikke ny, men stadig virksom. Og den får måske endda tilført et ekstra lag her på Sophienholm, når de gamle stuer får besøg af disse værker.

Signage Torben Sangild: I bruger i titlen begrebet ‘signage’, der betyder ‘skiltning’ og ‘tegngivning’, og som handler om skilte og våbenskjold og piktogrammer. Normalt bliver det jo brugt til at signalere noget ret entydigt - alt fra “Jeg er kongen” til “Her er dametoilettet”, men I er mere optagede af selve markeringen end af tegnet?

Torgny Wilcke: Ja, det er markeringen, der er udgangspunktet. Vi har værket som en form, og når vi så placerer det i rummet, gør vi noget ved rummet, sætter en markering, og det er det, vi gerne vil understrege.

Torben Sangild: Normalt ville man skelne mellem det sanselige på den ene side og det tegnmæsige på den anden side, men i dobbeltheden form/signage kommer det rumlige over på tegnsiden (signage) - det rumlige, som man normalt ville sætte som en del af det sanselige?

Torgny Wilcke: Måske kan man godt sige, at man sætter et tegn i rummet, når man installerer noget. Et standpunkt.

Troels Aagard: Installeringen bliver i hvert fald en del af værket, og kan ikke tænkes uden.

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FORMSIGNAGE

Conjuring up the space

by Torben Sangild translated by DAN A. MARMORSTEIN

in connection with composing the space.

The following text was written before the show and its works came into being and will therefore treat of certain more general features pertinent to the type of art that characterizes the work of the participating artists.

Also inserted here are three excerpts from an interview with the artists Torgny Wilcke and Troels Aagaard, who have been working together on editing this catalog.

Try to imagine a painting, a completely ordinary painting, on canvas, hanging on the wall – a painting which, like a window, shows another world and another space, a virtual fantasy space. Then try to imagine that the painting is bursting open, not only that the frame is being destroyed but that the painting’s virtual space is exploding out into the factual space, the room you are standing in, with the result that the elements are spreading out and that you are actually standing in the midst of it all, smack dab in the middle of a real space, which is simultaneously the painting’s space. This is perhaps how “expanded painting” can best be understood, even if there haven’t been any explosions, even if the artists have been quietly and calmly puttering about

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A short history about painting Once upon a time, there was an idea about painting. The idea was comprised of notions in people’s minds. The idea was that a painting was a canvas that has been stretched out on a square stretcher and painted by an artist-painter, with oil- or acrylic-paint, for purposes of eventually being hung up on a wall. The fact that paintings have always existed that did not live up to these requirements didn’t seem to matter, for the idea was potent and simple. With this idea in mind, one could relate to something as difficult as art. And because most art also lived up to the idea, and had thereby given rise to it, the idea did not pose any great problems. And things didn’t go really awry until some people started to

create a myth out of the idea: a myth that the idea was not merely an idea but the essence of painting. And an American, whose name was Clement, went so far as to say that the finest painting was that which was closest to the pure essence.

And it was totally abstract and pure and very, very painterly. And people listened to him and many believed in what he was saying and he was also really good at writing about this. But at the same time, some artists were getting tired of not being considered equally fine, and so they started to rebel.

They made all kinds of different things. Many of these artists didn’t even think that paintings should be made at all, anymore. But some did so anyway, only in a different way. Some of it looked like advertising signs or collages or had real things applied onto the surface. Some paintings protruded beyond their frames and out into the concrete space, instead of the fantasy space. Some involved the use of all conceivable materials and formed combinations with sculpture and with installation and with design and then people started to call it “expanded painting”, and so it still sounded a little bit fine, anyhow. And the years passed and there were fewer and fewer dogmas but people were still thinking, nonethe-

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less, that the history of traditional painting and the reaction against it ought to be told. And now I’m doing so, too, and that’s just because the idea is still rather potent up there in many people’s heads.

But actually, this story is not the most interesting part. It has been told so many times, only in a different language.

What is most interesting is not what the expanded painting is not but rather what it is, then – and not regarding it as something negative (a rebellion) but as something positive (a form of expression).

The space, the body, the atmosphere Instead of the imaginary space that a traditional painting engenders, these works unfurl themselves in concrete spaces. This is painting in three dimensions, which is not restricted to canvas and paint but which rather places objects, with forms and colors, in the space and gives rise to an overall composition in three dimensions, within which you can walk around.

There is an essential difference between wandering around with the gaze inside an imaginary space and wandering around with one’s body inside a concrete space. This difference is often formulated as being something purely visual, on the one side, and something

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bodily, on the other. But this is not entirely correct. All art gives rise to a bodily effect, even a picture. We sense it primarily with the eye … but not only. Our whole sensory apparatus is put to use – and not only the five senses with which we are accustomed to operating. We have 17 senses, if you add them all up – including our sense of balance, which is crucial when we are busy detecting whether or not an image is in balance. And also our thinking apparatus and our emotional apparatus play their parts – and they are closely linked together, more closely than we ordinarily believe them to be. All of our sensibility is, in principle, at work when we see – or rather when we experience – a picture.

What happens when the picture becomes a space into which we can enter is that certain parts of our bodily sensuousness are activated more directly and to a heightened degree. We are moving around, not virtually but really, inside the space. We perceive the things from different angles, moving around them, navigating our way in relation to them, sensing their tangible texturality, even though we, as a rule, are not allowed to touch them. And significantly, we orient ourselves in relation to all the elements in a very direct manner according to our

own body’s placement and scale. There is a significant difference between how we experience things that are about the same size as ourselves, things that are much larger than we are and things that are much smaller than we are. It’s a matter of certain basic scales of measurement. We feel, in a certain sense, somewhat superior in relation to very small things and a little threatened by the large ones. We relate on equal terms to objects of our own size. In addition, there is the aspect of where the things are positioned in relation to our own bodies: Are they below us? Are they creeping along the floor or hanging above our heads? Or are they situated right in front of us? All of this, taken together, makes a difference when it comes to what we experience.

Another aspect of the meeting between room and body and sensibility is that every room possesses its own atmosphere. The atmosphere is a kind of objective mood, that is to say the mood that engulfs you as soon as you step inside the given room – and which differs from room to room. Many people consider moods as merely being subjective, because it can often be hard to distinguish between the inner mood and the outer atmosphere, especially because they also actually do influence

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each other. But there are really a lot of mood-evoking elements out there inside the room. Just think of the paintings by Vilhelm Hammershøi. This distinction between the subjective mood and the outer atmosphere is necessary in order to understand what our environment does to us, i.e. in order to understand how our surroundings influence us. Everything inside a given room plays a part in establishing its atmosphere – some elements, however, more than others: the proportions, the colors, the light, the acoustics and the sounds, the objects and the people in the room and so on. It goes without saying that an atmosphere is a complex and airy dimension, but it’s there, indeed.

Already beforehand, Sophienholm’s rooms are in possession of a special atmosphere of old noble halls, what with their stucco, their rosettes, and their high carved-out wainscoted wood panels. The convergence between these oldfashioned, drawing room-like rooms and the contemporary art works gives rise to a series of different contrasts and atmospheres that change from room to room.

Sophienholm quiet rooms Torben Sangild The artists taking part in this exhibition are working, to a great extent, with the concrete space, within which they are exhibiting. What characterizes the exhibition rooms at Sophienholm?

Torgny Wilcke What we have here are a few very exquisite rooms, which can also become uninspiring and boring, quite quickly, if you fail to do something about them. It is a villa with stucco and if we can ignore its sheer magnitude for a moment, the house does give one a feeling of cozy domesticity. There’s a whole different kind of intimacy than what you might find, for instance, at Statens Museum for Kunst’s [The National Gallery of Denmark’s] new annex – there, it’s almost the opposite.

You see, in a factory building, we would be making a whole different kind of exhibition. I enjoy, for example, making use of the panels, since they are there. It’s all about turning the room’s form and size into a strong

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point, rather than viewing these as problems.

Troels Aagaard The rooms are almost Hammershøi-esque. It is, you might say, a somewhat aged and outdated place, almost a time warp. It is situated so nobly and is so beautiful: you can arrive there by boat and that’s really very nice but there’s also a danger that it can become a Sundayexcursion kind of place. It has to do, then, with regarding this as an opportunity – it’s about coming up with certain works that do not look like those that are customarily hanging there. It’s about giving people a different experience than what they are accustomed to. An artist like Kerstin Gottschalk, for example, is paying very close attention to the space and, at the same time, taking some rather forceful grips that can play up against Sophienholm’s old drawing rooms.

Torgny Wilcke There is one room that is called “the mezzanine”, inside of which it hasn’t generally been all that popular to exhibit, seeing as it’s somewhat low-ceilinged and unwieldy. So I asked Ruth Campau, cautiously, if she felt like exhibiting her work there, because she’s so adept at working with concrete space. “That’s the most beautiful room at Sophienholm!” she exclaimed, so she and the mezzanine simply fit together.

Palette As has already been said, many of these works are situated in a gray zone between painting, sculpture and installation. Seeing as the artists are making an insistence, anyway, on having their works regarded as paintings, this is due to certain entirely fundamental features about painting, which do not have anything to do with rectangular canvases with oil paint but revolve instead around a saliently painterly sensibility and working process. This might sound a bit abstract, but let me point out two things: the work with color and with different layers.

All artists have, so to speak, a palette, a number of preferred colors that reappear again and again and which come to be an integral part of the individual art-

ist’s style. Some artists have several palettes, among which they can switch back and forth but there’s basically a high degree of awareness focused on color composition that prevails in the minds of these artists. And it will become clear to you, as you move from one room to the next, that you are meeting a new palette, a new color world. Whether the color has been painted on or happens to be composed of already-colored materials, it is a painterly color scheme that comes to the fore.

Several of the artists are working with a layer-on-layer aesthetics that we also know from painting. This can involve layers of paint, as in the work of Marie Søndergard Lolk, but it can also involve layers of other materials, as in the work of Simon Callery, where wooden frames and fabrics have been affixed and then removed again during the composition process.

Form and beauty Torben Sangild: The first of the words in the exhibition’s title is the most well known, namely, “form”.

How are these artists working with the form? It’s obvious, for sure, that they are working very aesthetically.

But why “form”?

Torgny Wilcke: I see form as something that is very wide-ranging: it encompasses both the physical form and the idea’s form, the idea of __the artwork. Color is also a part of the form, all the way down to the color’s texture, even.

Troels Aagaard: The meaning and appearance of the material are allimportant. You choose a matte color because it is lusterless and because it has to look that way and not because it happened, by chance, to be standing on the shelf.

Torgny Wilcke: I never stand in front of a blank canvas and find myself becoming inspired. And I guess that everybody taking part in this exhibition would claim the same. We all have a project that we want to try and test out: a place where we want to go.

Torben Sangild: Beauty is, on the one hand, a historically loaded term

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and, on the other, an aspect that is hard to avoid when one is working as aesthetically as you are doing here.

What role does beauty play for you?

Torgny Wilcke: Beauty is, indeed, something that differs from one culture to another – it’s a cultural variant. Some of the German artists, for example, have an attitude about color that differs considerably from my more earth-toned approach.

They use certain colors that I think are fascinating, and close to being brutal. It would be a huge challenge for me to use such colors – and this is closely connected with my own background in Nordic painting and light, dark painting, Munch, COBRA and those kinds of things.

Torben Sangild: Do you feel that your own colors are beautiful?

Torgny Wilcke: Yes, I really do think so. I think they’re tremendously beautiful. Also rather raw.

The very same color can be both ugly and beautiful: it has to do with the way that the color is used - the color is also a material. It can be a lot of fun and it can be tremendously rewarding to make a painting with a ponderous and intractable hue.

Ellen Hyllemose has spoken about “the color’s materiality”: there are, for example, differences that can be seen in one and the same color when it is painted thinly, when it is applied perfectly smoothly and when it is applied in thick and heavy masses. Similarly, the same color will differ when it is painted, respectively, on canvas, on mediumdensity fiberboard, on paper, and on evenly planed or un-planed wooden boards.

Torben Sangild: But do you actually mean to say that there is a special Nordic tone?

Troels Aagaard: For better or worse, Cobra’s color scheme has now become part of our culture that we cannot shrug off. Danish painting is deeply rooted in Cobra - the Norwegian and Swedish are more reminiscent of the German approach, with certain harsher colors. Just as the

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influential furniture designers, with Danish Design, have placed gigantic impediments in the way of today’s designers, there has similarly been a reigning notion that if it didn’t look like Cobra, then it wasn’t credible as painting. For my own part, I am coming from this kind of painting and at one time, I believed that this was just how art should look, but now I have squared my accounts with this attitude and have managed to come up with another language.

Everyday life and enchantment Many of the artists in the exhibition are using everyday materials that are being “painted” with, or “painted” on, rather than paints, canvases and frames: different kinds of fabrics, wooden planks, mirrors, sticks, articles of furniture, kitchen equipment, etc. In this way, they draw on the readymade tradition, that is to say the strategy of using already-formed objects that would otherwise serve some other kind of purpose.

This grip involves a dual movement, where everyday objects become enchanted while, simultaneously, the art becomes disenchanted. If we may expound first on enchantment: when the objects that we deal with in our everyday lives are included as part of an aesthetic composition, they come to lose some of their utility function for the sake of an aesthetic value. For example, if you can imagine that an ordinary spatula is taken in to form part of a composition, you will come to regard it in a different way than when you are busy making pancakes. You will pay more attention to its form and its color.

And you will obtain a different sensibility about it, which may even come back into play the next time you are standing there with the frying pan and happen to be engaged in practical intercourse with the spatula.

However, the fact that its utility function disappears does not necessarily imply that we forget it. As an everyday object, it points back to its utility function. For this reason, we cannot say that it is integrated seamlessly into an aesthetic context. And this is where the disenchantment of art sets in: this is where art becomes grounded, gets closer to everyday life, loses its aura of elevated

parallel world, a pedestal upon which it has sometimes been placed.

The tension between everyday life and the painterly is not new, but it is still potently effective. And it will come to take on what is perhaps an extra layer here at Sophienholm when these works visit the old drawing rooms.

Signage Torben Sangild: In the title, you’re making use of the notion of “signage”, which has something to do, of course, with signs and with coats-of-arms and pictograms. Normally, this word would be used to signal something rather unambiguous - anything from “I am the king” to “Here’s the ladies’ room” -– but aren’t you and your collaborators more concerned with the marking than with the sign?

Torgny Wilcke: That’s right, it’s the marking that is our point of departure. We have the artwork as a form and when we then place it in the space, we are doing something with the space – setting down a marking.

And this is what we are hoping to emphasize.

Torben Sangild: Ordinarily, one would distinguish between the sensuous on the one side and the sign-related on the other but in the duality of form/signage, the spatial moves over onto the sign-aspect (signage) - the spatial, which one would ordinarily posit as being part of the sensuous?

Torgny Wilcke: Perhaps you could say that you place a sign in the space whenever you install something. A manifestation.

Troels Aagard: The installation becomes, in any event, a part of the work, and cannot be conceived without it.

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FORMSIGNAGE ARNE SCHREIBER ELLEN HYLLEMOSE FRANZISKA HÜNIG ILONA KÁLNOKY KERSTIN GOTTSCHALK MALENE LANDGREEN MARIE SØNDERGAARD LOLK NICOLA STÄGLICH REBECCA MICHAELIS RUTH CAMPAU SIMON CALLERY TORGNY WILCKE TROELS AAGAARD

#356Z, 2013 graphite om paper, 29,7 X 21 cm

Exhibition View : Nowhere_Herenow, 2013, Galerie Koal, Berlin

ARNE SCHREIBER In the visual investigation of spatially and temporally recurring motions, Arne Schreiber connects specifc courses of action with the individual conditions of his objects and paintings as well as the exhibition space. The process of repetition, of re-executing a physical movement, reveals itself as accumulation, as fragment and detail, as persisting latitude in translation

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and interpretation of a pre-existing concept.

Thus specific references to classical painting meet head-on with questions concerning the authorship of an artwork.

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ELLEN HYLLEMOSE Et trapperum er et sted,hvor man er i bevægelse.

Står du stille for at kigge på værkerne er det højst sandsynlig fra en anden vinkel end man plejer. Trappen giver muligheden, samtidig med at den tvinger, til at se et værk fra flere og nye synsvinkler. Som at bevæge sig i et landskab med overraskelser, en romantisk have.

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Værkerne på udstillingen er lavet specielt til rummet og bruger husets identitet til at give form og underliggende motiv i værkerne: Som et spejl og dog et landskab. En slags polstrede panel motiver, der fortsætter husets øvrige paneler og taler med vinduesparti og husets inventar. Mit Landskab som mødes med

dette sted og som sætter en anden drøm i gang.

Landskabet har sine opdelinger og systemer alt efter kontekst.

Skulpturelle billeder, der er fysiske genstande og forestillinger på samme tid.

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Lim mellem landskaber, 2011.

Lycra, mdf, plastic, puder, spande, dyner, madrasser, div. materialer.

Uden titel, lim mellem landskaber, 2011.

Mdf, vandbaseret maling.

2 vÌrker, Hjørnebilleder, lim mellem landskaber, 2011.

Lycra, mdf, vandbaseret maling.

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FRANZISKA HĂœNIG For my large-scale installations I paint on the backs of used outdoor advertising banners. The banners are up to 5 metres long. With very big brushes I apply the paint, interacting with the specific properties of the material.

The application of paint varies from very thin and transparent to solid, opaque surfaces.

I choose intensive, shining colours, often I usesignal paint.

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In the exhibition space I arrange the banners in overlapping horizontal and vertical arrays on the walls, or on existing elements such as pipes or beams. Along with the painted backs, I also use the printed fronts of the banners, incorporating their found photographic motifs to produce yet another level.

the intensity of the colors I want to enable a bodily perception of color.

Viewers find themselves in the picture, and the picture changes as they move through the space. The picture has no static state; walking through theinstallation continuously creates new relationships and lines of sight.

Through the large size of the installation and

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Honkadori Acrylic on Advertising plan 450x700x30cm.

Stedefreund Berlin 2012

Franziska H端nig Acrylic on tarpaulin 4x10m.

UM Festival f端r Kunst und Musik Uckermack 2010

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ILONA KÁLNOKY

relief, 2009 (detail) Plaster Dimension variable

STRECH - BOUNCH - FLOAT - DROP

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Inhale/exhale. 2011 Cablewinch, paper, rope Dimension variable

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Creep, 2010 Silicon, pea Dimension variable

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Crossing Abstraction, kunsthaus Erfurt, Germany Heated and poured paraffin, size variable, 2012 Folded Paper#5,55x87cm., 2012 Colored Paper#10, 55x77cm 2012

»18.Symposium für Bildhauerinnen« Augustinerkirche Grimmar, Germany Wooden boards wrapped with stretch film, 200x420x10cm each, 2012

KERSTIN GOTTSCHALK

Crossing Abstraction, Forum Konkrete Kunst, Peter und Paulkirche, Erfurt, Germany Bent and stretched wooden plate, 220x410cm each, 2012

With reduced actions like piling, glueing or pouring I emphasize the state of simple materials and put them into a sculptural context. I pour for example oil, wax or concrete on floors, walls or other grounds. The materials I use follow gravity and form and form layers I can hardly control.

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COLOR STATE Kunsthal Charlottenborg, 2009-10 Foto: Anders Sune Berg

Rød Venus Blå Venus NØRGAARD PÅ STRØGET Foto: Malene Landgreen

MALENE LANDGREEN Forestillingen om et andet rum, i det rum, der er en del af kunsten, men også er en del af huset, af gaden og livet. Det potentielle rum, som anes i forskydningen mellem lys og mørke i maleriets og væggenes flader og den tid det tager sanserne og kroppen at forstå. Det rum der foldes omkring både beskuer og værk i en mulighedernes leg, der ikke forløses før beskueren træder ind i

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rummet. Værket gestalter sig ved beskuerens indtræden og potentialet udpeges i et spil, hvor værk-, beskuer- og kunstner-relation bliver en konkret udveksling på stedet.

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MARIE SØNDERGAARD LOLK

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Uden titel, 2013.

161x100 cm.

Akryl og spray p책 plader.

Uden titel, 2012.

122x122 cm.

Fugemasse og akryl p책 plade.

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RUTH CAMPAU “I am working with painting in the expanded field, where the work’s interaction with the surrounding environment is essential. For this reason, my works often take form as large installations or in situ decoration projects.

I take my mark in the idea that with a concentrated brushstroke, I can convey presence by translating and freezing it solid onto a surface. I also believe that by transforming a liquid substance into a solid substance, I can immortalize the body’s movement via a brushstroke.

Another jumping off point is the notion of “an 34

infinite painting,” where what I am showing is merely a segment of a larger painting and, as such, merely a kind of representative of a human presence. Accordingly, the complex of issues that are prevalent in the very execution takes on a great deal of importance and the body, motion and the moment become decisive factors in my work.

I am trying to bring my movements with the implement (usually, the brush or the broom) to perfection and perform them as identical, mechanical and repeated movements, but the

hand and the body will always be revealed. And also - the format is determined by my body’s own reach.

This is roughly 3 meters because I have to be able to drag a broom and its bristles down across the painting’s ground surface in one fell swoop. It is my hope that this relation to the painting can be transmitted further to the viewer as a body-objectspace experience, where he/she obtains a sense of being inside the painting and concomitantly a feeling of being part of something greater.

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MIRAGE 2011 Acrylic on acrylic plate, mirroracrylic plate 1,20 m x 5,65 m x 2,40 m “Robert Jacobsen up to date”, Esbjerg Art Museum

LINEAR CONNECTION 2010 Acrylic on acrylic plate, mirroracrylic plate, radiant acrylic plate.

7,90 x 4,80 x 1,35 m.

“Grønningen,” KulturDocken, Copenhagen, Denmark.

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Installation view Kunstraum Kreuzberg, Berlin. 2012 Fold in Space (Body height) #1, 2012. Acrylic on MDF. 167 x 115 x 7,5 cm Cup, 2012. Rigid Foam, screw, 185 x 185 x 60 cm Sequences of Light and Shade #1, 2012. Acrylic on MDF, 167 x 115 x 7,5 cm

Installation view Forum Konkrete Kunst, Erfurt. 2012 Ghost, 2012. Acrylic on rigid foam, 210 x 130 x 150 cm

NICOLA STÄGLICH The Art of Imagination : There is a wide range of strategies to expand space: Gotthard Graubner never oversteps a certain boundary with his cushion images, while Katharina Grosse seeks to almost completely de-limit space. Stäglich always provides a frame for her spatial formations.

Organic elements such as the pourings of paint and the structure of the brushstroke contrast with other elements’ geometric forms. In this, she remains obligated to the flat surface. A contemporary variation of what Alexander Archipenko called “sculpto-painting” at the beginning of the 20th century emerges from this complex interplay of shifting forms and colour choices. Nicola Stäglich works at this interface of the avant-garde.

The expansion into the third dimension is clearest in the “Twists” and “Cups” - circular wall objects

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that extend into space like the tip of a spiral.

Cut from rigid foam, folded out on themselves and energized, these cylinders also function as a metaphor of progress in understanding that does not lead to a final point but continues indefinitely.

Like a ramp that spirals onward in a circular motion into an unknown dimension: modernity is not a state but a (mental) movement.

Whenever painters leave paper and canvas behind and devote themselves to plastic works, the old question returns: which of the two arts is more significant? For centuries, theorists have argued the precedence of painting over sculpture, and the other way around. Baroque artist Bernini saw the latter as derived from God, for he had formed man from clay “like a sculptor”.

Stäglich chooses neither one side nor the other in this dispute. She combines painting and sculpture into a third technique, whereby painterly and sculptural characteristics work together. Without giving up the image. This third is neither a symbol of the search for metaphysics nor a mere realization of the seaching motion so typical of modernity. If Alberto Giacometti was correct with his statement that a sculpture is “not an object but a question that can never be finished, never be complete,” Stäglich poses the question of the role and possibilities of art in an age when pictorial and perceptual space have changed radically through digitalization.

From the catalogue ”Neon Dux & Comes” by Ingo Arend

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REBECCA MICHAELIS Rebecca Michaelis has clearly made twodimensionality her choice, yet she works with spatial relationships in her purely abstract paintings. She layers pattern over pattern, into which the viewer’s eyes penetrate ever more deeply in an attempt to reconstruct their evolution.

At the same time, the viewer tries to get at them with logic, to analyze the system of geometrical structures and color relationships – for which there are, however, no rules, since Michaelis regularly incorporates intentional errors. The

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zigzag mconstruction, the all-over diamond pattern, the overlapping circles have been applied both intuitively and with precision. The artist also employs an array of techniques with varying haptic qualities: Here the underdrawing is clearly visible, becoming a through line; there it is heavily painted over; here the structure of rough brushstrokes is legible; there the surface is smoothly sealed. Intellectual and sensory pleasure combine in Michaelis’s images, as her titles make clear. These utterly erratic descriptors,

which come from the artist’s reading, open up an associative space that no meaning can possibly fill. In her painting, Michaelis confidently takes up the legacy of modernism, of classical abstract art, and actually finds a new way of formulating it, developing a brightly colored new version of the Neo-Geo painting of the 1980s that is both rational and anarchic at the same time.

Nicola Kuhn/ Translation Patrick Hubenthal Selected Artists 2009

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Rega Wallpaint and Graphit on Wall 400 x 780 cm (2012)

o.T. 2012 29,7 x 21cm Gouache, Ink on Paper

o.T. 2012 29,7 x 21cm Gouache, Ink on Paper

o.T. 2012 29,7 x 21cm Gouache, Ink on Paper

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SIMON CALLERY I set out to make this painting with two things in mind. I wanted to refer to the landscape in Wiltshire (Larkhill, Salisbury Plain) where I had spent time during the archaeological excavations at Stonehenge during the summers of 2008 and 2009.

I also wanted to work with Le Corbusier’s Modulor – an architectural register of measurements and proportions based on the dimensions of the human body. By combining these two elements I hoped to generate a third element; an emphatically material painting that involved and engaged with the body.

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A roll of canvas was left soaking in water for a month in the yard outside my studio. It was almost allowed to dry before the chromium oxide pigment was washed into the softened cotton. I avoided using a conventional wooden stretcher and taut canvas surfaces as much as possible, using only the long flat lengths designed to hold the canvasses open. The large sections of canvas were stitched and sewn together by machine or by hand on the studio floor before being lifted to hang in place.

This is a soft painting with an open interior. The

internal voids are as important a part of the work as the front face.

I am hopeful that the painting encourages a viewer to be active and mobile, as we are in landscape, and to move around the work from side to side, one moment confronting the square block-like front face and with another pace seeing this mass dissolve to expose the open body of the painting.

FORM SIGNAGE / SOPHIENHOLM 2013

Wiltshire Modulor 2010 Distemper, canvas, wood, thread, cord and steel brackets 240 x 240 x 60cm

FORM SIGNAGE / SOPHIENHOLM 2013

41

TORGNY WILCKE Det er maleri bygget op med persienne, væg, forsænket loft, lampe og interiør.

Det er det smukke villa rum med vinduet, høje paneler, fyldningsdøre, lysarmatur som er værkets grund.

42

The beauty and poetry lies in the complex activity of looking which involves pure retinal sensation as well as preconception and reference (Opie).

FORM SIGNAGE / SOPHIENHOLM 2013

SuperSprouse.

TeamUp 036, Copenhagen 2010

SuperSprouse.

TeamUp 036, Copenhagen 2010

FORM SIGNAGE / SOPHIENHOLM 2013

43

TROELS AAGAARD Situated somewhere between 2D and 3D, often with surfaces which wind, curve, and protrude in various way, my works refuse to be referred to as “normal” paintings. Although my work is hard to classify, I still name my pieces “paintings”, but I work in an expanded field of painting, with an interest in deconstructing and displacing spatial, pseudo-scientific or auditory structures and systems.

44

With an almost visual elastic surface changing dramatically, depending on the angle of viewing, my works denounce representation.

By breaking the frame, and thereby moving off the wall and into the space, they inevitable enter an object-like category. The pieces relate to the human body in scale and have a clear physical presence, not only in front, but even around the viewer.

Even if my work is non-representational, the suggestive titles of my works become catalysts for visual associations, and it is in fact these linguistic connotations that give an indication of content beyond the purely aesthetical to the viewer.

FORM SIGNAGE / SOPHIENHOLM 2013

Double Structure, Sometimes Repeated # 1 320 x 155 Cm. (BxH) Akryl på lærred 2013

Double Structure, Sometimes Repeated # 2 320 x 155 Cm. (BxH) Akryl på lærred 2013

FORM SIGNAGE / SOPHIENHOLM 2013

45

CV ARNE SCHREIBER ELLEN HYLLEMOSE FRANZISKA HÜNIG ILONA KÁLNOKY KERSTIN GOTTSCHALK MALENE LANDGREEN MARIE SØNDERGAARD LOLK NICOLA STÄGLICH REBECCA MICHAELIS RUTH CAMPAU SIMON CALLERY TORGNY WILCKE TROELS AAGAARD

CV

1998 1997

2013 2012

ARNE SCHREIBER Born 1974 in Potsdam Works and lives in Berlin

2008

EDUCATION 1994/00 Universität der Künste Berlin 2007 GRANTS

SELECTED EXHIBITIONS 2013 2012

2011 2010

2009 2008

2007 2006 2004 2003

Nowhere – herenow, Galerie koal, Berlin (solo) Seeds of color, upon paper, Berlin Lineare Resonanzen, Galerie Weisser Elefant, Berlin Crossing Abstraction, Kunsthaus Erfurt, Forum Konkrete Kunst, Petersberg The mind and the mood, curated by Samuel Gross, Galerie koal, Berlin On Lines, Kunstraum t27 - Kunstverein Neuköln, Berlin Zwei, Galerie koal, Berlin (solo) Kapitel #2 - Difference a Bend, Stedefreund, Berlin Arte Fakte, Akademie der Wissenschaften, Berlin based around Bausch, Babusch project space, Berlin.

Ein Latt i trzy Przestrzenie dla Chelma, Muzeum Ziemi Chelmskiej, Chelmie, PL Maximal pleasure / SOUTERRAIN, Berlin Galerie koal, Berlin (solo) Selected Artists, NGBK, Berlin Crossing Abstraction, Kunstraum Kreuzberg, Berlin Fully booked, Hotel Beethoven, Bonn #153BOA2/4/3 , Galerie Weisser Elefant, Berlin (solo) Gegenstandslos, Gesellschaft für Kunst und Gestaltung, Bonn EHF2008, Konrad-Adenauer-Stiftung Berlin von Klenz zu Knoebel, Galerie Wendt+Friedemann Berlin anonyme zeichner, Kunstraum Kreuzberg/Bethanien, Berlin Dunkenreizen, Mitrev, Schreiber, Thoma, Galerie Weisser Elefant, Berlin To the people of Potsdam, Kunsthaus Potsdam Die Farbe hat mich, Karl E. Osthaus Museum, Hagen Seeing Red – An International Exhibition of Nonobjective Painting, New York

ELLEN HYLLEMOSE Born 1968, Møen, DK Skt. Jakobsgade 18 1th. 2100 Kbh. Ø.

Tlf: (+45) 3543 3138 Mail: ellenhyllemose@dadlnet.dk

2006

2005

2004 2003

2001 2000 1999

1997 1996

1992

Decembristerne på Thorvaldsens Museum, Thorvaldsens Museum, Copenhagen (Cat.) Crossing abstractions, Forum Konkrete Kunst und Kunsthaus Erfurt, Erfurt, DE Virtual insanity, fiedler taubert contemporary, Berlin Short Notice-Stir heart, Brandts Klædefabrik, Odense WHAM, painting and beyond. Den Frie udstillingsbygning, Copenhagen (Cat.) Odense Eventyrhave, Outdoor exhibition, Odense (Cat.) Carnegie Art Award, Oslo/Stockholm/ Göteborg / Copenhagen/Reykjavik/London/Nice Decembristerne, Den Frie Udstillingsbygning, Copenhagen Skulpturi etc, Amagerfælledvej, British and Danish artists, Copenhagen. maddag, Amagerfælledvej, Copenhagen (Cat.) Carnegie Art Award, Helsingfors Rom på Kgs. Nytorv, (The Danish Institute in Rome 50 years), Copenhagen Please close the gate, Roche court, Salisbury, UK Stativ, stakit, kasket, Århus kunstbygning, Århus Nu her og aldrig mere, Den Frie Udstillingsbygning, Copenhagen Rough Diamond, gallery The Program, London DIALOUGE, Fabrikken for kunst og design, Copenhagen Local Supercluster and other Piles, Overgaden, Copenhagen (with Barbara Wille) (Cat.) TAPKO, Nordjyllands Museum of Art Dialog, gallery Specta, (with Claus Jensen), Copenhagen Layer 4, udstilling i park, Søndermarken, Valby, Copenhagen (Cat.) Kunsthistoriens lange næse 2, Charlottenborg, Copenhagen (Cat.) Grønningen, (guest), Charlottenborg, Copenhagen (Cat.) Take off, Århus Museum of Art, Århus (Cat.) Am Ort, Berlin. International Workshop and exhibition Fact and Value, Charlottenborg, Copenhagen with English and Danish artists (Cat.) Stedet II (Danish Arts Foundation adornment project).

Køge Skitsesamling Colour phenomenons. Charlottenborg, Copenhagen (Cat.) 90’modernisme, paintings Den Frie Udstilingsbygning, Copenhagen (Cat.) Layer 1 (Sculptures of 7 younger artists, Copenhagen (Cat.) Intercambio (Spanish and Danish artists), Copenhagen (Cat.) GERMINATION IX, European Youth Biennale Prague, Nice, Luxembourg (Cat.) Yoga for kvinder, (With Lise N. Thomsen and Lise Lotte Duch) Overgaden, Danish Ministry of Culture’s Exhibition Hall, Copenhagen.

SELECTED GRANTS 2011Sven Holst legat. 2009 Winkel og Magnussens mindelegat.

Preben Siigers fond. 2006 Astrid Noacks legat. 2005 Danish Arts Foundation. 2003 Kunstnerfonden af 1973. 2002 Vilhelm Pachts Kunstnerlegat. 2001 Aage og Yelva Nimbs Fond. 2000 Danish Arts Foundation 3 years adornment. (2000/01/02) Gerhard Hennings billedhuggerlegat. 1998 Danish Art Foundation. Stedet II, Danish Arts Foundation adornment. Storestrøms Amts Kunstudvalgs adornment. 1997 Danish Arts Foundation’s travel grant. 1996: De Bielske legater. 1995 Gerda Jensens kunstnerlegat. 1994 Henry Heerups legat. Arkitekt Fr. Borup og families legat. 1993 Tegneinspektør S. Chr. Jensen og hustrus legat. 1992 Arkitekt Fr. Borup og families legat.

EDUCATION 1987/95 The Royal Danish Academy of Fine Arts, Copenhagen.

By the professors Stig Brøgger, Bjørn Nørgaard and Morten Stræde

2005 Eckersbergmedaljen. 2005 and 2006 awarded by the Danish Arts Foundation.

COLLECTIONS

2011 2010 2009 2006 2004 2001 2000 1999

48

Landskaber. Ind i landskabet, bagved væggen under græsset, Gallery Specta, Copenhagen Lim mellem Landskaber, Overgaden, Institute for Contemporary Art, Copenhagen Skånes kunstforening, Malmø Dobbelt dobbelt væg, varm. Fabrikken for kunst og design, Copenhagen Hængetræ og tæskebamse, Gallery Specta, Copenhagen Jeg plukker frugt, Gallery Specta, Copenhagen Ellens Villa, Holstebro Kunstmuseum, Holstebro Ellens Cabaret, Christoffersen art, Copenhagen Tre i en, Esbjerg Art Museum Touch down, Mariendalsvej, Frederiksberg, Copenhagen(Cat.) New work, North, Copenhagen

2013

2012

2011 2010

Stipendiatenausstellung Schloss Balmoral, Bad Ems, DE Essays in Painting and Sculpture, Galerie Heike Curtze, Vienna (s) Light Space Projects II, H Gallery Chiang Mai, Chiang Mai, Thailand Form - Signage, Sophienholm, Copenhagen Geradewegs, Galerie Weisser Elefant, Berlin The legend of the shelves, Autocenter, Berlin Light Space Projects I, Junkyard Art, Phayao, Thailand Crossing Abstraction, Kunsthaus Erfurt and Forum Konkrete Kunst, Erfurt, DE Fokus Malerei, Galerie Heike Curtze, Vienna Honkadori, Stedefreund Berlin (with Gabriele Basch und Isabel Kerkermeier) The presence of the past in the future, Stedefreund Berlin Myspace, Kunstraum Kreuzberg, Bethanien, Berlin Neverwhere, Autocenter, Berlin Kontaktaufnahme, Galerie Heike Curtze, Vienna (s) Kontaktaufnahme, Galerie Heike Curtze, Berlin (solo) UM10 Festival für zeitgenössische Kunst, Uckermark, DE North, Galerie Hartwich Rügen, Sellin, DE North & Polyfizzyboisterous Seas, Galerie Hartwich, Villa Theres, Rügen, Sellin, DE Stille Post, Galerie Heike Curtze, Berlin Sommerreigen, Galerie Heike Curtze, Berlin

GRANTS 2013 Stipendium Schloss, Balmoral. 2005 Stipendium der KätheDorsch-Stiftung. 2002 Stipendium der Dorothea-Konwiarz-Stiftung.

ILONA KÁLNOKY Born 1968 in Styria, Austria EDUCATION Skilled crafts degree in Ceramics, Austria Art Academy Weissensee, Berlin, Meisterschülerin SOLO EXHIBITIONS 2012 2009 2008 2007 2006

Kunstkammer, Georg Kolbe Museum, Berlin Leibwerden, Galerie Curtze, Berlin Geste, Landesgalerie Salzburg im Trakl Haus, Salzburg Leib, Galerie Heike Curtze, Vienna Kontemplation, Galerie Heike Curtze, Berlin group exhibitions (selection)

GROUP EXHIBITIONS 2013 2012 2011 2010

2009

2008 2007

AWARDS

SELECTED SOLO EXHIBITIONS 2013

SELECTED EXHIBITIONS

SELECTED GROUP EXHIBITIONS

2010 2009

2000/01 New York Studio School Stipendien 2000/01 Postgraduiertenstipendium des Deutschen Akademischen Austauschdienst (DAAD) 2008/09 EHF Stipendiat der Konrad-Adenauer-Stiftung 2009 Arbeitsstipendium Bildende Kunst des Berliner Senats

Gallery Art.dk. Copenhagen Overgaden, Danish Ministry of Culture’s Exhibition Hall for Contemporary Art, Copenhagen (with Rikke Ravn Sørensen)

Form - Signage, Sophienholm, Copnhagen Essays in sculpture and painting, Galerie Curtze, Vienna Myspace, Projektraum Bethanien, Berlin Crossing Abstraction, Kunstraum Für konkrete Kunst, Erfurt, DE Funkhauspreis, Berlin Privatview, curated by Maja Skrebot, Berlin Zeichnung VIENNA, Galerie Curtze, Vienna Space invasion, Galerie Borch Jensen, Berlin UM10 – Festival für zeitgenössische Kunst und Musik, DE Measuring Potentials, curated by Marc Gloede, P88, DE Zeigen eine Audiotour, temporäre Kunsthalle, Berlinq‘Crossing Abstraction’, Kunstraum Bethanien, D Sommer(r)eigen, Galerie Curtze, Salzburg Licht und Raum, Galerie Weisser Elefant, Berlin Poliflur, Kunsthaus Frise, Hamburg UM08, zeitgenössisches Festival f Kunst. u Musik, DE One Minute, Ackerstrasse 11, Berlin Spannungsfelder, Galerie Heike Curtze, Salzburg Spaceinvasion, Vienna

GRANTS Nominated, Stiftung Lebensart Förderpreis, Köln Nominated, FUNKHAUSPREIS, Berlin

Danish Arts Foundation, Esbjerg Art Museum, Skive kunst museum.

COLLECTIONS

FRANZISKA HÜNIG

Foundation Massey, New York Sammlung Humanic, Graz, A Sammlung Alexejew/Brandl, Berlin

Born 1970 in Dresden, lives and works in Berlin www.franziskahuenig.net

KERSTIN GOTTSCHALK EDUCATION 1996/02 Studies in Fine Art at Hochschule der Künste, Berlin 2003 Masters degree at Hochschule der Künste, Berlin, (Meisterschülerin)

Born 1971 in Mönchengladbach Lives in Berlin EDUCATION

FORM SIGNAGE / SOPHIENHOLM 2013

2006/07 Master class with Katharina Grosse 2005 Diploma advanced studies with Prof. Katharina Grosse and Hanne Loreck, Kunsthochschule Berlin-Weißensee 2000/07 Studies at Kunsthochschule Berlin Weissensee department of painting 2001 Exchange student at Sheffield Hallam Universität, UK, tutor Steve Dutton

2008 2006 2006 2005 2005 2004

AWARDS AND SCHOLARSHIPS 2004 2006 2008 2009 2009 2011 2013 2014

Mart Stam Förderpreis, KHB Goldrausch Künstlerinnenprojekt art IT, Berlin Arbeitsstipendium Bildende Kunst, Berlin Käthe-Dorsch, Künstlerförderung, Berlin Arbeitstipendium Künstlergut Prösitz, Sachsen Arbeitstipendium Künstlergut Prösitz, Sachsen Stipendiatin der Villa Serpentara in Olevano Romano, IT

2004 2003

(Awarded by the Danish Arts Foundation) Roundabout, curatet with David Rhodes, Berlin, DE JADE, ANDERSEN_S Contemporary, Copenhagen (Solo) (Awarded by the Danish Arts Foundation) NuHerOgAldrigMer, Den Frie Udstillings bygning, Copenhagen Matisse &, Statens Museum for Kunst, Copenhagen BODY, Galerie Asbæk, Copenhagen(Solo) Libertine Appearence and Disappearence, DCA Gallery New York (Solo) Libertine Appearence and Disappearence, Paint Box Extensions, Copenhagen (solo) Puzzle Parade, Køge Skitsesamling, Køge, DK Puzzle Parade, White Box Gallery, New York

SELECTED IN SITU-PROJECTS 2013

EXHIBITIONS 2013 2012

2011 2010

2009

2008

2007

2005

Form - Signage, Sophienholm, Copenhagen Crossing Abstraction, Kunsthaus Erfurt und Forum Konkrete Kunst, DE Spread Scheets, Stedefreund Berlin 18. Symposium für Bildhauerinnen, Augustinerkirche Grimma, Sachsen, DE Based around Babusch, Babusch, Berlin Flachsland rauscht, Galerie E105, Berlin Dispend disbelief, Stedefreund Berlin Structures Das Weisse Haus, Vienna UM 10 Festival für Kunst, Literatur, Musik, Fregitz, Uckermark, DE As time goes by, Galerie Baer, Dresden, DE Energische Vorhersage, Frauenmuseum Berlin in Kooperation mit dem Umweltbundesamt, Berlin Selected Arstists 2009, NGBK Berlin Zeigen; Eine Audiotour durch Berlin, Temporäre Kunsthalle Berlin Crossing Abstraction, Kunstraum Kreuzberg, Bethanien, DE Attention,ect., Kunsthaus Zwickau, DE Monitor, Stedefreund Berlin Strong Shoyu, Souterrain, Sammlung Hoffmann, Berlin (E), Von jetzt bis dann, Goldrausch, Kunstraum Kreuzberg, Bethanien, Berlin The Weakest Link, Stedefreund Berlin Tornado, Kunst und Klimakatastrophe, General Public, Berlin Märzbau, Temporärer Ausstellungsraum, Berlin Poliflor, Gewächshaus Lichtenberg, Berlin PX - A purposeless production / A necessary praxis, St. Paul Gallery, Auckland, NZ Überhitzt!, Künstlerhaus Bethanien, Berlin Übergrenzen , Mart Stam Förderpreis 2006, Kunstfabrik, Berlin Galerie Christa Burger, München 35 Minuten /Stedefreund/Berlin (E) White Wash, twenty+3 projects, Manchester/UK Outsorting, glue, Berlin The other sight, Künstlerhaus Dortmund, DE Passion beyond reason, Konzept: Miller / Rockenschaub, Berlin Erfinden und Markieren, Kunstverein Bautzen Teilnahme an den Bundeswettbewerb für Junge Kunst, Bundeskunsthalle Bonn

Interdisciplinary Nanoscience Center (iNANO), Aarhus Universitet, DK 2012 Copenhagens Hovedbibliotek 2012 Scenefortæppe, Aalborg Hallen, Aalborg Kultur og Kongres Center, DK 2011 Hospice, Sankt Lukas Stiftelsen, DK 2008/11 Ballerup Rådhus, DK 2010/11 Silkeborg Gymnasium, DK 2010/11 Vestforbrændingen, Glostrup, DK 2010 Postens Østlandsterminal, Oslo 2009 VM pavillon 2011, N-Oslo, NO 2008 Vestforbrændingen, Glostrup, DK 2007 FMT, Forsvarets Materiel Tjeneste, Ballerup, DK 2006 DR Byen, Segment 3, Ørestaden, DK 2006 Egaa Gymnasium, DK 2005 Danfoss Hovedsæde, Nordborg, DK 2005 Konkurrencestyrelsen, Copenhagen 2005 Vestforbrændingen, Glostrup, DK 2004 Forsvarets Helikoptertjenester, Karup, DK 2004 Frederiksberg Gymnasium, DK 2003 Teknisk Forvaltning, Aalborg, DK 2002 Novo Nordisk, Hillerød, DK 2001 Aalborg Airport, DK

2012 2012 2011 2010 2010 2009 2009 2009 2009

FORM SIGNAGE / SOPHIENHOLM 2013

EDUCATION 1990/97 Akademie für Bildende Künste – Johannes Gutenberg-Universität, Mainz (master class of Prof.

Friedemann Hahn) 1993/95 Städelschule – Staatliche Hochschule für Bildende Künste, Frankfurt am Main (Prof. Raimer Jochims) 1997/98 MA Chelsea College of Art & Design, London 2004 Artist in residence, Villa Serpentara, Olevano Romano, I 2005 Working grant, Stiftung Kunstfonds, Bonn 2005/06 Berlin senate International cultural exchange, Los Angeles and Pasadena Lecturer, Art Center College of Design, Pasadena SELECTED SOLO EXHIBITIONS 2014 2013 2012

EDUCATION

2006

2002/08 The Royal Danish Academy of Fine Arts, Copenhagen

2011 2008

The Green Round. Galleri Tom Christoffersen, Copenhagen Vague District. Galleri Tom Christoffersen, Copenhagen

2005 2004 2003 2002 2000

Kunstverein Schwäbisch Hall, Stadtmuseum Oldenburg, De Cup. Koffer, Berlin Nicola Stäglich, SNO contemporary art projects, Sydney, (Cat.) Neon, dux & comes, Kunstverein Duisburg, DE (Cat.) Spontane Emission, ALP, Überseequartier, Hamburg Nicola Stäglich (with Alice Stäglich), Schloßparkmuseum Bad Kreuznach, De Duo (with Raimer Jochims), Vondöring contemporary, Schwäbisch Hall, Oldenburg, DE Slit, Galerie Wittenbrink, Munich (Cat.) Time Stills, Main Field Projects, Los Angeles (Cat.) Lichtbogen /Arc dLight (with Wulf Kirschner), Salena Gallery, Long Island University, New York Lichtbogen / Arc d ́Light, Goethe-Institut, Washington Blotscape, vondöring contemporary, Schwäbisch Hall, Oldenburg, DE Transparencies, Galerie Wittenbrink, Munich (Cat.) Belvedere, Villa Serpentara, Olevano Romano, I Malverwandtschaften (with Sabine Dehnel), Nassauischer Kunstverein, Wiesbaden, DE, (Cat.) Markha Valley, Oldenburger Kunstverein and Fahnemann Projekte, Berlin (Cat.) co.in.cide, Galerie Fahnemann, Berlin (Cat.)

SELECTED GROUP EXHIBITIONS SELECTED GROUP EXHIBITIONS 2013 2012

2010

SELECTED EXHIBITIONS

2012

Lives and works in Berlin

2009 2007

2011

Et Rum Med Udsigt, Rønnebæksholm, Næstved, DK Auf Zeit, Staatlische Kunsthalle Baden-Baden, DE Tasted Shapes, Budapest Galéria Kiállítóházába, Budapest, HU Voyage and Rhythm, Alejandra von Hartz Gallery, Miami, USA Every Story Tells a Picture - Cubo og Kunsten, Utzon Center, Aalborg, DK Salutes in Color, Galerie MøllerWitt, Aarhus, DK (Solo) Illusions of Transparency, DAMP, Copenhagen (Solo) RED BLUE MOTION TOTEM, Esbjerg Kunstmuseum, DK (Solo) Sense and Sensibility, Galerie MøllerWitt, Aarhus, DK COLOR STATE, Kunsthal Charlottenborg, Copenhagen (Solo) (Awarded by the Danish Arts Foundation Dynamisk Abstraktion, Skovgaardmuseet, Viborg, DK ARENA, Aarhus Kunstbygning, Aarhus, DK To The Wall, Kunsthal Charlottenborg, Copenhagen

Born in Oldenburg 1970

2010

SOLO EXHIBITIONS

Edition made for Den Danske Radeerforening

NICOLA STÄGLICH

Born 1981 in Randers, DK Lives and works in Copenhagen

EDUCATION

2013 2013 2012

2011

2011

Lives and works in Copenhagen and Berlin.

1984/91 The Royal Danish Academy of Fine Arts, Copenhagen 1987/88 Academy of Fine Arts, Budapest 1992/94 MA of fine arts, h.c. The Royal Danish Academy of Fine Arts Copenhagen

OTHER

MARIE SØNDERGAARD LOLK

MALENE LANDGREEN Born 1962

rejselegat. Ole Haslunds mindelegat.

Represented in museums/public collections: Malmø Konstmuseum Københavns Kommunes Billedkunstudvalg, Statens Kunstfond

2009

2008

Lost for words. Galleri Susanne Ottesen, Copenhagen Colour As Material. FAFA Gallery, Kuvataideakatemia (Art Academy), Helsinki En Verden Udenfor. Rønnebæksholm, Næstved, DK Sommerudstilling. Galleri Susanne Ottesen, Copenhagen Skabt Af Tiden. Nationalmuseet, Copenhagen Grønningen, Kulturkajen Docken, Copenhagen Multimarked, Skulpturi.dk, Copenhagen Erindringens Akæologi, Sorø Kunstmuseum, Sorø, DK Enter II, Kunsthallen Brandts, Odense, DK New Works, Galleri Tom Christoffersen, Copenhagen Skulptur i Eventyrhaven. Tableau, signal, stof. Eventyrhaven, Odense, DK Pist Protta & Space Poetry 1983-2031. De første 50 år.

Kunsthallen Brandts, Odense, Kunstbygningen, Århus, and Overgaden, Copenhagen And the Word Became Flesh, Galleri Tom Christoffersen, Copenhagen Third Thoughts, CCA Andratx Art Centre, Mallorca (ES) Dear.... David Risley Gallery, Copenhagen Carnegie Art Award at Listasafn Islands, National Gallery of Iceland, Reykjavik, The Royal Swedish Academy of Fine Arts, Stockholm, Kunstnernes Hus, Oslo and Kunsthalle Helsinki, Helsinki Parallel Lines. Galleri Tom Christoffersen, Copenhagen Carnegie Art Award, Kunsthal Charlottenborg, Copenhagen Deformities of Speed, Sophienholm, Lyngby, DK Hvad der lader sig gøre, Pladsen, Copenhagen Til Vægs, Kunsthal Charlottenborg, Copenhagen Teaching An Old Dog New Tricks, Den Frie Udstillingsbygning, Copenhagen EXIT, Gl. Strand, Copenhagen Beneath the Surface, Nils Stærk Contemporary Art, Copenhagen

2013

2012

2011

2010

2009

GRANTS Statens Kunstfond, Nimbs Fond, Hielmstierne-Rosencroneske Stiftelse, Kunstnerfonden af 1973. Akademiraadets Præmiefond, Niels Wessel Bagges Kunstfond. Carnegie - grant to a young artist. ’Exit Extra’

2008

Farbe Selbst, Georg-Kolbe Museum, Berlin IS-projects, Leiden, NL Die Grosse, Museum Kunstpalast, Düsseldorf Form - Signage, Sophienholm, Lyngby, DK Montage, Schau Fenster, Berlin Crossing Abstraction, Kunsthaus Erfurt and Forum , Konkrete Kunst, Erfurt, DE Berlin Non Objective, SNO contemporary art projects, Sydney Myspace – Rauminterventionen, Kunstraum Kreuzberg, Berlin Edition Norm Issue No. 1, Kosmetiksalon Bar Babette, Berlin L’oiseau présente: choses vues à droite et à gauche (sans lunettes), Ballhaus Ost, Berlin Far afield, Novopo Projektraum, Weitenhagen, DE L’oiseau présente: Ceci n’est pas abstrait, Ballhaus Ost, Berlin Pop Hits, Tanzschuleprojects, Munich and, Autocenter, Berlin Neuerwerbungen, Artothek, Oldenburg, DE L’oiseau présente: Der Garten der Pfade, die sich verzweigen, Ballhaus Ost, Berlin Folk 2 – Assemblage No. 4, SNO contemporary art projects, Sydney Ayran & Yoga – The 1st Berlin Kreuzberg Biennale, Forgotten Bar, Berlin UM 2010 – Festival für Kunst, Literatur, Musik, Fergitz Amphisbaena, Forgotten Bar, Berlin Reduxdelux: Small sculptures, Parkhaus Project Space, Berlin Im Norden, Sammlung der Landessparkasse zu Oldenburg, Oldenburg, DE (Cat.) Farbe konkret, Kunstverein Tiergarten, Berlin Crossing Abstraction, Kunstraum Kreuzberg, Berlin Neuer Aachener Kunstverein, Aachen, DE Hektor Kunstpreis 2009, Kunsthalle Mannheim, DE Visions of Watercolours today, Kunstverein Villa Streccius, Landau, DE (Cat.) Vertrautes Terrain – Aktuelle Kunst in und über

49

2007 2006

2005

Deutschland, ZKM – Zentrum für Kunst und Medientechnologie, Karlsruhe (Cat.) 30 Jahre, Galerie Wittenbrink, Munich Painting’s edge, Riverside Art Museum, Riverside, US Big Bopp, Atelier Klasse Friedemann Hahn, Mainz, DE Abstraction, Carl Berg Gallery, Los Angeles, US Lover after the cold war..., MAK – The Mackey Apartments, Los Angeles Jahresgaben, Neuer Berliner Kunstverein, Berlin Intercity Berlin – Praha 01: – Malerei, Haus am Waldsee, Berlin

2009

2008

REBECCA MICHAELIS

2007 2006

Born in Potsdam 1970 Lives and works in Berlin

2005

EDUCATION 2003 Master of Art University of Art Berlin 1997/03 studied Fine Art at University of Art Berlin, student of Prof. B.Koberling and Prof. F.Badur 2001 Studied Fine Art at Hunter College, City University of New York, New York 1995/96 School of Art & Design, Howard Gardens, Cardiff, UK

2004 2003

Invited, Kunsthaus Erfurt, Erfurt, De Ex oriente lux, Gallery Pankow, Berlin (Cat.) Kurz vor Zwölfe, Appartment, Berlin Selected Artists 2009, Neue Gesellschaft für Bildende Kunst e.V., NGBK, Berlin (Cat.) Farbe konkret, Kunstverein Tiergarten, Berlin GATHERING, Projectroom Scotty Enterprises, Berlin Crossing abstraction, Kunstraum Kreuzberg, Bethanien, Berlin VON JETZT JETZT BIS DANN - Goldrausch 2008, Kunstraum Kreuzberg, Bethanien, Berlin (Cat.) Zwölf, Haus am Lützowplatz, Berlin (Cat.) Gegenstandslos, Gesellschaft für Kunst und Gestaltung, GKG, Bonn StiPvisite, Haus am Kleistpark, Berlin Transit–abstract, Henselmann Turm, Berlin To the people of Potsdam, KunstHaus Potsdam, Potsdam Junge Malerei aus Berlin, Stadtgalerie Altötting, Altötting (Cat.) Watch it, Gallery Kunstagenten, Berlin Buntes, Gallery Weißer Elephant, Berlin Kleinode, Gallery Kunstagenten, Berlin Helsinki – Berlin 6733,3 km, Gallery Forumbox, Helsinki ma–Zwischenraum, Galerie Engler und Pieper, Berlin Montage, Behala Speicherhalle, Berlin

RUTH CAMPAU

SCHOLARSHIPS, GRANTS

Born in 1955

2013 2012

ruth@campau.dk www.campau.dk

Expert Jury Prize, Kunsthalle by Deutsche Bank, Working scholarship Schloß Wiepersdorf of the Senate for Science, Research and Culture in Brandenburg, 2012 2011 Project Grant awarded by the Käthe Dorsch and Agnes Straub Foundation, Berlin 2010 Artist in Residence, Künstlerdorf Schöppingen awarded by the Kunststiftung NRW 2009 Working scholarship of the Berlin Senate 2009, Berlin 2008 Project Grant, Studio Interroll, Sant Antonino, CH 2008 Goldrausch Künstlerinnenförderung art IT, Berlin 2006/08 Studio Grant, Karl Hofer Society, Berlin 2005 Scholarship awarded by the Käthe Dorsch and Agnes Straub Foundation, Berlin 2004 DAAD - 3 months Travel Grant for New York 2003/04 NaFöG - Scholarship of the Senate for Science, Research and Culture in Berlin 2003 NaFöG - 2 months Travel Grant for Cairo, Egypt 2003 Scholarship, awarded by Stiftung Deutscher Kulturfond, Künstlerhaus Lukas, Ahrenshoop 2001 Scholarship (NICA), awarded by the University of Art Berlin, studied at Hunter College, New York

2014 2013 2012 2011 2010 2008 2007 2005 2004

Kunsthalle by Deutsche Bank / Berlin, (upcoming) your stripes/ AD HOC/ Bochum eine rosagelbe Linie, dann dunkel... Burg Klempenow/ Neubrandenburg Smyrna, Saarländisches Künstlerhaus, Künstlerhaus Saarbrücken (Cat.) knapp shining, with Monika Brandmeier, Stedefreund Berlin, Berlin Rebecca Michaelis und Nataly Hocke, Interoll, Sant Antonino, CH Hugos Eigentum, Projectroom Scotty Enterprises, Berlin Die beste aller Welten, with Alexandra Schlund, Projektraum V8, Karlsruhe Susanne Jung und Rebecca Michaelis, Guardini Gallery, Guardini Stiftung, Berlin (Cat.) Times Square Landscape, Neuer Berliner Kunstverein, n.b.k. - Studio, Berlin

2000/05 Studies in Art History at the Open University, Copenhagen 2006/09 Art consultant and member (appointed by the Academy Council) of the advisory committee of UBST/The Danish University and Property Agency 2005/11 Member of the Danish Academy Council and Danish Artists’ Society’s Jury (chairman 2008-2011) 2011 Member of The Royal Danish Academy of Fine Arts

2011

2010

50

HONORARY STIPENDS, PRIZES AND AWARDS 2013 Residency at ISCP, New York (Danish Agency for Culture).

2008 The Danish Arts Foundation, 3-year stipend. 2007 Anne Marie Telmanyi født Carl-Nielsen Fond, honorary stipend. 2006 Nominated for Mies van der Rohe Prize, for Nordlyset. 2002 Aage og Yelva Nimbs Fond, honorary stipend.

WORK REPRESENTED AT ARKEN Museum of Modern Art, Ishøj, DK KUNSTEN Museum of Modern Art, Aalborg, DK Esbjerg Art Museum, Esbjerg, DK

SIMON CALLERY Lives and works London EDUCATION

2011 2011

SOLO EXHIBITIONS

2007 2006 2006 2005 2004 2004 2001 1996

Pearl, PS Projectspace, Amsterdam, NL Velvet Mirror and Diamonds, Asbaek AAC Showroom, Copenhagen Mit Museum, KUNSTEN Museum of Modern Art, Aalborg, DK Neighbourhood & Grass, Brænderigården, Viborg, DK The Well, Site-specific project for SALEN, Kunsthallen GL STRAND, Copenhagen Curtain, Ostseebad Sellin, Rügen, DE Galleri Hartwich, Sellin, Rügen, DE SPACE BAR, Paintbox extensions, Copenhagen Kan et Figentræ Bære Oliven? [CAN A FIG TREE BEAR FORTH THE OLIVE?], Art project, Østerbro Provsti (Deanery), Copenhagen Yellow. Red. Cigar, Overgaden, Copenhagen Humid Zone, Overgaden, Copenhagen

SELECTED GROUP EXHIBITIONS 2013 2013 2013 2013

2012

2012

2007/08 Contemplation. Site-specific decoration of the church at the National Hospital, Copenhagen. Donation by The New Carlsberg Foundation 2007 Fleet House. Site-specific decoration of office building’s façade, Fleet Street, London, United Kingdom 2006/07 Olympic Boogie Woogie. Site-specific decoration of foyer and lounge, Sports Confederation of DK. 2005/06 Inventor Sheets. Site-specific decoration at The Danish Patent And Trademark Office, Tåstrup, DK. 2004/06 Oksbøl Color Base. Site-specific decoration of 5 quarters at the Oksbøl Camp, Danish Defense Construction Service. DK. 2002/06 Nordlyset. Site-specific decoration for residential housing complex on Amerikakaj, Copenhagen.

Collaboration w/ architect firm of C.F. Møller.

1976/79 Campion School, Athens 1979/80 Berkshire College of Art & Design, UK 1980/83 Cardiff College of Art, Cardiff, UK

2013 Sammlung Deutsche Bank, Kunsthalle by Deutsche Bank, Berlin, (upcoming) Form - signage, Sophienholm, Copenhagen, DK,(Cat.) On Paper/ Hunchentoot, Berlin Erkundung und Spiel, Marienkirche, Frankfurt Oder Anonyme Zeichner, Kunstverein Tiergarten, Berlin The cat will take your Food, Künstlerhaus Schloß Wiepersdorf Crossing abstraction, Forum für konkrete Kunst, Erfurt, De Myspace, Kunstraum Kreuzberg, Bethanien, Berlin Difference a bend, part 2, Stedefreund Berlin, Berlin what I predict to remember what I predict to forget, curated by Marlena Kudlicka and Anne Gathmann, Stedefreund Berlin, Berlin Thrill, curated byYasmina Khouaidjia, Straßbourg (Cat.) Akademie zeigt Farbe, curated by Martina Baleva, Brandenburgischen Akademie der Wissenschaften, Berlin Project 8, Based around Babusch, Babusch, Project Space for Art from and about Elsewhere, Berlin R.S.V.P., Galerie koal, Berlin The fourth floor on the fourth floor, curated by Marlena Kudlicka and Claudia Kugler, Hirtenstrasse 10, Berlin Generationen II, Kunsthalle Brennabor, Brandenburg, De

SITE-SPECIFIC PROJECTS IN THE PUBLIC SPACE

SELECTED SOLO EXHIBITIONS

SELECTED GROUP EXHIBITIONS 2013

I:I, Herning Art Museum, Herning, DK PAINTBOX, Copenhagen

EDUCATION

2010 SOLO EXHIBITIONS

2001 1999

2012 2012 2012 2010 2010 2008 2006 2005 2004 2003 2001

Form - Signage, Sophienholm, Lyngby, DK Baltic Sea Record 2013, Stadtgalerie Kiel, DE Sculpture by the Sea, Aarhus Waterfront, DK Arkitektonisk Stuegang, Designmuseum DK, Copenhagen Giv os i dag…Når kunsten går i kirke, Det Religiøse Museum, Lemvig, DK Giv os i dag…Når kunsten går i kirke, KØS Museum of Art in Public Spaces, Køge, DK Co Lab, The Barker Hangar, Los Angeles Shaped by Time, The National Museum, Copenhagen Robert Jacobsen up to date, Esbjerg Art Museum, Esbjerg, DK Grønningen, Charlottenborg Exhibition Hall, Copenhagen Preview, Tempelhof, Berlin Grønningen, Charlottenborg Exhibition Hall, Copenhagen, Galerie Hartwich, Sellin, Rügen, DE ROUNDABOUT, Contemporary Exhibition Space, Berlin Grønningen, Charlottenborg Exhibition Hall, Copenhagen, Grønningen, Charlottenborg Exhibition Hall, Copenhagen BOX 2.0. Copenhagen Grønningen, Charlottenborg Exhibition Hall, Copenhagen PAINTBOX extensions, Copenhagen Farbfilm 2004 - Abstraktion III, Kunstverein Schloss Plön & Schloss Plüschow, Niedenstein, DE Galerie Hartwich, Sellin, Rügen, DE Efterårsudstillingen, Autumn Exhibition, Charlottenborg Exhibition Hall, Copenhagen Galerie Hartwich, Sellin, Rügen, DE Galerie Hartwich, Sellin, Rügen, DE

2012 2010 2009 2008 2007 2006 2005 2003 2002 2000 1999 1997

1996 1995 1994 1993 1992

INLAND SEALAND. 33 Newland Sherborne, Dorset PHYSICAL PAINTING. Fold Gallery, London SIMON CALLERY. THAMES GATEWAY PROJECT. APT Gallery, London SIMON CALLERY. Westbrook Gallery, London PIT PAINTINGS. University of the Arts, London SIMON CALLERY. Rachmaninoff’s. London SIMON CALLERY. Philippe Casini Gallery, Paris SEGSBURY PROJECT. Dover Castle, Kent & Storey Gallery, Lancaster SIMON CALLERY. PAINTINGS. Philippe Casini Gallery, Paris RECENT PAINTINGS. Philippe Casini Gallery, Paris SIMON CALLERY. NEW PAINTINGS. Kohn Turner Gallery, Los Angeles ARTNOW 19. Tate Britain, London THE SEGSBURY PROJECT. The Great Barn, Great Coxwell. Oxfordshire University Museum of Natural History & The Pitt Rivers Museum, Oxford PAINTINGS 1995 - 1996 Anthony Wilkinson Fine Art, London MURI. Christian Stein Gallery, Turin, IT Anderson O’Day Gallery, London Anderson O’Day Gallery, London E14SE10. Free Trade Wharf, London

SELECTED GROUP EXHIBITIONS 2012 2011 2010 2009 2008 2006 2005 2004

2002

PAINTING: PULLED, STRETCHED, REVEALED. Sumarria Lunn Gallery. London BACK & FORTH. Galerie B55. Budapest WITHIN/BEYOND BORDERS. Byzantine & Christian Museum. Athens LAYERS; JOHN MOORES PAINTING PRIZE, Seongnam Art Centre. Korea WHAM PAINTING AND BEYOND. Den Frie Udstillingsbygning. Copenhagen WALLS HAVE EARS. Man & Eve. London MONOCHROME. Fine Art Society, London SHORT STORIES ABOUT PAINTING. Art Space Gallery, London DISEGNARE IL MARMO. Accademia di Belle Arti di Carrara. Italy QUAND J’EN TROUVE, J’EN METS A LA CARTE. Galerie Philippe Casini, Paris.

COLOUR WHITE. De La Waar Pavilion. Bexhill-on-Sea MULTIPLES OBJECTS DE DESIR. Musee Des BeauxArts de Nantes, FR

FORM SIGNAGE / SOPHIENHOLM 2013

2001 2000

1999 1998

1997

1996

1994

1993 1988 1983

DRAWING PARALLELS. Birmingham Museums and Art Gallery PAPER ASSETS. British Museum, London FACT AND VALUE. Charlottenborg Udstillingsbygning.

Copenhagen THE SEGSBURY PROJECT: ALFRED’S CASTLE. Ashdown Estate, Berkshire A QUIET STORM. Kohn Turner Gallery, Los Angeles A LINE IN PAINTING. Gallery Fine, London CALLERY, FRANCIS, LAMERS. Galleria Emilio Mazzoli, Modena, IT L’ATTITUDE/LONGITUDE. Arte Monaco. Monte Carlo, Monaco BRITISH PAINTING. Galerie Hollenbach, Stuttgart, DE A CLOUDBURST OF MATERIAL POSSESSIONS. Towner Art Gallery, Eastbourne EXPERIMENT (GB). Kunstverein Trier, Trier & Kubus.

Hannover, DE PURE FANTASY. Inventive Painting of the 1990’s. Oriel Mostyn, Llandudno, Wales SENSATION. Young British Artists from the Saatchi Collection. Royal Academy of Arts, London, Hamburger Bahnhof, Berlin & Brooklyn Museum of Art, New York KHOJ. Modinagar, Uttar Pradesh & Queen’s Gallery, British Council, New Delhi, India THE EAST WING COLLECTION. Courtauld Institute Galleries, London ABOUT VISION; New British Painting in the 1990’s.

Museum of Modern Art, Oxford YOUNG BRITISH ARTISTS III. Saatchi Gallery, London LANDESCAPES. Ex Lanificio Bona, Carignano, Turin, IT EQUINOZIO D’AUTUNNO . Castello di Rivara, Rivara,Italy.

STRICTLY PAINTING. Cubitt Street Gallery, London JOHN MOORES 18. Walker Art Gallery, Liverpool WHITECHAPEL OPEN. Whitechapel Art Gallery, London.

NEW CONTEMPORARIES Institute of Contemporary Art, London

2007

2006

2005

2004 2003

CURRATING 2013

2010 2009

2007 2006

2005 2003

TORGNY WILCKE

2000

Born 1963 in Copenhagen

1999

www.twilcke.dk www.kunstdk.dk

1998 1996

SELECTED SOLO EXHIBITIONS 2013 2012 2011 2010 2009 2008 2007 2006 2005

2003

2002 1999 1997

My hedge, my carpet, your shelf. Gallery Weinberger, Copenhagen Idea Store Whitechapel, London Stone Free NYC-CPH with Russel Maltz. Gallery, Weinberger, Copenhagen Et4u.dk, Bannershow in Nees-Skalstrup, Vestjylland, DK Super sprouse. TeamUp 036, Architect Project Room, Copenhagen Big livingroom, GUBI, Copenhagen Green chipboads, Fabrikken for kunst og design, Copenhagen Jump in Ringsted with Ellen Hyllemose. Ringsted Gallery, Ringsted Fine and fat zone.

036, Architect Project Room, Copenhagen Painting, no chaser. Gallery Weinberger with Clem Crosby,Copenhagen Aluminia. Amagerfælledvej, Copenhagen Length to Block – that’s beat, DCA Gallery, New York (Cat.) The singing Bush, silkscreens Danske Grafikere (with Ellen Hyllemose), Copenhagen Length - that’s beat, Gallery Tom Christoffersen, Copenhagen Length - that’s beat, Block - that’s beat, Traneudstilling, Gentofte artlibrary, Copenhagen (Cat.) Torgny Wilcke and GUBI, GUBI, Copenhagen Kazoom, Copenhagen (Cat.) Grounded, Paint Box, Copenhagen (Cat.) New paintings. Overgaden (with Clem Crosby), Copenhagen (Cat.)

2005 Structural Soundscapes, Nykredit, Kalvebod Brygge, Copenhagen. 2005 Minor Moves in Motion, Aalborg Hospital, psychiatric dep. east, DK. 2009 Descending Structures, Københavns Energi, Ørestaden, Copenhagen. 2009 Kunstnerstien, Mjølnerparken, Copenhagen. 2010 Diving into Colour, Fleeing into Space, Horsens Hospital, Horsens, DK. 2010 Infinite Structures, Horten Advokatfirma, Copenhagen. 2011 Explosions in the Sky, PKA Pension, Hellerup, DK. 2013 Double Structure, Sometimes Repeated, Ryes Kaserne, Fredericia, DK. GRANTS 2007 The Danish Arts Foundation, working grant. 2007 Solicitor Rigenstrups grant for young painters. 2006 The Danish Arts foundation, workinggrant. 2005 The Danish Arts foundation travel grant. 2002-2003 New Carlsberg Foundation, travel grant. 19992001 Former businessman Emmerich Jacob Müllers grant.

AWARDS 2005 Cruise Control (Paint Over), Spring Exhibition, Charlottenborg, awarded by The Danish Arts Foundation. 2007 Don’t believe the hype Trane Exhibition, awarded by The Danish Arts Foundation

1998/04 The Royal Danish Academy of Fine Art, Copenhagen SOLO EXHIBITIONS 2013 2010 2009 2007 2007 2003

Double Structure, Sometimes Repeated, Galerie MøllerWitt, Aarhus, DK On the Shoulders of Giants, Henningsen Contemporary, Copenhagen A Broken Frame, (with Trine Boesen), Galerie MøllerWitt, Aarhus, DK Breaking the fourth wall, Henningsen Contemporary, Copenhagen Don’t believe the hype, Trane Exhibition, Gentofte Main Library, Gentofte, DK Clicks/Cuts/Cues Kunstakademiets Udstillingssted, Copenhagen

SELECTED GROUP EXHIBITIONS

2011

FORM SIGNAGE / SOPHIENHOLM 2013

PUBLIC COMMISSIONS

EDUCATION

2013 2012

2008

2003

www.troelsaagaard.dk

2012

2009

2005 2004

Maleri Uden Grænser, Esbjerg Art Museum, Esbjerg, DK This is Nowhere, Weinberger Contemporary, Copenhagen Brændstof, Nordjyllands Museum of Art, Aalborg, DK Exit Kunstakademiets Afgangsudstilling, Gl. Strand, Copenhagen Overblik, Kunsten og den nye by, Museum of Contemporary Art, Roskilde, DK

Born1970 in Denmark Lives and works in Copenhagen

2013

2010

Substance P project planned, Double Illums Bolighus, Copenhagen Substance P Wall, project planned and curated with Tumi Magnussen Facon, plads & kulør, in cooperation with Hans E Madsen, Rundetårn, Copenhagen Fabrikken besøger Illums Bolighus, Copenhagen Material Zone, Århus Kunstbygning Wham, Painting and beyond, in cooperation with Peter Holm Den Frie Udstillingsbygning, Copenhagen Amagerfælledvej 5 Projects, Copenhagen etc. in cooperation with Sotiris Kyriacou, Copenhagen Katharina Grosse on Fabriken for Kunst og Design, Copenhagen VÆGTILVÆG, Amagerfælledvej, in cooperation with Camilla Nørgård, Copenhagen Forårspop, Showroom, Fabrikken for Kunst og Design, in cooperation with Claus Egemose, Copenhagen Other Spaces, in cooperation with Veo Friis Jespersen, FLS, Copenhagen Charlottenborgs Efterårsudstilling as board member Fact & Value, Charlottenborgs Udstillingsbygning, in cooperation with Mikkel Bogh, Copenhagen 3 solo exhibitions, Mariendalsvej with Torgny Wilcke, Ellen Hyllemose, Henrik Jørgensen, Frederiksberg, DK Examples, SAK’s exhibition building, Svendborg, DK 90’ies Modernism. Den Frie Udstillingsbygning, Copenhagen Gallery Zenit, 12 exhibitions, in cooperation with Claus Christensen, Frederiksberg

2006

TROELS AAGAARD

SELECTED GROUP EXHIBITIONS Double, Illums Bolighus, Copenhagen Crossing Abstraction, Kunsthaus Erfurt and Forum Konkrete Kunst (DE) Landing, Teksas (DK) En hilsen til Ib Geertsen. Danske Grafikeres Hus, Copenhagen Facon, plads og kulør. Rundetaarn, Copenhagen (Cat.) Wham, Painting and beyond. Den Frie Udstillingsbygning, Copenhagen Crossing Abstractions, Kunsthaus Kreuzberg, Bethanien, Berlin Fabrikken for Art and Design visits Illums Bolighus, Copenhagen Material Zone, Århus Kunstbygning, Århus Jylland. Århus Kunstbygning, Århus Decembristerne. Den Frie Udstillingsbygning,

Copenhagen etc., Amagerfælledvej Art Project. Copenhagen Montana 3 Projects: Så og så meget, Hjem igen, Skvulpturimontana.com with Claus Egemose, Copenhagen Nu, her og aldrig mere, Den Frie Udstillingsbygning, Copenhagen Kammeraterne, Den Frie Udstillingsbygning, Copenhagen VÆGTILVÆG, Amagerfælledvej, Copenhagen Rough Diamond.The Program, London Værk, Knabstrup Kulturfabrik, Knabstrup. DK, (Cat.) POPup, Showroom on the Factory for Art and Design, Copenhagen C/O Sophienholm, Decembristerne, Sophienholm, Lyngby, DK (Cat.) Other Spaces, FLS, Copenhagen (Cat.)

2010

2009

2008

Form - Signage, Sophienholm, Lyngby, DK Visuel Haiku, Vestjyllands Kunstpavillion, Videbæk, DK Robert Jacobsen Up To Date, Esbjerg Art Museum, Esbjerg, DK Op til 2012, Galerie MøllerWitt Aarhus, DK Standing on the Never Never, Galerie MøllerWitt Aarhus, DK Spatial Relations, Kunsthal Nord, Aalborg, DK Op til 2011, Galerie MøllerWitt, Aarhus, DK I know what everybody did last summer, Henningsen Contemporary, Copenhagen En hilsen til Ib Geertsen, Danske Grafikeres Hus, Copenhagen KUP, Hans Alf Gallery, Copenhagen Kontrapunkt, Esbjerg Art Museum, Esbjerg, DK The Party, Beaver Projects, Copenhagen Interferens, Artwox, Copenhagen Til Vægs, Kunsthal Charlottenborg, Copenhagen Teaching an old dog new tricks, Den Frie Udstillingsbygning, Copenhagen

51

FORMSIGNAGE Tak til Statens Kunstr책ds Billedkunstudvalg Statens Kunstr책ds Internationale Billedkunstudvalg Grosserer L.F. Foghts Fonds Beckett Fonden

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Substance P

ISBN 978-87-987226-3-2

ISBN 978-87-987226-3-2