Børn & Unge / Children & Young People 2013 by SMK

/ Children & Young People

2013 1

INDHOLD / CONTENTS 12

Forord / Foreword

FORMIDLING: Folder til voksne med værktekster og interview / MATERIALS: Leaflet aimed at adults, featuring interviews and information about the art

Hvem er vi? / Who we are

FORMIDLING: Flip-flapper til familier på egen hånd / MATERIALS: Paper fortune teller for families exploring on their own

STRATEGI: Børn og Unge - enhedens konkrete mål 2014-2017 / STRATEGY: Specific objectives for the Children and Young People Unit 2014-2017

ARTIKEL: Kan man tvinge en ko til at spise mariehøns? Når børn filosoferer / ARTICLE: Can you force a cow to eat ladybugs? When children philosophize

ANMELDELSE: Filosoffer for en dag / REVIEW: Philosophers for a day

ANMELDELSE: Frie børn tænker bedst / REVIEW: Giving children the freedom to think

101

STRATEGI: Overordnede mål for SMK’s B&U-udstillinger / STRATEGY: Overall objectives behind the SMK’s exhibitions for children

DEMOKRATI OG MEDBORGERSKAB / DEMOCRACY AND CULTURAL CITIZENSHIP 24

ARTIKEL: Everybody has a word – om medborgerskab, demokrati og social ansvarlighed / ARTICLE: Everybody has a word – about citizenship, democracy, and social responsibility

FORSKNING: En undersøgelse af kunstmuseer som rum for kulturelt medborgerskab / RESEARCH: A study of art museums as spaces for cultural citizenship

NY BOG: Rum for medborgerskab / NEW BOOK: The Museum as a Site for Cultural Citizenship

KONFERENCE: The Inclusive Museum, ICOM / CONFERENCE: The Inclusive Museum, ICOM

ULK og Byens Hegn / ULK and METRO – COOL CONSTRUCTIONS 44

PRÆSENTATION: ULK/kunstpiloterne / PRESENTATION: ULK Art Labs / Art Pilots

ARTIKEL: Fra idé … til byens hegn / ARTICLE: From idea ... to the city’s fences

PRIS: Hegnspælens publikumspris 2013 / PRIZE: Winner of the Hegnspælen Peoples Choice Award in 2013

RESPONS: E-MATRIXEN / RESPONSE: The E-matrix

ANMELDELSE: Guldalder og galskab på gadeplan / Review: A zany street-level approach to art Børneudstillingen Frihed!

/ Children’s exhibition Freedom!

68 10

KORT NYT

/ NEWS IN BRIEF

104

PRIS: Undervisningsmiddelprisen 2013 for ”Klatværket” / AWARD: ”Klatværket” wins Ministry of Education award 2013

104

Sex & Samfund / Sex & Samfund (the Danish Family Planning Association)

105

Samarbejde med sprogskoler / Collaboration with language centres

106

I care – efteruddannelse til pædagoger / I care – Education, Children and Art

108

KIDS CITY – Børn erobrer byen / KIDS CITY – Kids take over

110

Billederne synger – en opera for børn på museum / The Pictures are Singing – an opera for children at museums

111

MUVI-cards / MUVI-Cards

112

SMK Fridays / SMK Fridays

113

Children in Museum Award

114

Søndag for børn / Sunday for Kids

116

Glæd dig til 2014 / Coming Up 2014

BRUGERINDDRAGELSE: 100 børn på arbejde / User involvement: 100 children at work 11

FORORD / FOREWORD / By Marianne Grymer Bargeman, Head of Unit, Children & Young People

Af Marianne Grymer Bargeman, Enhedsleder, Børn & Unge Det er nemmere at forstå, hvad en cykelpumpe er, når dækket er fladt. Det er, fordi svaret ofte ligger i anvendelsen snarere end i kategoriseringen. På samme måde er det nemmere at forholde sig til Børn & Unge-enhedens strategiske indsatsområder, når man samler mange af de konkrete projekter i bogform som her. I denne bog er initiativer og projekter fra 2013 systematiseret og ordnet. Tilmed doseret med en vis anerkendelse udefra. Når man står midt i hverdagens tummel, opleves det anderledes. Deadlines skrider, projekter kuldsejler, og initiativer stritter i alle retninger. Måske burde man en dag lave en bog om alt det, man ikke nåede. I en anerkendelse af, at man sjældent kommer lineært til løsningerne. Der er mellemregninger og lærerige omveje, der er hoppen på stedet og kluddermor. Men uden alt dette, intet nyt. Vi håber, at alle, som bladrer i bogen, oplever, at noget er blevet levende i verden, som ikke var det før. For mig er det desuden kendetegnende, at samtlige B&U-projekter deler ambitionen om, at kunst og kreativitet skal spille en aktiv rolle i alle børn og unges hverdagsliv. Sandsynligheden for at indfri vores ambition øges med fokus på kulturelt medborgerskab, brugerinddragelse og demokrati. Det er vores erfaring, og det er bogens fokuspunkter. Denne bog tager dig med til New York og Boston, hvor museerne har en lang tradition for at tage et stort socialt ansvar. Du kommer med vores frivillige unge i ULK til prisuddeling på Byens Hegn og med bag kulisserne i et udfordrende samarbejde med Metroselskabet og byggepladsens hårdtprøvede naboer. Brugerinddragelse er også i centrum i årets børneudstilling Frihed!, som tager afsæt i den danske filosof Søren Kierkegaard og 100 børns ord, tegninger og forslag til værkudvalg. Bogen giver dig desuden en kort introduktion til vores EU-finansierede efteruddannelsesprogram for pædagoger, der peger frem mod et større efteruddannelsesprogram for skolelærere, som vi påbegynder i 2014. Bogen viser dig også, hvordan det gik en dag i oktober, da børnene i bogstaveligste forstand overtog museet. Og endelig, hvis du er interesseret i at vide mere om vores strategiske arbejde, kan du her i bogen se vores konkrete mål for B&U de næste tre år. Strategien giver indblik i, hvad vi ønsker at bevirke, og hvordan vi vil nå vores mål.

Dette er den tredje i rækken af årbøger fra B&U-enheden. Bøgernes primære formål er at dokumentere arbejdet med børn og unge for herved at gøre det lettere at dele erfaringer og kvalificere indsatserne, nationalt som internationalt. Hvis du er interesseret i at vide mere om vores arbejde, kan du finde de øvrige bøger på www.smk.dk. Vi sender også gerne bøgerne til dig, så længe lager haves. God læselyst!

/ It is easier to understand the concept of a bicycle pump when you have a flat tyre. This is because answers often reside in usage rather than in categorisation and description. Similarly, it is easier to relate to the strategic efforts of the Children & Young People Unit at the SMK when you collect many of the specific projects undertaken in a book like this. The book you are holding offers a neatly ordered account of our various initiatives and projects from 2013. And it has even been sprinkled a little with external accolades and nods of approval. When you are standing in the middle of a hectic workday you experience things in a different way. Deadlines loom and may be missed, projects founder and fail, and various initiatives seem to be pointing in all directions at once. Perhaps one day it would be a good idea to write a book about all the things you did not quite get to do, recognising that you rarely find your solutions by travelling in a straight line. In any learning curve there are detours and subplots along the way, there will be tangles and times of little progress. But without all these things there can be no new thing. We hope that all those who leaf through this book will find that something has come alive, something has entered the world that was not there before. To me, one of the very distinctive traits of all the projects done by the Children & Young People Unit is their shared ambition: they aim to have art and creativity play an active role in the everyday lives of all children and young adults. The likelihood of realising this ambition is increased by focusing on cultural citizenship, user involvement, and democracy. That is certainly our experience, and so these areas are also the focus points of this book.

The book will take you on a journey to New York and Boston, where museums have a long-standing tradition for taking on huge social responsibility. You can join our young volunteers from the ULK Art Labs for an awards ceremony held by the Byens Hegn (City Fences) initiative and get a behind-the-scenes look at their challenging collaboration with the company building the new metro stations and the sorely tried neighbours of the metro building sites. User involvement also holds centre stage in this year’s exhibition for children, Freedom!, which takes its point of departure in the Danish philosopher Søren Kierkegaard and the words, drawings, and curatorial suggestions of 100 children. The book will also give you a brief introduction to our EU-funded supplementary learning programme for educators, which points ahead to an even larger supplementary learning programme for school teachers that we will launch in 2014. The book also shows you what happened on one day in October when children quite literally took over the museum. Finally, those who are interested in knowing more about our strategic work can find our specific objectives for the next three years. This strategy reflects what we wish to achieve and how we plan to meet our objectives. This book is the third yearbook published by the Children & Young People Unit. The main objective of these yearbooks is to document our activities aimed at children and young adults, thereby making it easier to share our experiences with others and invite new input and inspiration – nationally and internationally. If you are interested in knowing more about our work you can find the other books at www.smk.dk. We are also happy to send you bound copies of the books while our stocks last. Enjoy!

HVEM ER VI? / WHO WE ARE Marianne Grymer Bargeman Enhedsleder, Børn og Unge / Head of Unit – Children & Young People marianne.bargeman@smk.dk Nana Bernhardt Undervisnings- og udviklingsansvarlig i Skoletjenesten / Head of School programs nana.bernhardt@smk.dk Michael Hansen Værkstedsleder / Head of Workshops / michael.h@smk.dk Julie Maria Johnsen Undervisnings- og udviklingsmedarbejder / Education and Development Staff julie.johnsen@smk.dk Frederik Henrik Knap ULK koordinator / Art Educator, Art Labs frederik.knap@smk.dk Nikolaj Recke ULK kunstner / ULK artist nikolaj.recke@smk.dk

Sigrid Marie Wilde Abrahamsen, Marika Seidler N. Andersen, Michael Boelt, Michèle Denise Rylander Christensen, Signe Dahlerup, Rasmus Danø, Ida Dybdahl, Nina Dyrmose, Olivia Skjerk Frankel, Michelle Eistrup, Ida Flarup, Toke Hal, Christina Hamre, Ernst Hansen, Malene Hartmann, Fillip Danstrup, Gisela Kruse Rønnow, Karen Land Hansen, Stine Lundberg Hansen, Suzette Gemzøe, Marie Hardgrib, Tine HechtPedersen, Hanne Ravn Hermansen, Sisse Hoffmann, Sofie Henningsen, Tine Jakobsen, Laura Karacic, Lejla Mrgan, Regitze E. Karlsen, Elin Kromann, Mikkel Larsen, Birgitte Lund, Jette Lundstrøm, Henrik Menné, Marie Nederby, Mathilde Teglgaard Nielsen, Line Kanstrup Nielsen, Annette Skov, Nanna Skov, Nanna Starck, Julie Thesander, Christine Tommerup, Cecilia Westerberg, Anna Wistreich, Miriam Helena Wistreich, Carina Zunino 14

FOTO: MAGNUS KASLOV

Undervisere, omvisere og værkstedsmedarbejdere / Museums educators, guides and artist staff

Antal besøgende på SMK 2013: 255.835 / Total visitors at SMK in 2013: 255,835 Antal skoleklasser på SMK: 1.720 klasser (34.720 elever) / Number of visiting school classes: 1,720 school classes (34,720 students) Antal børn i museets værksteder, weekend og ferie: 7.605 / Number of children visiting the workshops during weekends and holidays: 7,605 Antal børn og unge på SMK i alt: ca. 52.500 / Number of children and young adults visiting SMK in 2013, total: 52,500 16

StRategi

B&U-enheden har en ambition om at være førende inden for kunstformidling til børn og unge. Det mål når vi bl.a. ved at have fokus på gensidige læringsprocesser. Alle udviklingsprojekter er, så vidt det er muligt, brugerinddragende og sker altid i tætte partnerskaber med folk både inden for og uden for museumsmiljøet, nationalt og internationalt. I løbet af de næste fire år vil vi arbejde for:

At kunst og kreativitet kan spille en aktiv rolle i alle børn og unges hverdagsliv

At tilgængeliggøre og dele viden og erfaringer

Vi vil: — Gentænke og videreudvikle museets undervisnings - og fritidstilbud i forhold til den nye skolereform i samarbejde med organisationen Skoletjenesten på Sjælland. — Sikre os at min. fire skoler pr. år indskriver museet som fast læringsressource i deres årsplaner (fx det længerevarende forløb Kunstkatapult). — Styrke samarbejdet med skoler i nærområdet, så mindst to skoler har minimum 10% af deres undervisning på museet. — Producere mindst to børneudstillinger. — Tilrettelægge særlige forløb til mindst én gruppe børn og unge med særlige behov (fx blinde eller børn med psykiske lidelser). — Udvikle mindst fire brugerinddragende projekter i Unges Laboratorier for Kunst, hvoraf mindst to af dem sker uden for SMKs fysiske rum og mindst to på museet. — At min. 25 % af vores besøgende er i alderen 14-29 år. Det er over 10 % højere end gennemsnittet på andre kunstmuseer.

Vi vil: — Etablere et nationalt råd for museal børne- og ungeformidling. — Publicere årbog om vores arbejde (proces såvel som resultater) på dansk og engelsk. — Publicere en årlig artikel i etableret tidsskrift, gerne internationalt. — Arbejde for en større tilgængeliggørelse af vores ressourcer inden og uden for SMK. At enheden fungerer som et mikro-kosmos for læring i organisationen Ved at: — Lave mindst et formidlingsmæssigt eksperiment i hver børneudstilling. — Lave mindst et samarbejde med en voksen ikke-brugergruppe (fx velkomstpakke til sprogskoler), hvor vi benytter vores særlige viden om læringsprocesser. — Arbejde målrettet på kompetenceudvikling af vores store gruppe af både frontpersonale, omvisere og undervisere. 19

/ StRategy

The Children and Young People Unit (B&U) at the SMK wishes to hold a leading position within the field of art education, learning, and interpretation aimed at children and young adults. Focusing on mutual learning processes is one way of fulfilling this ambition. All development projects will, to the greatest extent possible, involve users directly and are always carried out in close collaboration with people inside and outside the museum scene in Denmark and abroad. Over the course of the next four years our work will have the following overall objectives:

To enable art and creativity to play an active part in the everyday lives of all children and young people

To share and make our knowledge and experience accessible

We want to:

— Rethink and evolve the museum’s school programmes and leisure activities to reflect the new reform of the Danish school system; this will be done in co-operation with the organisation Skoletjenesten på Sjælland/ Education Centre. — Ensure that at least four schools a year integrate the museum as a regular learning resource in their annual curriculum (for example by taking part in the long-term teaching programme Kunstkatapult (“Art Catapult”). — Enhance our co-operation with schools in our local area, ensuring that at least two schools conduct at least 10% of their teaching at the museum. — Produce at least two exhibitions specifically aimed at children. — Plan special activities for at least one group of children and young adults with special needs (such as visually impaired children or children suffering from mental illnesses). — Develop at least four user-involving projects at the ULK Art Labs, at least two of which will take place outside the physical setting of the SMK while at least two will take place at the museum. — Have at least 25% of our total number of visitors belong within the 14-to-29 age bracket. This figure is 10% greater than the average figure at other art museums.

— Set up a national council for museum interpretation and learning activities aimed at children and young adults. — Publish annual yearbooks about our work (covering our processes as well as our results) in Danish and English. — Publish one article a year in a well-established journal – international, if possible. — Work to make our resources more immediately accessible inside and outside the SMK.

To have the Unit act as a microcosm for learning in the SMK organisation do this by:

— Carrying out at least one experiment relating to art interpretation and learning in each of our exhibitions for children. — Establish at least one project aimed at collaborating with an adult group of non-users (for example a welcome kit for language schools) where we employ our specialist knowledge about learning processes. — Working in a target-oriented fashion with staff training for our large group of front-end staff, guides, and educators.

DEMOKRATI og MEDBORGERSKAB / DEMOCRACY AND CITIZENSHIP

ARTIKEL

Denne artikel blev første gang trykt i Danske Museer 2014/1

USA

Everybody has a word

om medborgerskab, demokrati og social ansvarlighed

Af Marianne Grymer Bargeman, leder af Børn & Unge, SMK

Hvad er museets rolle i dag, nationalt som globalt? Hvilken rolle spiller medborgerskab i en museal sammenhæng, og hvordan bliver man overhovedet del af et fællesskab? Denne artikel vil, med afsæt i en studietur til New York og Boston, give eksempler på, hvordan vi kan forstå begreberne og måske håndtere nogle af udfordringerne. Medborgerskab “How do museums see themselves as creating citizenship?”, spørger Peggy Levitt, som forsker i migration og museers rolle i forhold til globalt medborgerskab. “And how do you use your collections? Is it all about the object, visual literacies or the museum as a place?” Vi sidder på en café i Boston sammen med Levitt og professor emeritus George Hein, en godfather i amerikansk museologi. På hans opfordring har vi dagen før holdt oplæg om museer som rum for medborgerskab, på Harvard University, Museum Studies. ”And should the museum help Denmark through the transformation from a homogenous to a diversified society?”. Levitt stiller det ene relevante og interessante spørgsmål efter det andet. Gode spørgsmål som er svære at besvare. à

Det handler om at høre til. I forgrunden ses værkstedsleder Michael Hansen, Williamsburg 24

Men lad os begynde med ordet medborgerskab; på engelsk taler vi om citizenship, men på dansk skelner vi mellem statsborgerskab og medborgerskab. Man kan godt være statsborger uden at være medborger eller medborger uden at være statsborger. Statsborgerskab er en juridisk kategori, der vedrører rettigheder og pligter, mens medborgerskab er en socialpsykologisk kategori, der vedrører identitet og tilhørsforhold. De fleste borgere i et land har juridiske rettigheder og pligter, men de føler ikke nødvendigvis et tilhørsforhold til et politisk eller kulturelt fællesskab. Medborgerskab handler om, hvem vi er i forhold til andre, og om de muligheder, som vi hver især har for at deltage og bidrage aktivt. Det interessante her er, i hvilken udstrækning museer og kulturinstitutioner kan være med til at styrke oplevelsen af kulturelt medborgerskab og herigennem styrke sammenhængskraften i samfundet. På vej til Boston aflægger vi Rhode Island School of Design besøg. Denne eftermiddag er der universitetsforelæsning på museet. Det foregår i et åbent rum midt i en udstilling, og placeringen giver alle museumsgæster mulighed for at blive klogere på kunsten og diskussionerne om den. Som formidlingschef Sarah Ganz Blythe siger: ”You play a role. This is not a finished product. It´s democracy. Everybody has a word”. Blythe karakteriserer herved demokratiet ved det processuelle og transformative, det forhandlede1. Det handler om sprog, og lad os i det følgende se nærmere på, hvordan sproget konkret kan være med til at styrke følelsen af fællesskab.

Visual Thinking Strategy VTS, Visual Thinking Strategy2, er en anerkendt og udbredt undervisningsmetode på amerikanske kunstmuseer, bl.a. på Museum of Fine Arts (MFA). Metoden tager afsæt i tre spørgsmål: What’s going on in this picture? What do you see that makes you say that? What more can we find? I første omgang handler det om at se. Det er alle børn gode til. Metoden træner børn i at se langsomt og giver plads til mange forskellige oplevelser af værket, en form for flerstemmighed. Børnene udgør et fællesskab, fordi samtalen tager afsæt i et kunstværk, en konkret 26

genstand, som de deler en oplevelse af. Det handler altså ikke om børnene i sig selv, hvad de føler og tænker. Det handler om, hvad i værket der får dem til at føle og sige det, de gør. Børnene bliver her både trænet i argumentation og i at stole på deres iagttagelser og knytte ord til oplevelsen 3. Ordene vil dog aldrig være fuldt dækkende i forhold til den kunstneriske oplevelse og sansningen, da sproglig kommunikation om kreativt

Studieturen fandt sted den 19. september – 1. oktober 2013 og var støttet af Kulturstyrelsen. På turen deltog undervisnings- og udviklingsansvarlig i Skoletjenesten Nana Bernhardt, undervisnings- og udviklingsmedarbejder Julie Maria Johnsen, værkstedsleder Michael Hansen, billedkunstner Nikolaj Recke, ULK koordinator Frederik Henrik Knap og enhedsleder Marianne Grymer Bargeman.

arbejde ofte bliver en oversættelse af noget meget nuanceret til noget mere enkelt. Men ordene er vigtige, for de hjælper os til at gøre oplevelsen fælles4. Ordet kommunikation kommer netop af det latinske ord communicare, der betyder ”at gøre fælles”. Sprogliggørelsen gør altså det personlige til noget fælles, en oplevelse eller en faglighed, som andre kan tage del i. VTS, og dialogbaseret undervisning generelt, kræver også en didaktisk faglighed af underviseren. MFA har fuldtidsansatte til at oplære og uddanne museets frontpersonale, ikke mindst undervisere og omvisere5. Making complexity accessible er én af værdierne på Whitney Museum of American Art. VTS, og samtale i det hele taget, er en meget konkret måde at arbejde med tilgængelighed på. Fællesskab er også at blive en del af en samtale, som er større end en selv, og som ikke handler om at have ret. Man bliver simpelthen klogere, når man er i stand til at følge andres tanker. Eller sagt på en anden måde: Man lærer ikke at tænke selv, hvis man ikke kan følge andres ræsonnementer. Omvendt er det en demokratisk kvalitet, at man har retten til sin egen mening.

Socialt ansvar ”Everybody has a word”. Og dog. Sygdom og alderdom kan betyde fravær af sprog. Du kan også som immigrant være udelukket fra det sproglige fællesskab i dit nye land. Eller måske har du sprog, men er blind og derfor afhængig af andres ord for at opleve kunst. Her tager amerikanske museer et stort socialt ansvar. Fx samarbejder Brooklyn Museum med teaterverdenen om mundtlig formidling til blinde. På andre museer afholdes blindekurser for frontpersonalet, hvilket har stor betydning for personalets efterfølgende engagement. På Brooklyn Museum og Whitney Museum of American Art bliver al frontpersonale undervist i, hvordan man øger sandsynligheden for en god museumsoplevelse for folk med særlige behov. Museum of Modern Art (MOMA) har gennemtestede programmer for demente og folk med Alzheimer, og undersøgelser dokumenterer en markant højnelse af livskvaliteten hos både patienter og pårørende efter deltagelse i museernes programmer. Samtidig er disse programmer med til at reducere den sociale isolation, der kan følge med alderdom og sygdom6. På Brooklyn Museum udnytter de museets lukkedag til at invitere grupper med udpræget behov for ro og tryghed indenfor. På MOMA inviteres blinde og demente til at se udstillinger, før de åbner for offentligheden. På Whitney arrangeres kurser for teenagere, som skal lære engelsk, og generelt findes der formidlingsmateriale på mange sprog på de fleste store museer. På Museum of Fine Arts (MFA) samarbejder de også tæt med hospitaler om udsmykning af venteværelser og om udvikling af programmer til indlagte børn og voksne. De mange programmer, jeg her har nævnt, er generelt kendetegnet ved at gøre udvidet brug af sanser, og programmerne har et bevidst fokus på det sociale og relationerne mellem de besøgende (forældre og børn, patient og pårørende, pårørende imellem)7.

Think globally, act locally Medborgerskab og demokrati handler bl.a. om deltagelse og tilhørsforhold. På Whitney har de i forbindelse med museets forestående flytning til ny bydel etableret WECAN (Whitney

Børn & Unge-enheden foran statuen af John Harvard, Boston

Det handler om fællesskab. Publikum ved James Turells lysinstallation på Guggenheim

Education Community Advisory Network), en gruppe bestående af museumsfolk og lokale interessenter (fx LGBT, forældre, lærere m.fl.). Gruppen mødes hver måned for at tale om behov og forventninger i forhold til det nye museum. ”Think globally, act locally”, lyder mantraet. Med denne form for community building bliver museets arbejde koblet direkte til det omkringliggende samfund. Samfundet spiller også en rolle på Studio Museum of Harlem, et museum med fokus på afrikansk-amerikansk kunst. Her besvarer de unge altid følgende spørgsmål i forbindelse med optagelse til teen-programmet Expanding the Walls: ”What do you think is important for the community?”8 Det sociale ansvar, som amerikanske museer i vid udstrækning tager på sig, er ikke kun til glæde for de få. Museet bliver beriget med et uvurderligt tilbagespil, som også forandrer de museumsansatte og giver dem inspiration til at gentænke museets øvrige programmer. For eksempel er erfaringen mange steder, at de forløb, der er udviklet til blinde/svagtseende, er mindst ligeså populære hos folk, som kan se. Det skyldes bl.a., at museerne i tilrettelæggelsen af disse særlige forløb, er nødt til at gentænke, hvad museet kan bruges til. Det, der først virker som benspænd, bliver en motor for nytænkning og mere eksperimenterende forløb, hvor sprog ikke bliver den eneste måde at udtrykke sig på.

Dufte, musik, smagsprøver, berøring og kreative øvelser bliver pludselig en integreret del af en omvisning9. Med andre ord: Dét, der er et redskab for blinde, bliver en oplevelse for alle!

Møde med Peggy Levitt og George Hein, Boston

ikke om, at alle skal være lige hele tiden, men vi bør tilstræbe, at ingen på forhånd er sat ud af spillet. Det gælder i samfundet, og det bør også gælde på museer!

Lighed “Everybody has a word”, siger Sarah Blythe, men ikke alle har lige adgang til ordet. De, som ikke har ordet i deres magt, kalder forfatter og kulturredaktør Rune Lykkeberg for demokratiske tabere10. De har formel adgang til at diskutere alting, men diskussionerne er tit i spil et sted, hvor de ikke føler, de kan gøre sig gældende. Det giver stof til eftertanke. Hvad får vi fx øje på, hvis vi kigger på museernes rekruttering i et multikulturelt/globalt perspektiv? Hvilke vedtagne opfattelser af rigtigt og forkert bærer vi med os, når vi på museerne sætter rammerne for samtaler? Som demokrater kæmper vi for at ophæve forskellen mellem mennesker, men vi værdsætter forskelle i verden. Som Lykkeberg skriver: “Når et menneske føler sig hævet over andre mennesker, bliver det udsat for en negativ dom: Det kaldes “højrøvet” eller “elitært”. Hvis derimod en genstand opleves som hævet over andre genstande, kaldes den “fremragende” eller “mesterlig””11. Kunsten er ikke i sig selv demokratisk. Den kan til gengæld være et vigtigt bidrag i vores fælles udforskning af verdenen. Medborgerskab, social ansvarlighed og demokrati handler

1. Det er i tråd med den pædagogiske filosof Gert Biestas tanker om demokrati, som de bl.a. kommer til udtryk i bogen Demokratilæring i skole og samfund, 2013. 2. Læs evt. mere i Philip Yenawines bog Visual Thinking Strategies: Using Art to Deepen Learning Across School Disciplines, 2013. 3. VTS har mange ting til fælles med dialogbaseret undervisning, som er grundigt beskrevet og analyseret i bogen af Olga Dysthe, Nana Bernhardt og Line Esbjørn: Dialogbaseret undervisning. Museet som læringsrum, 2012. 4. Bl.a. ifølge Thea Mikkelsen, Kreativitetens psykologi, 2009. 5. Generelt oplevede vi, at staff training og helhedstænkning blev prioriteret meget højt på de mange amerikanske museer, vi besøgte. 6. Som en positiv sidegevinst giver programmerne også de deltagende lyst til at besøge andre museer. 7. Læs fx mere i MOMAs publication af Francesca Rosenberg, Amir Parsa, Laurel Humble og Carrie McGee: Meetme Making Art Accessible to People with Dementia, 2009. 8. Programmet består af 16 unge, som arbejder teoretisk og praktisk med kunst i ca. 18 måneder (to gange ugentligt). Som en del af programmet laver de en udstilling, fx med egne fotografier, i dialog med udvalgte værker fra museets samling. 9. På Whitney udviklede de fx Touch Tours i samarbejde med museets konservatorer. 10. Lykkeberg: Alle har ret, side 16, 2012. 11. Ibid., side 28.

ARTIcle

This article was first printed in Danske Museer 2014/1

USA

Everybody has a word

about citizenship, democracy, and social responsibility / By Marianne Grymer Bargeman, Head of Unit: Children & Young People

What is the role of museums today, nationally and globally? What role does the issue of citizenship play in a museum context, and how do you even become part of a community? Taking its point of departure in a study tour of New York and Boston, this article will offer examples of how we may understand these concepts and possibly handle some of the challenges they involve. 28

Citizenship “How do museums see themselves as creating citizenship?”, asks Peggy Levitt, who studies migration and the role of museums in relation to global citizenship. “And how do you use your collections? Is it all about the object, visual literacies or the museum as a place?” We are in a café in Boston with Levitt and professor emeritus George Hein, a godfather figure within American museology. At his behest we have given a presentation on museums as spaces for cultural citizenship at Harvard University, Extension School, Museum Studies, the day before. ”And should the museum help Denmark through the transformation from a homogenous to a diversified society?”. Levitt asks a succession of highly relevant and interesting questions. All excellent, and all difficult to answer. But let us begin with the term citizenship: In Danish we distinguish between “statsborgerskab” (‘state citizenship’) and “medborgerskab” (‘cultural citizenship’). It is perfectly possible to be a ‘state citizen’ without being a ‘co-citizen’ and vice versa. ‘State citizenship’ is a legal concept that has to do with rights and obligations, whereas ‘cultural citizenship’ is a social-psychological category that has to do with one’s sense of belonging, with identity and allegiance. Most citizens of a given country have legal rights and duties, but they do not necessarily feel any close affiliation with a specific national political or cultural community. ‘Co-citizenship’ is about who we are in relation to others and about the opportunities each of us have for participating and actively contributing to society. What is interesting here is the extent to which museums and cultural institutions can help enhance the overall experience of cultural citizenship, thereby strengthening the sense of cohesion and community in society. On our way to Boston we pay a visit to the Rhode Island School of Design Museum. A university lecture is held at the museum on the day of our visit. The lecture takes place in an open space in the middle of an exhibition, and the choice of location gives all museum visitors the opportunity to

gain deeper insight into art and the discussion it sparks. As the museum’s Director of Education, Sarah Ganz Blythe, says: ”You play a role. This is not a finished product. It’s democracy. Everybody has a word”. Thus, Blythe describes democracy as being about processes, about the transformative, the negotiated1. It is about language. In what follows we will take a closer look at how language can help promote a sense of community in very specific, concrete ways. Visual Thinking Strategy VTS, Visual Thinking Strategy2, is a widely recognised and used method of teaching at US art museums, e.g. at the Museum of Fine Arts (MFA). The method takes its point of departure in three questions: What’s going on in this picture? What do you see that makes you say that? What more can we find? First of all it is about seeing. All children are good at that. The method helps children see things slowly, allowing for many different ways of perceiving the works; a kind of multivoicedness. The children form a community because the conversation is based in a work of art, in a specific object, and they share their perceptions of that object. This is not, then, about the children in themselves and about what they feel and think. It is about the things in the work of art that make them feel the way they do and say the things they say. Here, the children practice their argumentation skills and also learn how to trust their own observations and how to put them into words3. However, words will never fully suffice to describe the experience of art; for communicating creative work via language often involves translating something very complex and nuanced into something rather more simple. Even so, words are important, for they help us share our experience4. Indeed, the word “communication” comes from the Latin communicare, which means “to impart, share, or make common”. This is to say that expressing things through language turns the personal into something communal; into an experience or a professional observation that others can share. VTS, and indeed dialogue-based

teaching in general, requires teachers to hold specific didactic skills. The MFA employs full-time staff to train the museum’s front-end staff, particularly its educators and guides5. Making complexity accessible is one of the key values at the Whitney Museum of American Art. VTS, and engaging in conversation in general, offers a very specific, concrete way of working with accessibility. Community is also about becoming part of a conversation that is greater than you, and which is not about being right. You quite simply grow wiser when you are able to follow the thoughts of others. Or, to put it in another way: You do not learn to think for yourself unless you can follow the reasoning of others. Conversely, one of the main traits of democracy is that you have the right to have your own opinions. Social responsibility ”Everybody has a word”. And yet. Illness and old age can cause language to become absent. As an immigrant you may be shut out from the linguistic community of your new country. Or perhaps you do have language, but are blind or visually impaired, which means that your experience of art depends on the words of others. American museums take on a huge social responsibility in this regard. For example, Brooklyn Museum co-operates with the world of theatre to à

The study tour took place from 19 September – 1 October 2013 and was sponsored by the Danish Agency for Culture. The participants were Head of School Programs Nana Bernhardt, Art Educator Julie Maria Johnsen, Head of workshops Michael Hansen, artist Nikolaj Recke, Art Interpreter and ULK Art Labs coordinator Frederik Henrik Knap, and Head of Unit Marianne Grymer Bargeman.

It is all about belonging. In the foreground is Head of Workshops Michael Hansen, Williamsburg The staff of the Children & Young People Unit in front of the statue of John Harvard, Boston

It is all about community. Visitors at James Turell’s light installation at the Guggenheim Meeting with Peggy Levitt and George Hein, Boston

provide oral presentations of art to the blind. Other museums arrange courses for their front-end staff about catering to blind people, and these courses greatly boost the staff’s commitment to the issue. At the Brooklyn Museum and Whitney Museum of American Art all front-end staff are trained on how to increase the likelihood of having a good museum experience for people with special needs. The Museum of Modern Art (MOMA) has thoroughly tested programmes for people with dementia and Alzheimer’s, and studies document a marked increase in the quality of life for patients and their families after having participated in the museums’ programmes. At the same time, such programmes also ameliorate the social isolation that old age and illness may bring6. The Brooklyn Museum is closed to the general public one day a week, and it uses these days to invite groups with a particularly great need for a quiet, safe setting. At MOMA blind people and 30

people with dementia are invited to experience exhibitions before they are opened to the general public. Whitney arranges courses for teenagers who are learning English, and most major museums offer materials in many languages. The Museum of Fine Arts (MFA) also works closely together with hospitals on decorating waiting rooms and on developing programmes aimed at children and adult patients in hospitals. The many programmes mentioned here are generally characterised by appealing to a wider range of senses than usual, and they deliberately focus on social aspects and on the relationships between visitors (e.g. between parents and children, patients and their families and friends, intergenerational relationships, etc.)7.

Think globally, act locally Citizenship and democracy are, amongst many other things, about participation and about a sense of

belonging. Prompted by the museum’s imminent relocation to a new area, Whitney has established WECAN (Whitney Education Community Advisory Network), a group consisting of museum employees and local stakeholders (e.g. LGBT persons, parents, teachers, etc.). The group will meet every month to speak about needs and expectations pertaining to the new museum. The overall mantra is ”think globally, act locally”. Such community building creates a direct link between the museum’s work and the society that surrounds it. The concept of community is also important at the Studio Museum of Harlem, which focuses on African-American art and artists based in Harlem. Here, the prospective participants in the teen project Expanding the Walls are always asked to answer the following question: ”What do you think is important for the community?”8 The keen awareness of social responsibility evident at American museums

does not just benefit a small group of recipients. The museum itself is enriched by invaluable feedback provided by the target audiences, feedback that also serves to change museum staff and provides them with inspiration to rethink and reinvent other programmes at their museums. For example, many venues have found that activities aimed at the blind and visually impaired are equally popular with sighted visitors. One of the reasons for this response is that when planning such special activities and programmes, museums must rethink what the museum can be used for. What seems like an obstacle at first becomes a vehicle for innovation, for more experimental activities where language is not the only way of expressing yourself. Scents, music, taste, touch, and creative exercises suddenly become integrated aspects of guided tours9. In other words: the things used as tools for the blind become a source of experiences for everyone!

Equality “Everybody has a word”, says Sarah Ganz Blythe, but not everybody has equal access to the word. The Danish author and editor Rune Lykkeberg describes those who are not in full command of their words as “democracy’s losers”10. Formally, they have access to discuss everything, but in actual

fact those discussions often take place in forums and formats where they do not feel that they can make their presence felt. This is food for thought. What, for example, would we find if we considered the museum’s recruitment activities from a multi-cultural/ global perspective? What accepted perceptions of “right” and “wrong” do we carry with us when we set out the perimeters for conversations at the museums? As democratic people we fight to abolish differences between people, but we value difference and diversity in the world. As Lykkeberg says: “When a person feels superior to other people this is met with a negative judgment: it is labelled “elitist” or “snobby”. However, if an object is regarded as superior to other objects, it is called “excellent” or “masterful””11. Art is not in itself democratic. It can, however, offer an important contribution to our joint exploration of the world. Citizenship, social responsibility, and democracy is not about everyone being equal all the time, but we should strive to ensure that no-one is left out from the very outset. That is true in society, and the same should be true at museums!

1. This is in keeping with the educational theorist Gert Biesta’s thoughts on democracy as expressed in e.g. his book Civic learning, democratic citizenship and the public sphere, 2013. 2. For more on this topic, see e.g. Philip Yenawine’s book Visual Thinking Strategies: Using Art to Deepen Learning Across School Disciplines, 2013. 3. VTS shares many traits with dialogue-based teaching, a concept which is described and analysed in depth in Olga Dysthe, Nana Bernhardt, and Line Esbjørn’s book: Dialoguebased Teaching. The Art Museum as a Learning Space, 2012. 4. For example according to Thea Mikkelsen, Creation and it’s Psychology, 2009. 5. We found that staff training and holistic approaches were main priorities at the many American museums visited during our tour. 6. There is an additional positive knock-on effect of such programmes: they make the participants want to visit other museums. 7. For more on this topic, see e.g. MOMA’s publication by Francesca Rosenberg, Amir Parsa, Laurel Humble, and Carrie McGee: Meetme Making Art Accessible to People with Dementia, 2009. 8. The programme comprises 16 young people who address art through theory and practice for approximately 18 months (twice weekly). As part of the programme the participants will stage an exhibition, for example featuring their own photographs, where their work enters into a dialogue with selected works from the museum collections. 9. At Whitney they developed e.g. Touch Tours in co-operation with the museum’s conservators. 10. Lykkeberg: Alle har ret, p. 16, 2012. 11 Ibid., p. 28.

FORSKNING

En undersøgelse af kunstmuseer som rum for kulturelt medborgerskab

Lise Sattrup, ph.d. - studerende, Institut for Samfund og Globalisering på ruc og på smk, giver her en kort introduktion til sit p.h.d - projekt, der bl.a. undersøger, hvordan vi i undervisningsforløb på museer kan skabe rammer for kulturelt medborgerskab. Demokrati handler – i den kortest mulige definition – om at lære af forskelle mellem mennesker og om at lære at leve med andre, der ikke er ligesom os selv. Af den grund kan demokrati kun læres af livet Gert Biesta

Museer og kulturinstitutioner som demokratiske dannelsesinstitutioner

De første offentlige museer i Vesten blev etableret ud fra forestillingen om at uddanne befolkningen til at blive gode, dannede og oplyste borgere i et demokratisk samfund. Museerne blev skabt på baggrund af oplysningstidens humanistiske værdier og med ønsket om udvikling af en national følelse. Museer har med andre ord altid været dannelsesinstitutioner i samfundet. Men hvordan kan dannelse forstås i det 21. århundrede? Og hvilken rolle spiller museerne, nu hvor opdraget ikke længere er oplysning og dannelse til nationalborgere? Handler det i dag måske snarere om demokratisk dannelse? Medborgerskab og kunst Spørgsmålet er så bare, hvordan man danner til demokrati, og om medborgerskab er noget, man kan lære? Eller spurgt på en anden måde, er der én rigtig måde at være medborger på? Med afsæt i den indledende demokratiforståelse, så handler medborgerskab måske mere om at rumme forskellighed. Dette rejser en række nye spørgsmål til, hvordan vi kan forstå medborgerskab og dermed også museernes rolle. Så spørgsmålet bliver snarere, hvilke vilkår vi skaber for demokratisk praksis i hverdagslivet, og måske har kunstmuseer en 34

central rolle? Kunst kan udfordre en bestemt orden, en bestemt forståelse af demokrati og af vores samfund. Museer og kulturinstitutioner kan skabe rammerne for det demokratiske eksperiment, hvor medborgerne har mulighed for at udfordre og blive udfordret af særlige forståelser af vores tid, og de kan derved åbne op for nye måder at se og agere i verden. Ph.d.’en – Jamen, hvad skal jeg kigge efter? Det er måske netop dette spørgsmål: ’Jamen, hvad skal jeg kigge efter?’, som en 5. klasses dreng stillede under et undervisningsforløb på et kunstmuseum, der for mig satte en læreproces i gang. Dels fordi drengen blev ignoreret af museumsunderviseren, til trods for at han gentog spørgsmålet tre gange, og dels fordi skolelæreren så ham, men her blot som Aspergers. Spørgsmålet ’Jamen, hvad skal vi kigge efter?’, bliver ved med at vende tilbage til mig – dels fordi her opstod en forstyrrelse, men ikke en forstyrrelse, der førte til rekonfigurering. En forstyrrelse, hvor drengen af museet ikke blev anerkendt og derved blev til en fremmedgjort eller ekskluderet dreng. Og samtidig også en forstyrrelse, der blev set som et udtryk for en diagnose. Han var anderledes og

forstod derfor ikke, at det spurgte man ikke om på et museum. Drengen stillede for mig at se, et helt centralt spørgsmål, der åbner potentialer for rekonfigureringer. Er alle måder at kigge på lige anvendelige eller lige sande? For selv om museets praksis på én vis hylder mange tilgange til kunst, altså at der ikke findes en sand fortolkning, så er det samtidig museets opdrag at formidle forskningsbaseret viden. Det er netop i dette paradoks mellem den sande fortolkning af værker og det åbne værk, at mit forskningsprojekt tager afsæt. Hvad betyder dette paradoks for museernes praksis og særligt i forhold til at bidrage til medborgerskab? Med afsæt i Gert Biesta og Jacques Rancières forståelse af demokrati som sporadisk, Gerard Delantys begreb om medborgerskab som inkluderende læreprocesser og Judith Butlers performanceteori undersøges de bevægelser, der finder sted i det museale felt. Dels fra et børneperspektiv med fokus på oplevelsen af medborgerskab, og dels fra museumsprofessionelles perspektiv med fokus på, hvilke dilemmaer og potentialer der opstår i arbejdet med at skabe rum for medborgerskab.

Objektet Museumspraksis i bevægelse

Tilblivelser af museal praksis

Børns tilblivelser

Refleksioner over praksis

Oplevet medborgerskab

Udspændthed Mulighed >< begrænsning

Udspændthed socialisation > < subjektifikation

Medborgerskab

/ A study of art museums as spaces for cultural citizenship Lise Sattrup, a PhD fellow with the Department of Society and Globalisation at Roskilde University and the SMK, provides a brief introduction to her PhD project, which studies - amongst many other things - how teaching sessions at museums can help establish a setting for cultural citizenship. Democracy is about learning from the differences between different people and about learning to live with others who are not like you. For this very reason democracy can only be learnt by living. Gert Biesta Museums and cultural institutions as spaces for democratic learning The first public museums in the Western world were created on the basis of a desire to educate the general public, prompting them to become good, welleducated, and enlightened citizens of a democratic society. The museums were created on the basis of the humanist values of the Enlightenment era and on the wish to cultivate a sense of national identity and pride. Thus, museums have always been places of education, of Bildung. But how might we perceive the concept of Bildung in the 21st century? And what role do museums play now that their task is no longer aimed at educating and enlightening national citizens? Is the main issue today perhaps one of democratic learning? Citizenship and art The question is, then, how one may educate people to take part in a democracy, and whether citizenship is something you can learn. Or, to put it another way, is there a particular “right” way of being a citizen? If we take our basis in the perception of democracy outlined in the above, citizenship may be about being able to accept and accommodate differences. This raises a number of new questions on how we may understand citizenship and, hence, the role of museums. The question is, then, what kind of conditions we create for democratic

/ research

To my mind the boy asked a central question; one that opens up potential for reconfiguration. Are all ways of looking at things equally useful, equally valid, equally true? For even though the museum’s practice can in some ways be said to celebrate many different approaches to art – i.e. the notion that there is no single true interpretation – the museum is also tasked with presenting knowledge and insight that is based on research. My PhD project takes its point of departure in this paradoxical relationship between the The PhD project: “But what should I look for?” “true” interpretation of artworks and the open-ended artwork. What imPerhaps it is exactly this question – pact does this have on the museums’ “But what should I be looking for?”, practice? And, specifically, how does asked by a fifth-grader during a teachit affect the museums’ contribution to ing sequence at a museum of art – citizenship? which sparked a long-term learning The study examines the movements process for me. Partly because the boy that are currently taking place within was ignored by the museum educator the museum field, and it does so on even though he repeated the questhe basis of Gert Biesta and Jacques tion three times, and partly because Rancière’s perception of democracy his teacher did see the boy, but in this as sporadic, Gerard Delanty’s concept instance only as an Asperger’s case. of cultural citizenship as “includThe question “but what should we be looking for?” kept coming back to haunt ing learning processes”, and Judith Butler’s performativity theory. The me, partly because it gave rise to a disruption, but not a disruption that led to study partly takes the children’s point of view, focusing on their experience a reconfiguration. A disruption where of citizenship, and also considers the the boy was not recognised by the museum, thereby becoming an alienated or topic from the museum staff’s perspective, focusing on the dilemmas excluded boy. Also, this disruption was and potentials that arise in the efforts viewed as an expression of a diagnosed illness. The boy was different and so did to create space for citizenship. not understand that “you don’t ask that sort of thing at a museum”. practices in everyday life – and perhaps art museums play a central part in this regard? Art can challenge a particular order, a particular understanding of democracy and of our society. Museums and cultural institutions can create the framework of a democratic experiment where citizens have the opportunity to challenge and be challenged by particular ways of viewing our present day, thereby opening up new ways of seeing and acting in the world.

The object Museum practices in a state of flux

The creation of museum practices

Children’s lived experience in museums

Reflections on practices

Experience of citizenship

Tension Possibility >< limitation

Tension Possibility ><limitation Citizenship

NY BOG /NEW BOOK The Children & Young People Unit contributed an article on citizenship to the publication B&U-enheden har bidraget med artikel om medborgerskab til publikationen RUM for medborgerskab Antologien anlægger forskellige perspektiver på og refleksioner over, hvordan de deltagende museer og kulturinstitutioner kan bidrage til kulturelt medborgerskab, samt hvad denne udvikling fordrer af nye arbejdsmetoder. Projektets følgeforskere (bl.a. George Hein og Olga Dysthe) undersøger og diskuterer i første halvdel af bogen forskellige dele af Medborgerskabsprojektet ud fra hver deres teoretiske perspektiv. De efterfølgende seks artikler er skrevet af projektdeltagerne og har hvert deres tematiske fokus. I tværinstitutionelle makkerpar diskuterer projektdeltagerne de nye muligheder og udfordringer, arbejdet med kulturelt medborgerskab har givet dem. Gennem reflekterede praksiseksempler dokumenterer de, hvordan Medborgerskabsprojektet har udfordret institutionerne og deres måde at arbejde med udstillinger, forestillinger og undervisning på. Bogen udkommer også på engelsk på Common Ground Publishing, ultimo maj 2014.

MEDBORGERSKAbsprojektet Projektet ”Museer og kulturinstitutioner som rum for kulturelt medborgerskab” er et samarbejde mellem ti danske museer. I projektet undersøger museerne bl.a., hvordan de kan spille en stærkere rolle som demokratiske dannelsesinstitutioner, og hvordan aktiv deltagelse, selvrefleksion og flerstemmighed kan integreres i museernes praksis og potentielt skabe rum for kulturelt medborgerskab. Undersøgelserne finder sted gennem arbejde med udstillinger og undervisningspraksis. Projektet er et samarbejde mellem ARKEN Museum for Moderne Kunst, Designmuseum Danmark, J.F. Willumsens Museum, Københavns Museum, KØS Museum for kunst i det offentlige rum, Nationalmuseet, Nikolaj Kunsthal, Statens Museum for Kunst, Thorvaldsens Museum, Københavns Museum og desuden Musikken i Skoletjenesten i samarbejde med Det Kongelige Teater. Projektet er støttet af Kulturstyrelsen.

/ THE MUSEUM AS A SITE FOR CULTURAL CITIZENSHIP This anthology presents different approaches to and reflections on how participating museums and cultural institutions can contribute to cultural citizenship, and also addresses the new working methods required by such developments. The first half of the book features the scholars who act as supervisors for the project (e.g. George Hein and Olga Dysthe); they examine and discuss various aspects of the Citizenship Project on the basis of their individual theoretical perspectives. This is followed by six articles written by project participants; each article has its own thematic focus. Working in pairs that combine employees from different institutions, the project participants discuss the new opportunities and challenges they have experienced while working within the framework of cultural citizenship. Through reflections on specific examples from their day-to-day practice they document how the Citizenship Project has challenged the institutions and how they work with exhibitions, performances, and school programmes. / Originally published in Danish as RUM for medborgerskab, the English edition will be published by Common Ground Publishing in May 2014.

/ The Citizenship PROJECT The project “Museums and cultural institutions as spaces for cultural citizenship”, AKA the Citizenship Project, is a collaborative project involving ten Danish museums. The participating institutions explore how they can play a more prominent part as places of democratic learning, and how active participation, self-reflection, and multivoicedness can be integrated into the museums’ practice, potentially creating a space for cultural citizenship. The studies are conducted by working on exhibitions and teaching practices. The project participants are: ARKEN Museum of Modern Art, Design Museum Denmark, J.F. Willumsen’s Museum, the Museum of Copenhagen, KØS Museum of art in public spaces, The National Museum of Denmark, Nikolaj Kunsthal – Copenhagen Contemporary Art Centre, the SMK, Thorvaldsens Museum, and Musikken i Skoletjenesten in co-operation with The Danish Royal Theatre. The project is sponsored by the Danish Agency for Culture.

koNFERENCE / CoNFERENCE

The Inclusive Museum

B&U-enheden var medarrangører, da SMK var vært ved en stor international ICOMkonference i april 2013: The inclusive Museum. Konferencen fik konkret betydning for den strategi, som i august 2013 blev vedtaget som gældende policy for alle museer på ICOM-konferencen i Rio.

The Children & Young People Unit acted as co-organiser for a major international ICOM conference, which the SMK hosted in April 2013: The Inclusive Museum. The conference came to have a concrete impact on the strategy adopted as policy for all museums at the ICOM conference in Rio in August of 2013.

Med udgangspunkt i oplæg, paneldebatter og workshops og med besøg af nogle af verdens førende praktikere og teoretikere inden for inklusionsprocesser blev spørgsmål rejst: Hvordan kan museer bidrage til at styrke et reflekteret samfund, der anerkender forskellighed? Hvordan kan kulturinstitutionerne udvikle inklusion og medborgerskab både for brugere og for institutionernes

selvforståelse? Deltagelsen i konferencen var stor og med en klar international profil med deltagere fra Indien, Kina, Japan, USA, Brasilien og Europa. Konferencens deltagere producerede i fællesskab en række policies for inkluderende strategier. Et af temaerne under konferencen var ”Gendermainstreaming”. Den strategi for området, der blev udviklet til konferencen, blev senere på året vedtaget som

gældende policy for alle museer på ICOMkonferencen i Rio i august 2013. På konferencen holdt kunstpiloterne fra ULK oplæg om app’en Tales, og undervisningsansvarlig Nana Bernhardt holdt oplæg om bogen ”Dialogbaseret Undervisning. Kunstmuseet som læringsrum”.

ICOM (International Council of Museums) konferencen blev holdt på SMK den 22.-24. april 2013. Konferencen blev arrangeret i samarbejde med direktøren for organisationen The Inclusive Museum, Amareswar Galla, og realiseret med midler fra Kulturstyrelsen.

Taking its point of departure in presentations, panels, and workshops as well as visits from some of the world’s leading practitioners and theorists within the field of inclusion processes, the conference raised various questions: How can museums help strengthen and promote a reflected society that recognises and embraces diversity? How can cultural institutions develop inclusion and citizenship for users and for the

institutions’ self-image? The conference attracted many participants and had a distinctively international feel, with visitors coming from India, China, Japan, USA, Brazil, and Europe. Working together, the conference participants produced a range of policies for inclusive strategies. One of the themes addressed at the conference was gender mainstreaming, and the strategy on gender mainstreaming developed

at the conference was later adopted as the official policy of all museums at the ICOM conference in Rio in August 2013. At the conference, the young art pilots from the ULK Art Labs gave a presentation of the app Tales, and Head of School Programmes Nana Bernhardt gave a presentation about the book Dialogue-based Teaching. The Art Museum as a Learning Space.

The ICOM (International Council of Museums) conference was held at the SMK on 22 to 24 April 2013. The conference was arranged in co-operation with the director of the organisation The Inclusive Museum, Amareswar Galla and funded by the Danish Agency for Culture.

ULK og Byens Hegn / ULK AND COOL CONSTRUCTIONs

PRÆSENTATION: ULK / KUNSTPILOTERNE

ULK er SMK’s sociale og kreative community for unge mellem 15 og 25 år – i 2013 anført af 51 kunstpiloter. Kunstpiloterne arbejder frivilligt med brugerinddragende projekter i tæt samarbejde med museets ansatte hver onsdag i lab 01 - fra udvikling af første idé til realisering. Fælles for projekterne er visionen om, at kunst skal være vedkommende og kreativitet en del af unges hverdag. Som frivillige og facilitatorer for andre brugere er kunstpiloterne afgørende forandringsagenter for SMK. Som community skaber ULK uvurderlige og længerevarende relationer mellem museet og unge. Både gennem modige, eksperimenterende projekter internt med formidlere, kunstnere, kuratorer og interaktionsdesignere - og gennem samarbejder med eksterne kreative miljøer på festivaler, digitale platforme og i byens rum. Kunstpiloterne arbejder for at dele deres begejstring for kunst og er i kraft af deres rolle som frivillige optaget af, hvordan SMK og kunst kan spille en rolle i deres og andre unges liv. Denne nysgerrighed deler vi. Derfor arbejder vi også målrettet med at give kunstpiloterne noget igen i form af redskaber til projektstyring, formidling og kommunikation. Kunstpiloterne arbejder med brugerinddragelse som en dynamisk, demokratisk proces, hvor læringspointerne kommer til syne i netop det processuelle og gennem til tider udfordrende forhandlinger. Det er samarbejdsprocesserne og den viden, de kaster af sig, der viser os, hvorfor kunstpiloterne og unge brugere kan være med til at forme SMK som et flerstemmigt rum. Når et ULK-projekt lykkes, er det, fordi rammesætning, kunstpiloternes facilitering og anerkendelsen af brugernes bidrag går op i en højere enhed. Målet er ikke at nå til enighed, men derimod at være et rum for unges meget forskellige stemmer.

/ PRESENTATION: ULK / ART PILOTS

The ULK Art Labs are the SMK’s social and creative community for young people between the ages of 15 and 25 – in 2013 headed by 51 art pilots. The art pilots are volunteers who work on projects in close collaboration with museum staff. They meet every Wednesday in lab 01 at the museum, and their efforts – all of which aim at engaging and involving users – cover the full process right from the very first idea for a project is born to its realisation. All projects share one common vision: art should feel relevant to young people, and creativity should be part of their everyday lives.

As volunteer workers and facilitators for other users, the art pilots are crucially important as agents of change for the SMK. By forming a community, the ULK Art Labs forge invaluable long-term relationships between the museum and young people. This is done via daring, experimental projects carried out at the museum itself, involving co-operation with art educators/interpreters, artists, curators, and interaction designers – and also through collaboration with external partners outside the museum setting, e.g. at festivals, on digital platforms, and in the urban space.

The art pilots strive to share their enthusiasm for art, and as volunteer workers they are interested in how the SMK and art can play a part in their own lives and in the lives of other young people. We share their interest and sheer curiosity. As a result, we very deliberately aim to give the art pilots something back in the form of tools for project management, learning & interpretation activities, and communication. The art pilots work with user involvement as a dynamic, democratic process where learning arises through process-oriented – and at times challenging – negotiations. The collaborative processes and the knowledge they unearth show us why art pilots and young users can help shape the SMK as a multivoiced space. When ULK projects succeed they do so because the framework established, the facilitation provided by the art pilots, and the underlying respect for and appreciation of user input all merge to form a whole that is greater than the sum of its parts. The objective is not to reach consensus, but to accommodate the different voices of a range of very different young people.

”Blomster på Byens Hegn” blev skabt af Frederiksbergs borgere og kunstpiloter til åbne workshops for alle i løbet af Frederiksberg Dage 1. og 2. juni 2013. Hegnet kunne opleves frem til januar 2014. De to blomster på hegnet blev sammensat af 144 sekskantede fotocollager med borgernes samplinger af SMK’s værker til fri download. Blomsterne var en del af blomsterbogen Gottorfer Codex, som samtidig kunne opleves i udstillingen ”Blomster og Verdenssyn” på SMK. / The ”Blomster på Byens Hegn” (“Flowers on the City Fences”) project was created by the residents of Frederiksberg and the SMK art pilots at open workshops held during the Frederiksberg Dage festival on 1 and 2 June 2013. The fence remained up until January of 2014. The two flowers on the fence were created out of 144 hexagonal photographic collages based on the participant’s samples from the stock of digital images of artworks made available as free downloads by the SMK. The flowers were part of the Gottorfer Codex, a book of flower paintings that featured prominently in the exhibition ”Flowers and World Views” at the SMK.

artikel

Fra idé... til byens hegn ”For os var det vigtigt at inddrage naboerne i udsmykningen af Marmorkirkens metrohegn. Vi var nysgerrige efter deres holdninger og associationer til kunstværkerne, der skulle i spil. Ved at indtænke deres personlige idéer blev hegnets remix vedkommende for de mennesker, der lever og bor omkring dem. Det var vigtigt for os, at de fik et ejerskab fra start til slut.” Sådan siger kunstpiloterne Filip Vest og Marie Wengler. I denne artikel fortæller de og ULK-koordinator Frederik Knap om arbejdet med det prisbelønnede metrohegn. Metroens byggepladser præger frem til 2018 store dele af København og Frederiksberg. Byens Hegn er et initiativ til forskønnelse af de karakteristiske grønne afskærmende hegn, der stilles op rundt om byggepladserne, så metrobyggeriet er mere end blot larm og byggerod for byens borgere. Kunstpiloterne tog i januar 2013 fat på to Byens Hegn-projekter på Solbjerg Plads på Frederiksberg og ved Marmorkirken i København. Missionen var at gøre kunsten tilgængelig for beboere og borgere – og gøre hegnene til deres. SMK’s 160 værker til fri download på smk.dk og Google Art Project var afsættet for projektet. à

For kunstpiloterne åbner frigivelsen nye muligheder for at forholde sig til museets samling af ældre kunst. Kunstpiloterne Marie Wengler og Filip Vest ser frigivelsen uden copyright som en klar demokratisering af værkerne: ”Den åbner op for, at alle kan lave egne fortællinger med kunstværkerne, ligesom det også er meningen med brætspillet Match-SMK i SMK’s ældre europæiske samling og ULKapp’en Tales. Det er ikke længere alene den kunsthistoriske fortolkning, der gælder, og vi er ikke bundet af de gamle historier, når vi inviteres til at arbejde med billederne.” Forud for de endelige metrohegn lå måneders forberedelse, brugerundersøgelser og workshops i felten. Processen foregik i tæt samarbejde med Marmorkirkens naboer og Mimi Larsson fra Københavns Metro. I juni stod hegnene færdige, og alle deltagernes stemmer, associationer og holdninger til kunstværkerne kom til syne i hegnenes meget personlige og overraskende fortællinger.

Ved at bruge Eckersbergs buer som samlet ramme og digitalt indsætte partier fra andre værker fik kunstpiloter og naboer skabt et overraskende og sammenhængende resultat i det endelige remix. Eckersbergs buer harmonerer med Marmorkirkens arkitektur og bygningerne i kvarteret, og fungerer som ‘vinduer’ ind til mere end en byggeplads. Marie og Filip samarbejdede blandt andet med en nabo om, hvordan lige præcis hendes udsigt til hegnet skulle se ud: ”Det er hende, som hver dag kigger på det! Vi lavede partiet sammen, og det var det hele værd. Hun fulgte opsætningen af hegnet med et stort smil fra sin altan. Når vi tænker tilbage på processen, havde vores egne idéer gjort det lettere for os at remixe værkerne digitalt. Naboernes tilgang gav os timelange diskussioner om tematik og materialevalg, men det var deres idéer, som skubbede projektet i den rigtige retning.”

Rum for brugernes stemmer Marie og Filip var blandt holdet af 15 kunstpiloter, der faciliterede workshops for Marmorkirkens naboer, og for dem var det en stor udfordring at blive enige om, hvordan rammerne skulle sættes: ”I arbejdsprocessen skulle hele holdet af kunstpiloter blive enige om en overordnet ramme, så beboerne fik indflydelse på den kreative proces, uden at alt dermed kunne lade sig gøre. Det var vigtigt med faste rammer samtidig med at lytte og være åbne for forslag. Det var også et ønske fra Metroselskabets side, at vi skulle tage højde for de arkitektoniske omgivelser. Metrohegnet smyger sig tæt rundt om Marmorkirken i en halvcirkel, så vores arbejde ville få en stor visuel betydning for naboers og turisters oplevelse af kvarteret.” Marmorkirkens metrobyggeplads er en af de mest udskældte i København. Alligevel kastede Marie og Filip sig ud i diskussioner og inspirerende snakke med naboerne om metrohegnets potentialer: ”I processen lykkedes det os at forene vores og naboernes idéer og bidrag i den kreative proces. Selvom vi tit var uenige, og aldersforskellen var stor. Det var benhård forhandling, diskussion og kompromiser for alle. Udgangspunktet for, hvad det er tilladt at gøre ved et kunstværk, var meget forskelligt. Vi kæmpede heldigvis mest med og ikke mod hinanden. Som kunstpiloter tog vi det afslappet at modificere et kunstværk digitalt, det gjorde nogle af naboerne slet ikke. Det var spændende at diskutere hvorfor.” 52

gamle fortællinger. I et af mine remix krummer Filoktet fra Nikolaj Abildgaards maleri sig sammen i smerte og har fået en stor tatovering på overarmen. En dronning har udskiftet barokfrisuren med moderne Gunbritt-look, mærketaske og smartphone, imens en konge står på snowboard. Personerne i Jens Juels familieportræt har fået piercinger i næsen og farvet hår. Ud over at blande nye elementer ind i værkerne har jeg også sammensmeltet dem på tværs - fx når L.A. Rings gravide kone Sigrid læner sig op ad Eckersbergs buer, giver det en ny oplevelse af originalværkernes størrelser. Meningen er, at iagttageren skal blive i tvivl om, hvordan det oprindelige værk ser ud, som det faktisk også gælder for værkerne i den digitale udgave. Digitale udgaver har i modsætning til originalværkerne næsten samme størrelse. De oprindelige skalaforhold forsvinder, når du downloader dem”. Filips tilgang til remixet var, at de frigivne værker netop er digitale billeder: ”Det er interessant, at billederne eksisterer i et system af 0- og 1-taller. Herfra henter vi dem. Mit første remix bestod af ødelagte billedfiler, og jeg klippede tilfældigt rundt i koden for Hammershøis maleri af Artemis, så kroppe og farver blev deforme. I et remix, vi valgte at bruge på Marmorkirkens hegn - den solbrændte titan ved Lundbyes kyst – klippede jeg ham meget groft ind i landskabet. Desuden fik han en tegneserieagtig slagskygge, så man ikke er i tvivl om manipulationen. Jeg synes, at det er sjovt at tænke på billedet som en række informationer i stedet for et visuelt billede. Lige pludselig får udtrykket ’et billede siger mere end tusinde ord’ en ny betydning. Det virkede pludselig absurd, at nogen kan have copyright på lige præcis dén kombination af tal og bogstaver.”

Er 160 frigivne kunstværker noget i sig selv? I processen gik det op for kunstpiloterne og naboer, at frigivelsen af værkerne til fri download først får værdi, når de reelt bruges til noget. At fjerne copyrighten på kunstværker er i sig selv et stort skridt, men det er, når billederne bliver brugt at den reelle frigivelse sker. For Marie og Filip er håbet, at remixene på Byens Hegn vil give flere appetit på at arbejde med billederne og gøre fortællingerne til deres: ”Det er, når folk tager dem til sig, og gør dem til deres egne, at billederne får liv. Nye historier tilføjer en ny dimension og inviterer til at gå i dialog med kunstværkerne. Når vi i dag går forbi Jens Juels Rybergske familiebillede i SMK’s samlinger, kan vi ikke lade være med at blinke en ekstra gang. For har Johan Christian ikke et blåligt skær i sit hår? Remixet af svigerdatter, svigersøn og hund med skrigende blå og lyserød hårfarver har printet sig fast på vores nethinde.”

Med bidrag af Marie Wengler og Filip Vest

Remix I den digitale proces, hvor værkerne skulle samples, havde Marie og Filip også forskellige tilgange til, hvordan værkerne skulle remixes. Marie læser sociologi og interesserer sig for samfundets udvikling og tendenser: ”Jeg valgte at blande elementer fra samtiden ind som kommentarer til værkernes

Kunst på byens hegn, marmorkirken, kan indtil videre opleves i hele 2014, og alle hegnets remix kan downloades frit i høj opløsning uden copyright fra www.ulk.dk For billedtekster, se kolofon

artiCLE

From idea ... to the city’s fences

“It was important to us to involve the local residents in our work on decorating the fences around the Marble Church metro building site. We were keen to learn how they saw the works of art that would be used for the project. By incorporating their personal ideas and points of view the remix conducted on the fences became relevant to the people who live right next to them. It was important for us that they got ownership of the project from start to finish.” So say the art pilots Filip Vest and Marie Wengler. In this article they – and the ULK co-ordinator and art interpreter Frederik Knap – describe their award-winning work for the metro fence. Up until 2018 the Metro building sites will remain a prominent feature of much of Copenhagen and Frederiksberg. Metro - Cool Constructions (Byens Hegn) is an initiative created to decorate the characteristic green fences erected around the building sites. Adorning the fences will help ensure that the building sites become something more than simply a source of noise and dust for the city’s inhabitants. In January of 2013 the ULK art pilots embarked on two Cool Constructions projects: one at Solbjerg Plads in Frederiksberg and one at the Marble Church in Copenhagen. The mission was to make art accessible to citizens and local residents – and to make the fences theirs. The 160 artworks made available for free download from smk.dk and the Google Art Project formed the point of departure of the project. To the art pilots, the fact that hi-res images of these artworks have been released for universal use opens up new opportunities for relating to the museum’s collection of older art. The art pilots Marie Wengler and Filip Vest regard such copyright-free sharing as a definite democratisation of art: “It allows everyone to create their own stories and narratives with the works of art, just like the board game Match-SMK in the museum’s collection of older European art and the ULK app Tales. Art historical interpretations are no longer the only valid narrative, and we are not bound by history when we are invited to work with these pictures.” à

The final results seen on the metro fences were preceded by months of preparation, user surveys, and workshops in the field. The process was carried out in close co-operation with the local residents and neighbours of the Marble Church and Mimi Larsson from Københavns Metro. The final fences went up in June, allowing all the participants’ voices, associations, and points of view to emerge in the very personal and startling narratives presented on the fences.

Making the users’ voices heard

Marie and Filip were part of the team of 15 art pilots who facilitated workshops for the local residents around the Marble Church. One of their major challenges was to agree on the framework and boundaries of the project “During the working process the entire team of art pilots had to agree on an overall framework that allowed the residents to shape and affect the creative process, but which did not mean that they could do anything they pleased. It was important to set out firm boundaries while also remaining receptive to their proposals. Metro also wanted us to take the architectural features of the site into account. The Metro fence forms a tight semi-circle around the Marble Church, so our work would have a striking visual presence and greatly affect how residents and tourists see the area.” The Marble Church metro building site is one of the most controversial and reviled building sites in Copenhagen. Nevertheless Marie and Filip engaged in discussions and inspiring conversations with local residents about the potentials offered by the metro fence: “During the process we succeeded in bringing together our ideas and contributions with those of the residents. Even though we often disagreed, and in spite of the often considerable age difference. The negotiations and discussions were tough, and everyone had to accept compromises. There were very different positions on what you could do to a work of art. Fortunately, we mostly fought together, not against each other. As art pilots we were very relaxed about digitally modifying a work of art; some of the neighbours disagreed entirely. Discussing the reasoning behind these positions was very interesting.” Using arches from a painting by the Danish artist Eckersberg as the overall framework, digitally inserting details from other works into those arches, allowed the art pilots and residents to create a striking, yet cohesive result in their final remix. Eckersberg’s arches are a harmonious 56

match for the architecture of the Marble Church itself and the neighbouring buildings, and they act as “windows” opening up onto something other than a building site. During the process, Marie and Filip also worked with one particular resident about what her view of the fence should be like: “She’s the one who will be looking at it every day! We created that part of the fence together, and it was all worth it. She stood on her balcony to watch as the fence was going up, a huge smile on her face. As we look back upon the process, our own ideas would have made it easier for us to remix the works digitally. The residents’ approaches prompted hours of discussion on themes and the choice of materials, but at the same time their ideas pushed the project in the right direction.”

arm. A queen has replaced her Baroque hair with a modern salon style, brandishing a designer bag and a smartphone, and a king is now snowboarding. The people in Jens Juel’s family portrait now have nose piercings and dyed hair. In addition to mixing in new elements, I have also merged the original works in different ways, when L.A. Ring’s wife Sigrid is leaning up against Eckersberg’s arches you experience the relative sizes of the original works in new ways. The idea is for observers to begin to wonder what the original work looks like and how big they are – and in fact this also holds true of the digital versions of the works. Unlike the original works, all the digital versions are almost identical in size. The original scale is lost when you download the artworks.” Filip’s approach to remixing was the fact that the artworks released for general use are digital images: “It is interesting that these images exist in a system of 0s and 1s. That is where we get them from. My first remix consisted of ruined image files: I cut randomly into the code for Wilhelm Hammershøi’s painting of Artemis, distorting bodies and colours. In one of the remixes we chose to use on the Marble Church fence – the sun-tanned titan standing on the artist Lundbye’s coastline – I inserted the titan into the landscape in a rather coarse, crude manner. He also got to cast a cartoonish shadow so that you cannot miss the fact that this is a manipulation. I think it’s fun to think about the image as a string of information rather than as a visual picture. Suddenly the expression “A picture is worth a thousand words” takes on new significance. It suddenly seems absurd that anyone could copyright this particular combination of numbers and letters.”

Is the release of 160 works of art worth anything in itself?

During the process, the art pilots and residents realised that the fact that artworks have been released for download only takes on real value when they are actually used for something. Relinquishing copyright on works of art is a big step in itself, but the pictures are only truly released when they are used. Marie and Filip hope that the remixes on the metro fences will inspire more people to work with the images, making their narratives their own: “The pictures take on real life when people adopt them and make them their own. New narratives add new dimensions and invite people to engage with the art. These days, whenever we pass by Jens Juel’s portrait of the Ryberg family at the SMK we always blink and take an extra look: Is there a bluish tint to Johan Christian’s hair? The remix showing his daughter-inlaw, son-in-law, and dog with bright blue and pink hair has become imprinted on our retinas.” The art on the metro fences around the Marble Church building site will remain in place throughout 2014.

Remix

During the digital process of sampling and combining the works of art Marie and Filip also took different approaches to how the works should be remixed. Marie is a sociology student and is interested in social developments and trends: “I chose to introduce present-day elements into the mix as comments on the old narratives in the artworks. In one of my remixes, the pained Philoctetes from the artist Nikolaj Abildgaard’s painting has gotten a huge tattoo on his upper

With contributions from Marie Wengler and Filip Vest. All the remixes featured on the fences are available as high-resolution copyright -free files at www.ulk.dk Photo captions, see colophon

Mange tak for et fantastisk smukt hegn omkring Marmorkirken. Helt skønt at området er blevet løftet på den måde, og dejligt at se de (små) detaljer i de smukke malerier. Det er en fornøjelse at se hver dag, og jeg værdsætter det hver gang jeg går forbi. Dejligt at der stadigvæk er plads til den slags kunst, og godt set at det, netop passer så fint ind som hegn omkring Marmorkirken. Jeg håber, at det får lov til at være ophængt i resten af perioden for Metrobyggeriet. Super flot! Tillykke med det yderst fine resultat. Kenneth Schou, nabo

Kære SMK En ven tippede mig om gade kunst udstilling på Metro ved Marmor Kirken og i morges var jeg forbi. Jeg er nødt til at sige, det er en af de mest forrygende, innovative udstillinger jeg har set i længere tid, gennemført kunst med humør, super flot. Se at få den flyttet til et mere offentligt sted, så flere kan nyde det :) Mere at den slags gerne :) :)

Fantastisk at læse om jeres smukke resultat med hegnet omkring Marmorkirken. Tillykke. Jeg skriver til jer som uddannelsesrådgiver for Creative Commons. Det er indirekte på grund af SMK’s frigivelse af værkerne under cc-licenser at I har haft fri adgang til SMK’s værker og at I måtte remixe dem frit. Men jeg synes egentlig at selve det smukke ved at frigive først er opstået med jeres projekt . Peter Leth, Creative Commons

Glenn Auker

Kenneth Schou, neighbour

/ It was great to read about your beautiful project with the fence around the Marble Church. Congratulations. I am writing to you in my capacity as education consultant for Creative Commons. The fact that the SMK has released these artworks under CC licences is essentially what allowed you to gain free access to the SMK’s art collection, remixing them as you wished. But really, I think that this process of releasing art out into the public domain only realised its full scope and beauty with your project Peter Leth, Creative Commons 58

/ Thank you so much for the marvellously beautiful fence surrounding the Marble Church. It is great to see how the entire area has been given a boost, and it is lovely to see the (tiny) details in these beautiful paintings up close. It is a true pleasure every day, and I appreciate it every time I walk by. It is encouraging to see that this kind of art can still find a place today, and kudos to you for seeing how well such art is suited to a fence around the Marble Church. I hope your work is allowed to stay in place throughout the remainder of the ongoing Metro building project. Great job! Congratulations on the very successful outcome.

/ Dear SMK, A friend gave me a tip about the street art exhibition at the Metro building site by the Marble Church, and this morning I swung by to see it. I must say that this is one of the most stunning, innovative exhibitions I have seen in a long time; this is perfectly executed work with a strong dash of fun thrown in; really great. Hurry up and get it relocated to a more high-profile public location so that more people can enjoy it :) More like this, please :) :) Glenn Auker

Jeg har først for nyligt set den ny udsmykning af metrostationsbyggeplads plankeværk ind mod vor ejendom Frederiksgade 5 m.fl. I hvor vel hele miseren; metrostation v. Marmorkirken er en kæmpe fejl, skal I dog have ros når ros kræves. Fotomontagen af kendte danske guldaldermalere, tilføjet diverse skæmtsomme indfald er enkelt lavet og oplivende at se på.

/ I only recently saw the new artwork decorating the fence surrounding the metro building site and facing our property, Frederiksgade 5. While the entire project of building a metro station at the Marble Church is a massive failure, I am perfectly prepared to give credit where credit is due: Your photographic montage of famous Danish Golden Age paintings – spiced up by various humorous embellishments – is simple and strong in its execution and is invigorating to behold. Peter von Kauffmann, neighbour

Peter von Kauffmann, nabo

FOTO: LENE BENTE SKYTTNE

PRIS / PRIZE

Vinder af Hegnspælens publikumspris 2013 ULK’s metrohegn ved Marmorkirken vandt i november 2013 Hegnspælens publikumspris, fordi det med Metroselskabets egne ord: ”Forholder sig undersøgende og respektfuldt til stedets arkitektoniske karakter og til naboerne. Motivernes samlede udtryk fungerer godt på de lange hegn, og gør dem til en mere passende nabo for de fine bygninger omkring Marmorkirken. De enkelte delelementer gør udsmykningen til en sjov oplevelse for de kunstinteresserede, men fungerer samtidig fint for turister og naboer uden kendskab til kunsthistorie.”

Winner of the Hegnspælen People’s Choice Award in 2013 / In November of 2013 the young art pilots from the ULK Art Labs won the “Hegnspælen” (The Fence Pole) People’s Choice Award for their decoration of the metro fences by the Marble Church in Copenhagen. Their project won because, to quote the Metroselskabet: “...it takes an explorative, respectful approach to the architecture of the site and to its neighbours. The motifs form a cohesive whole on the long fences, which works well and makes the fences a more suitable neighbour for the splendid buildings surrounding the Marble Church. The various individual elements make the images fun for art aficionados, but at the same time they work well for tourists and locals with no in-depth knowledge of art history.” / Each year, Metroselskabet (the Danish Metro Company) presents its Hegnspælen award to honour the best and most original projects decorating the fences around the company’s building sites. Two awards are given: the Jury’s Award and the People’s Choice Award. The winners of both categories are awarded a trophy and a cash prize of DKK 10,000. The winner of the People’s Choice Award is determined by the general public, whereas recipients of the jury’s award are selected by a specially appointed jury. Both awards require excellence within one or more of the following criteria: Creating better urban spaces, site or context specific work, close affiliation with the local community, user involvement, originality, and interactive scope.

Metroselskabet Byens Hegn uddeler hvert år Hegnspælen for at hædre de bedste og mest originale projekter på Cityringens byggepladshegn. Der uddeles både en jurypris og en publikumspris, som begge præmieres med en Hegnspæl og 10.000 kroner. Brugerne bestemmer hvert år, hvem der skal løbe af sted med publikumsprisen, mens en særligt udpeget jury tildeler juryprisen – begge på baggrund af deres udmærkelse inden for et eller flere af følgende kriterier: Skaber bedre byrum, er steds- eller kontekstspecifikke, lokalt forankrede, borgerinddragende, originale og interaktive.

Brugergenereret indhold genererer ikke sig selv, men kræver at institutionen skaber incitamenter for og rammer omkring brugernes bidrag, faciliterer deres arbejde og viser, at deres bidrag er værdsatte og værdifulde. For mig markerede metroprojektet dét punkt, hvor SMK digital virkelig foldede sit potentiale ud. Samarbejdet med kunstpiloterne og lokale metroplagede københavnere peger ind i en ny fase, hvor SMK er mere moden til at åbne op for og understøtte brugernes uforudsigelige tolkninger af museets kerne; samlingerne. Projektet er udtryk for, at vi bevæger os bort fra en klassisk kustode-tankegang, der handler om at beskytte museets samlinger mod forvanskning og misbrug, til en gryende bevidsthed om, at vi bevarer interessen for samlingerne ved at give dem fri til kreativ bearbejdning, genbrug og deling på brugernes egne betingelser. Merete Sanderhoff, museumsinspektør for digital museumspraksis, SMK. Læs mere i antologien SHARING IS CARING. Åbenhed og deling i kulturarvs-sektoren, som udkommer på både dansk og engelsk i foråret 2014.

RESPONS / RESPONSE

/ User-generated content does not simply appear at the museum’s convenience; it requires that they create incentives and firm frameworks for the users contributions; they must facilitate the users’ work and show that their contributions are valued and valuable. To me, the metro fence project truly brought the promise of SMK digital to life. The collaboration between art pilots and Copenhagen residents, beleaguered by Metro construction work, points towards a new phase where SMK is better prepared to be open to and support the users’ unpredictable interpretations of the museum’s lifeblood: its collections. The project shows that we are moving away from a classic stewardship approach, which is mainly about protecting the artworks against damage, misrepresentation and abuse, towards a growing awareness of how we can maintain interest in the collections, keeping them relevant by setting them free to be used for creative work, re-use and sharing on the users’ own terms.

Nikolai Abildgaard (1743-1809), Dansk, Den sårede Filoktet, 1775 / Nicolai Abildgaard (1743-1809), Danish, The Wounded Philoctetes, 1775

Merete Sanderhoff, researcher of digital museum practices, SMK. Read more in the anthology SHARING IS CARING. Openness and sharing in the cultural heritage sector, available in Danish and English in the spring of 2014.

ANMELDELSE

Gennem en af buerne i Eckersbergs maleri fra Colosseum kigger vi på et 1600-tals hollandsk landskab af Philips Koninck. Men noget er galt: Jorden er stærkt forurenet, og i baggrunden aner man Rådhustårnet i København.

Unges Laboratorier for Kunst har eksperimenteret med ca. 160 motiver fra Statens Museum for Kunst og sat dem sammen på en ny måde. Nemlig på Marmorkirkens indhegning. Det er frækt og morsomt gjort.

Denne artikel blev oprindeligt publiceret i Politiken den 16. august 2013

♥♥♥♥♥♥ AF PETER MICHAEL HORNUNG

Hvad vil der ske, hvis noget i ét kunstværk blandes sammen med noget fra andre værker, så der pludselig opstår et helt nyt billede? Som hvis klassiske motiver, der findes i samlingen på Statens Museum for Kunst, bliver mikset med noget fra andre billeder? Eller bliver invaderet af vores egen tid? Hvordan ville man for eksempel reagere, hvis man byttede havedøren i L.A. Rings maleri fra 1897 ud med en af buerne i Eckersbergs langt tidligere billede ’Udsigt gennem tre buer i Colosseums tredje stokværk–fra 1816? Eller hvis Jens Juels ”Løbende dreng” fra 1802 blev kulturelt opdateret og fik høretelefoner på ørerne, 62

et skateboard under løbeskoene og en smartphone i hånden? Ligesom Carl Gustav Pilos udgave af Christian V i øvrigt også har fået det. Eller hvis Abildgaards sårede Filoktet fik en tatovering på sin højre arm? Det er under alle omstændigheder, hvad der er sket med disse og andre kendte skikkelser fra kunstens historie. De er blevet blandet indbyrdes på det 70 meter lange hegn omkring Marmorkirken.

arbejdet med dem. Endelig har Metroselskabet haft en finger med i spillet. Ellers havde det ikke været muligt at realisere denne udsmykning, som er kaldt Danmarks største fotografi, også selv om det snarere er en kollage, hvor buerne i Eckersbergs maleri fra Colosseum bruges som gennemgående ramme omkring motiverne. Det er, som om billeder fra den ældre danske og udenlandske samling er faldet på gulvet, og så har nogen samlet dem DE SKYLDIGE bag denne op og sat dem sammen igen uhøjtidelige kollage er en uden at kende meget til snes ’kunstpiloter’ fra Unges hverken kunsthistorien eller Laboratorier for Kunst, som kunsten. Det er på en måde dog ikke har været helt alene. også det, som kunstpiloterne Nogle beboere omkring den har gjort – med fotografiske støjplagede kirke har samoptagelser, som er mikset og

trykt på store plader, der til sidst er skruet fast på metrohegnet.

MEN HVEM er disse kunstpiloter? De er en række frivillige unge mellem ca. 15 og 25 år, som sammen med en koordinator og en kunstner blandt andet arbejder for at gøre Unges Laboratorier for Kunst (ULK) til et kreativt eksperimenterende laboratorium, et vedkommende netværk og et socialt rum. Hver onsdag eftermiddag er kunstpiloterne landet i lab 01 på Statens Museum for Kunst. Her har de stillet sig en fælles opgave: at gøre museets værker lettere tilgængelige for mennesker med de samme uimpone-

rede og uhøjtidelige behov for kunst som dem selv. På Marmorkirkepladsen har de dog også lyttet lidt til beboernes ønsker. Mennesker midt i København K længes ofte efter naturen. Derfor har natur, skov og dyr fået en prioriteret plads i pilotprojektet. Dog er næsten alt det materiale, der er benyttet ved metrohegnet, hentet fra den pulje på ca. 160 hovedværker, som museet sidste år tilbød til fri download fra sin hjemmeside. NU OM STUNDER er det ikke helt ude i skoven at kortslutte kunsthistorien, sådan for sjov skyld. For der er dem, der påstår, at historiebegrebet selv er ved at gå over

i historien, og at de gamle historiske opdelinger og skillelinjer ikke længere betyder så meget. Det vigtigste er, at en helhed præsenterer sig visuelt flot og underholdende. Og det gør hegnet om Marmorkirken. Set med en seriøs museumsmands øjne kunne resultatet være det rene mareridt. Af alle klassiske motiver forventer man normalt, at de holder sig inden for deres respektive rammer, og at detaljerne i dem ikke går på besøg hos hinanden. Men sådan er det bare ikke her. Det, der er umuligt på ethvert museum, er blevet muligt i virkeligheden. Meget bliver først muligt, hvis man opløser de kategorier, som historien arbejder med for

at holde orden i tingene, og i stedet giver fantasien og kaos en chance. Men det kræver dristighed. Og så skal man kende til den kunst at kunne lave lidt fotoshopping – med kunsten. Det er sket her. Og det er sket på en passende respektløs, men morsom måde. Når Marmorkirkens kuppel dukker op i baggrunden af Jens Juels maleri fra Dansebakken ved Sorgenfri fra 1800, ved man, at billedet ikke er noget sandhedsvidne. For i 1800 henlå Marmorkirken som en ruin og hed Frederikskirken og havde endnu ikke nogen kuppel. At få øje på humoren og kunne påskønne denne gennemgående galimatias kræver også noget. Nemlig at vi kender de op-

rindelige værker så godt, at vi kan se, at kunstpiloterne må have gjort noget ved dem. Man skal have lidt styr på sit kunsthistoriske pensum for at kunne opdage, hvor frække og fantasifulde disse piloter i virkeligheden har været. Har man det, er det ikke svært at se morskaben. Men selv uden at have fagkundskaben i orden må man indrømme, at det hele tager sig meget flot og stimulerende ud, og at det hænger sammen på sin egen måde. Og var vi ikke enige om, at netop dét var meningen med galskaben?

peter.michael.hornung@pol.dk

/ review

Remix by Marie Wengler Johan Christian Dahl (1788-1857), Winter Landscape. Near Vordingborg, 1827. Carl Gustaf Pilo: Frederik V in his Anointing Robes, c. 1750. C.W. Eckersberg (1783-1853), Danish, A View through Three of the North-Western Arches of the Third Storey of the Coliseum in Rome, 1815 or 1816.

The ULK Art Labs have played around with approximately 160 works of art from Statens Museum for Kunst, combining them in new ways on the fences surrounding the Marble Church. The results are bold, daring, and fun. Originally published in Politiken August 16, 2013

♥♥♥♥♥♥ BY PETER MICHAEL HORNUNG

What would happen if aspects of one work of art were mixed with something from other works of art, thereby creating an entirely new image? What if some of the classical scenes featured in the collections at Statens Museum for Kunst were mixed with elements from other pictures? Or were invaded by elements from our present day? How, for example, would you respond if the door opening up on the garden in L.A. Ring’s painting from 1897 were replaced by the arches of Eckersberg’s much earlier painting of the Colosseum from 1816? Or if Jens Juel’s Running Boy from 1802 had a cultural update and was equipped with earphones, a skateboard underneath 64

his running feet, and a smartphone in his hand? And if Carl Gustav Pilo’s depiction of King Christian V got the same treatment? Or if Abildgaard’s wounded Philoctetes got a tattoo on his right arm? This has already happened to these – and other – familiar figures from art history. They have been mixed and mingled in the collage now featured on the 70-metre fence surrounding the Marble Church. THE CULPRITS behind this tongue-in-cheek collage are a team of “art pilots” from the ULK Art Labs, but they did not act alone. Some of the residents living next to the noisy building site have co-operated with them. Finally, the Danish metro

company, Metroselskabet have had a finger in the pie. Otherwise it would not have been possible to realise this decorative project, which has been called “Denmark’s largest photograph”, even though it could be more accurately described as a collage where the arches from Eckersberg’s painting from the Colosseum is used to frame the various images. It seems almost as if a lot of pictures from the museum’s collection of older Danish and foreign art had been dropped on the floor and someone has picked them up and put them back together without knowing very much about art history or art. In a way that is exactly what the art pilots did – mixing up photographic records,

printing them onto large sheets, and finally attaching them to the metro fence. BUT WHO are these art pilots? They are young volunteer workers between the ages of 15 and 25 who, together with a co-ordinator and artist, are working to make the ULK Art Labs a creative, experimental laboratory, a community and network, and a social space. Every Wednesday afternoon the art pilots take over Lab 01 at Statens Museum for Kunst. Here, they have set themselves a shared task: to make the art in the museum more easily accessible to people with the same laid-back, relaxed interest in art that they have. For the Marble Church project they did, however, also

take the residents’ wishes into account. People who live right in the middle of Copenhagen often yearn for nature, and so the countryside, forests, and animals are prominently featured in the art pilots’ project. However, almost all of the materials used for the metro fence come from the approximately 160 highresolution digital images of highlights from the museum that the SMK made available as free downloads on their website last year. THESE DAYS the act of shortcircuiting art history just for fun is not entirely frivolous. For there are those who claim that the concept of history is itself passing into history, and that old historical boundaries and

demarcations are no longer that important. What is important is to present a visually striking and entertaining whole. And the fence around the Marble Church certainly does that. Seen through the eyes of a serious museum professional, the final result might have been a complete nightmare. You would usually expect all such classical scenes and subjects to stay neatly put within their own frames; their details are not supposed to mingle and pay visits to each other. But that is not how things are here. What would be impossible at any museum has become possible in real life. A lot of things only become possible if you dispense with the categories

applied by history in order to keep things neat and tidy, giving your imagination and chaos free rein instead. But it takes quite a bit of nerve. And of course you need to know about the art of Photoshopping – with art. That has happened here. And it has been done in a suitably cheeky, but amusing way. When the dome of the Marble Church emerges in the background of Jens Juel’s painting of a scene in Sorgenfri from 1800 you know that the picture does not accurately reflect reality. For in 1800 the Marble Church was a ruin, was called Frederikskirken, and did not yet have a dome. Spotting the humorous

twists and appreciating the zaniness of the overall piece also requires something of the viewer: We need to be sufficiently familiar with the original works to realise that the art pilots must have done something to them. You need a certain grip on art history to be able to notice how daring and imaginative the art pilots actually were. If you have that, it is not hard to see the fun in all of this. But even if you are not entirely well versed in art history you must admit that it all looks very splendid and stimulating, and that it all has its own kind of internal logic. And isn’t that how you know there is method in the madness?

peter.michael.hornung@pol.dk 65

BØRNEUDSTILLINGEN FRIHED! / CHILDREN’S EXHIBITION FREEDOM!

BRUGERINDDRAGELSE

Som forberedelse til udstillingen ”Frihed!” talte vi med over 100 børn mellem 6 og 12 år, som fortalte, tegnede og skrev om frihed og ufrihed. Børnene valgte også værker fra museets samling, hvoraf flere af de udvalgte værker blev en del af det endelige værkudvalg. Mange af børnenes tegninger af frihed og ufrihed oversatte vi til lyd, som blev aktiveret, når børnene gyngede. Fx oversatte vi en tegning af lektier (ufrihed) til lyden af en skoleklokke. Af andre ufrihedslyde kan nævnes en dør, der smækker, et vækkeur, der ringer, og en sirene fra en ambulance. Mange børn koblede i både tegning og ord frihed med natur, hvilket fik betydning for udstillingens grønne signaturfarve. I udstillingens trappe lavede vi plads til film, bøger og kighuller. I hvert kighul var der en genstand, som relaterede sig til frihed eller ufrihed (en flyvemaskine, nøgler, en mobiltelefon, en fugl, en stak penge, en kopi af frihedsgudinden og en Batman-figur). Genstandene blev udvalgt på baggrund af observationer, hvor børn diskuterede frihed ud fra en stor mængde genstande.

/ USER INVOLVEMENT

As part of our preparations for the exhibition Freedom! we invited more than 100 children between the ages of 6 to 12 to talk, draw, and write about freedom and its opposite. The children also picked out relevant artworks from the museum collections, and several of the works selected by them were included in the final cut. We translated many of the childrenâ&#x20AC;&#x2122;s drawings about freedom into sounds that were activated by the swings featured in the exhibition. For example, we translated a drawing of homework (the opposite of freedom) into the sound of a school bell ringing. Other sounds in this category include a door slamming, an alarm clock going off, and an ambulance siren. In their drawings and words many children linked up freedom and nature, which helped determine the choice of the exhibitionâ&#x20AC;&#x2122;s green signature colour. The large stair-like structure in the exhibition area included spaces set aside for films, books, and peepholes. Behind every peephole was an object relating to freedom or the lack thereof (an aeroplane, keys, a mobile phone, a bird, a stack of money, a copy of the Statue of Liberty, and a Batman figurine). These objects were chosen on the basis of observations of situations where children discussed freedom on the basis of a large selection of different objects.

FORMIDLING / materials

Børneudstillingen

MARKERER Den verdensberømte danske filosof Søren Kierkegaards 200 års fødselsdag. Til udstillingen lavede vi en voksenfolder, hvis formål var at inspirere til samtaler med børn. Folderen indeholdt korte tekster om udstillingens kunstværker samt et interview, der gav de besøgende indsigt i udstillingsarbejdet, herunder Søren Kierkegaards rolle i udstillingen. Se folderens indhold på de næste sider.

/ the children’s exhibition Freedom!

celebrates the 200th anniversary of the birth of the world-famous Danish philosopher Søren Kierkegaard.

To supplement the children’s exhibition Freedom! we also created a leaflet for grown-ups. Aiming to inspire conversations between adults and children, the leaflet contained brief texts about the works of art featured in the exhibition as well as an interview that gave visitors insight into the work involved in creating the exhibition – and how Søren Kierkegaard inspired it. You can see the leaflet contents on the following pages.

NAM JUNE PAIK:

Søren Kierkegaard Robot, 1996

Nam June Paik har lavet et portræt af den danske filosof Søren Kierkegaard. Portrættet er en tre meter høj videoskulptur, der ligner en robot. Kierkegaard var kendt for sin tænkning. Man kan diskutere, hvad der adskiller en robot fra et menneske. Kan robotter fx tænke? Kan de græde? Kan de tage ansvar for deres handlinger? Og gør en robot, altid hvad den bliver bedt om – og hvad med os andre?

Nam June Paik has created a portrait of the Danish philosopher Søren Kierkegaard. The portrait is a robot-like video sculpture, standing three metres tall. Kierkegaard was known for his thinking. We can discuss what separates a robot from a person. Can robots think, for example? Can they cry? Can they be responsible for their actions? Does a robot always do what it is asked – and what about the rest of us?

I Jakob Strids børnebog Mustafas kiosk står: “Mine sokker gør de frækkeste ting/så snart jeg tager dem på/ Pludselig midt i timen/begynder de at gå/De sparker Hr. Snusk i rumpen/og hopper i Madsens persille/men når jeg tager dem af igen/er de søde og ligger stille”. Er man ansvarlig for sine sokker?

Jakob Strid’s children’s book Mustafa’s Shop includes the following passage “My socks they do such naughty things/as soon as I put them on/Suddenly when I’m at school/they just take off and run/They kick Mr. Scruff in the bottom/And jump on our neighbour’s dill/but when I take them off again/they’re sweet and lie quite still.” Are you responsible for your socks?

Med inspiration fra Kierkegaard kan man diskutere, om vi er født som robotter på autopilot, eller om vi snarere kan og bør overtage styringen.

Drawing inspiration from Kierkegaard we can discuss whether we are born as robots that just cruise along on autopilot, or whether we can and should seize control.

ST I KO R D T I L B I L L E D SA M TA L E Portræt. Kendetegn. Robot. Flimmer. Tankestrømme. Bevægelse.

K E Y WO R D S FO R TA L K I N G A B O U T T H E A RT WO R K Portrait. Characteristics. Robot. Flickering. Thoughts. Movement.

V I D ST E D U AT Kierkegaard på et udateret, løst papir skrev, at hans paraply var blevet ham ”saa kjær, at jeg altid gaaer med den enten det er Regnveir eller Solskin”? 1

1. Paper 269, SKS, bd. 27, Gads forlag 2011, 242 72

/ NAM JUNE PAIK:

Søren Kierkegaard Robot, 1996

D I D YO U K N OW T H AT Kierkegaard wrote an undated note stating that he had “become so fond of my umbrella that I carry it all the time, in rain or shine” ? 1 1. Paper 269, Gads forlag 2011, 33 73

MARCO EVA R I STT I :

/ MARCO EVARISTTI:

DANH VO:

/DANH VO:

Marco Evaristtis berømte værk Helena forestiller en yndefuld slørhale i en klinisk hvid blender. Værket egner sig til at diskutere valg og konsekvenser. Der er dog ikke strøm på blenderen. Herved kommer fokus på valget snarere end konsekvenserne af det. Omvendt kan man spørge, om et valg uden konsekvenser overhovedet er et valg.

Marco Evaristti’s famous artwork Helen features a graceful veiltail in a clinically white blender. The artwork provides an excellent occasion for discussing choices and consequences. However, the blender is not plugged in. This means that our main focus falls upon the choice rather than on its consequences. Conversely you may well ask whether a choice without consequences is a choice at all.

Danh Vo har lavet en tro kopi af den 45 meter høje frihedsgudinde i New York og fordelt de 400 dele over hele verden. Værket bliver aldrig samlet og udfordrer derfor forestillingen om frihedsgudindens stabilitet og monumentalitet. Bemærk at bronzeskallen kun er 2 mm tyk!

Danh Vo has created an exact, full-scale copy of the Statue of Liberty in New York, and then gone on to split it up into 400 separate parts, scattering them across the world. The work will never be assembled, thereby challenging the notion of the stability and monumental qualities of this vast symbol of freedom. Note that the bronze shell is only 2mm thick!

Helena, 2001

Værket er opkaldt efter Helena, den smukkeste kvinde på jorden ifølge græsk mytologi. Hun var en medvirkende årsag til den trojanske krig. I værket mødes både skønhed, begær og destruktion. Ifølge Kierkegaard er frihed, valg, angst og ansvar forbundet. Ansvar kan tynge så meget, at man slet ikke handler. Har man et ansvar for fiskens død, hvis man passivt ser til, imens en anden slår den ihjel? STIKOR D T I L B I L L E D SA M TA L E Magt. Fængsel. Zoo. Rettigheder. Ansvar. Natur. Plukfisk. Smoothies. VIDSTE D U AT fisken i blenderen kun er i blenderen én dag ad gangen? Efter én dag kommer den tilbage til et større akvarium, som er installeret i museets værksted.

Helen, 2001

The work is named after Helen of Troy, claimed to be the most beautiful woman on earth in Greek mythology. She was one of the reasons why the Trojan War began. In this artwork beauty, desire, and destruction meet and mingle. According to Kierkegaard freedom, choices, anxiety, and responsibility are all interlinked. Responsibilities can be such a burden that you do not act at all. Are you responsible for the death of the fish if you just stand by and watch while another person kills it? K EYWORDS FOR TALKING ABOUT THE ARTWORK Power. Prison. Zoo. Rights. Responsibilities. Nature. Mush. Smoothies.

We the People (Detail), 2012

Dette værk handler om frihed som symbol og frihed i et større samfundsmæssigt perspektiv. Titlen We the People stammer fra de tre første ord i USA´s forfatning. STIKORD TIL BILLEDSAMTALE Mobilitet. Immigration. Puslespil. Ytringsfrihed. Demokrati. Grundlov. VIDSTE DU AT Danh Vo som fireårig flygtede med sin familie fra Vietnam i en båd, som hans far havde bygget? De håbede at nå USA, men blev i stedet samlet op i Stillehavet af et dansk containerskib.

We the People (Detail), 2012

This work is about freedom as a symbol and freedom in a wider social perspective. The title We the People quotes the three opening words of the US Constitution. KEYWORDS FOR TALKING ABOUT THE ARTWORK Mobility. Immigration. Puzzle. Freedom of speech. Democracy. Constitution. DID YOU KNOW THAT at the age of four Danh Vo fled Vietnam with his family in a boat built by his father? They were hoping to reach the USA, but were picked up in the Pacific Ocean by a Danish container vessel instead.

D I D YOU KNOW THAT the fish in the blender is only in the blender one day at a time? After a one-day shift it is returned to a larger fish tank located in the museum workshop. 75

J.F. W I L LU M S E N :

/ J.F. WILLUMSEN:

WILHELM FREDDIE:

/ WILHELM FREDDIE:

En nøgen dreng er fanget midt i et udspring. Menneske, natur, sollys og livskraft er i skøn forening. Billedet blev malet i en periode, hvor man dyrkede lysets sygdomsbekæmpende egenskaber og gerne gengav den nøgne, stærke krop i fri natur.

A naked boy is captured in mid-jump. Man, nature, sunlight, and vitality merge harmoniously. The picture was painted at a time when people celebrated the health-promoting qualities of sunlight and artists were fond of depicting the naked, strong human body in natural settings.

Studier af krop i fri, naturlig bevægelse var en del af et opgør med den akademiske malemetode, hvor man tegnede efter model i atelier. Men større var friheden heller ikke hos Willumsen. Ofte lå der bag et færdigt maleri flere års forberedelse i form af skitser, opstillinger af børn i bevægelse, fotografi og opmåling.

Studies of the human form engaging in free, natural movement were part of an overall rebellion against the academic method of painting where studies were drawn after the life in a studio. However, there were limits to the newfound freedom, even for Willumsen. A finished painting would often require years of preparation in the form of sketches and studies, arranging children in movement, photography, and measuring work.

Wilhelm Freddie har malet figuren helt tæt på billedfeltet. Hans næse stikker næsten ud af lærredet. Stift står figuren, oprejst, angst måske. Papiret, der dækker hans mund, er fæstnet med nåle. Hår vokser som tårer ud af hans ene øje. Andet hår stritter frem på papiret over hans øjenbryn. Billedet er malet fire år efter, at Freddie oplevede kunstnerisk ufrihed i form af censur. Hans kunst blev konfiskeret af politiet, og han måtte selv i fængsel.

Wilhelm Freddie has painted the figure very close to the picture plane. His nose almost protrudes from the canvas. The figure stands stiff, erect, perhaps anxious. The paper covering his mouth is held in place by pins. Hair grows like tears from one eye. Other hair pokes out from the paper above his eyebrow. The painting was created four years after Freddie experienced an absence of artistic freedom in the form of censorship. His art was confiscated by police, and he himself spent time in jail.

Dreng der springer på hovedet i vandet, 1909

STIKOR D T I L B I L L E D SA M TA L E Funkle. Penselstrøg. Leg. Barndom. Nøgenhed. Livskraft. Lavt vand? VIDSTE D U AT Willumsen omkring århundredskiftet havde forsøgt at få et kunstnerisk gennembrud i USA? I stedet vendte han tilbage til naturen, som blev symbol på frihed, livskraft og uafhængighed – alt det han også beundrede ved USA og især New York.

Boy taking a Header, 1909

K EYWORDS FOR TALKING ABOUT THE ARTWORK Shimmer. Brushstrokes. Playing. Childhood. Nudity. Vitality. Shallow water ? D ID YOU KNOW THAT around the turn of the century Willumsen tried for an artistic breakthrough in the USA? Instead he turned yet again to nature, which became a symbol of freedom, vitality, and independence to him - all the things he also admired about the USA, particularly New York.

Sensibelt portræt, 1940

Kierkegaard var optaget af, hvordan man ved at gøre det “forkerte”, fraskriver sig den frihed, man egentlig har til at gøre, hvad man vil. Frie menneskers historie kan derfor paradoksalt nok blive en historie præget af ufrihed. STIKORD TIL BILLEDSAMTALE Skydeskive. Collage. Ytringsfrihed. Krig. Hold-kæft-bolsje. VIDSTE DU AT revysangeren Liva Weel samme år sang: “Man binder os paa Mund og Haand/men man kan ikke binde Aand/og ingen er fangne/naar Tanken er fri”.

Sensitive Portrait, 1940

Kierkegaard was interested in how doing “wrong” leads us to abandon our freedom to do what we want. The story of “free” people can, paradoxically, become a story infused by a lack of freedom. KEYWORDS FOR TALKING ABOUT THE ARTWORK Scapegoat. Collage. Freedom of speech. War. Gobstopper. DID YOU KNOW THAT the Danish singer Liva Weel famously sang these words that same year: “We’re bound and tied on hand and foot/But none can tie our spirit down /And none can be jailbound/ when their minds are free.”

NIKO L A J R EC K E :

/ NIKOLAJ RECKE:

Looking for 4-leaf clovers, 1998

PETER FISCHLI OG DAVID WEISS:

/ PETER FISCHLI AND DAVID WEISS:

Nikolaj Reckes værk panorerer langsomt over en kløvermark i en søgen efter firkløveren, der i mange kulturer forbindes med lykke og held. Firkløveren synes hele tiden både inden for og uden for rækkevidde og udfordrer fornemmelsen af tid og rum. At ligge i græsset forbindes af mange med frihed og selvforglemmelse. Én ting, man aldrig kommer fri af, er dog tid og rum. Man kan ikke trække sig ud af tiden eller stille sig uden for den.

Nikolaj Recke’s work slowly pans across a clover field in search of a four-leaf clover, a symbol of luck and good fortune in many cultures. The four-leaf clover constantly seems just in reach, yet also out of reach, challenging our sense of time and space. Many associate lying in the grass with a sense of freedom, of leaving your troubles behind. However, you can never leave time and space behind. You cannot withdraw from time or step outside of it.

Fischli og Weiss´ videoværk begynder med en sort plasticsæk, der ophængt i en snor drejer om sin egen akse og langsomt nærmer sig et opretstående bildæk, der er placeret nedenunder. Når sækkens bund berører toppen af dækket, sættes det i bevægelse og udløser en kædereaktion med snurrige Storm P.-konstruktioner, boblende væsker, brændende genstande og væltende skrammel.

Fischli and Weiss’ video work begins by showing a black plastic bag hanging from a rope. The bag revolves around its own axis and slowly approaches an upright car tire placed underneath it. When the bottom of the bag touches the top of the tire it is set in motion, unleashing a chain reaction of strange and wondrous inventions, bubbling liquids, burning objects, and tilting bric-a-brac.

Man kan vælge at opleve dette værk gående, eller man kan lægge sig midt i kløvermarken og nyde roen. Er det frihed at ligge stille?

You can choose to experience this work of art as you walk, or you can lie down in the midst of the clover field and enjoy the quiet. Is lying still a way of being free?

Dette værk kan inspirere til en snak om frie valg versus fastlagte livsruter og om konsekvenserne af de valg, vi har truffet.

STIKOR D T I L B I L L E D SA M TA L E Fortabelse. Uendelighed. Overtro. Bare tæer. Tæt på. Fortune cookies.

K EYWORDS FOR TALKING ABOUT THE ARTWORK Forgetting yourself. Infinity. Superstition. Bare feet. Up close. Fortune cookies.

This work of art can be the starting point for talking about freedom of choice versus pre-determined lives and about the consequences of the choices we make.

STIKORD TIL BILLEDSAMTALE Domino. Storm P. Bevægelse. Konsekvens. Eksistentialisme. Determinisme versus fri vilje.

VIDSTE D U AT Kierkegaard selv skrev: “Af alle latterlige Ting forekommer det mig at være det allerlatterligste at have travlt i Verden” 2

D I D YOU KNOW THAT Kierkegaard himself wrote: “Of all the ridiculous things in the world the most ridiculous to me is to be busy.”? 2

VIDSTE DU AT Kierkegaard var optaget af, at mennesker fødes ind i en historie, som allerede er begyndt? Mennesket er “Individuum og som saadant på eengang sig selv og hele Slægten.” 3

DID YOU KNOW THAT Kierkegaard was interested in how people are born into stories that had already begun before them? Man is an “individual and as such both himself and all of his kindred.” 3

2. Enten-Eller. Første del. SKS, bd. 2, Gads forlag, 1997, 33

2. Either-Or, Part One. Vol. 2. Gads forlag, 1997, 33

3. Begrebet Angest. SKS, bd.4, Gads forlag, 1997, 335

3. The Concept of Anxiety. Vol. 4. Gads forlag, 1997, 335

Looking for 4-leaf clovers, 1998

Der Lauf der Dinge, 1987

KEYWORDS FOR TALKING ABOUT THE ARTWORK Domino. Inventions. Movement. Consequence. Existentialism. Determinism versus free will.

Om tankerne bag udstillingen

/ On the thoughts behind the exhibition

Hvorfor har SMK valgt at lave en udstilling om netop Kierkegaards tanker om frihed?

/ Why did SMK chose to stage an exhibition about Kierkegaard’s thoughts on freedom?

Frihed! er en udstilling, som lader sig inspirere af Kierkegaard og nogle af de begreber, der optager ham. Frihed! er således ikke en udstilling om Kierkegaards tanker om frihed eller en udstilling om Kierkegaard. Et af de begreber, Kierkegaard arbejder med, er frihed, om end på en indirekte måde, som oftest kommer til udtryk i valget. Han er også optaget af selvskabt ufrihed. Kierkegaard er ikke selv fortaler for frihed i politisk forstand. Han er fx ikke tilhænger af demokrati, men hylder enevælden og er taknemmelig for, at andre vil regere. Det er interessant i en tid, hvor vi ofte taler om frihed som noget positivt. I stedet for ukritisk at hylde friheden, udfordrer udstillingen vores forestillinger om frihed. Fælles for kunstnere og Kierkegaard er, at de ikke giver klare svar, men derimod skaber anledning til undren, nysgerrighed og refleksion.

Hvordan kommer Kierkegaards filosofi til udtryk i udstillingen? Det, som Kierkegaard bidrager med i forhold til denne udstilling, er evnen til at undre sig, stille spørgsmål, tydeliggøre valg og til at være kritisk over for det vedtagne. Vi stiller med andre ord ikke spørgsmål til Kierkegaard, men med Kierkegaard.

Kan børn forstå filosofi? Filosofi er for mig ikke et slutprodukt. Jeg foretrækker at tænke filosofi som en proces, som man risikerer at blive klogere af. Det er nok de færreste børn, der kender til filosoffer og filosofihistorie, men børn er virkelig gode til den vedvarende spørgelyst, hvor intet forudsættes som selvfølgeligt. Tænk på Spørge Jørgen, som måske ikke er så tilbundsgående i sin spørgelyst, men til gengæld evner at se på alting som var det første gang, han mødte verden. At gøre det selvfølgelige uselvfølgeligt er en evne, som Spørge Jørgen deler med filosoffer. Både børn og voksne prøver at forstå deres egen eksistens i 80

forhold til den virkelighed, der møder dem. Det særlige ved børn er, at de prøver at forstå verden ud fra den erfaring, de har med sig. En af Kierkegaards pointer er, at det er den enkeltes opgave at svare for sig selv. Ingen andre kan gøre det for os. Man må vælge sig selv, dvs. overtage sig selv, frem for blot at følge med strømmen eller leve som robot, på autopilot.

Kierkegaard – er det for børn? Selvom Kierkegaards målgruppe ikke var børn, kan børn godt forholde sig til en figur som æstetikeren i Enten-Eller, der minder om Palle alene i Verden. Palle får alt den frihed, han har drømt om, men er han i stand til at leve med den? Frihed er et emne, som børn har let ved at forholde sig til, men de har sjældent haft anledning til at reflektere over det. Er vi frie, når vi handler i et supermarked, eller køber vi det, som reklamerne og supermarkedet vil have os til? Er frihed for alle? Er frihed gratis? Og ønsker vi egentlig friheden, når alt kommer til alt?

I har lavet udstillingen i samarbejde med børn. Hvorfor? Vi ville slet ikke kunne lave en udstilling uden at invitere målgruppen med helt ind i udstillingens maskinrum. Kun herved er vi blevet klogere på nutidens børns forståelse af emnet og ikke mindst klogere på, hvor emnet bliver relevant i deres livsverden. Vi har fået over hundrede børn til at skrive om og tegne frihed og ufrihed og alt denne empiri har dannet afsæt for udstillingens værkudvalg og rumdesign. Fx er gynger med lyd blevet et væsentligt rumligt element i udstillingen. Inspirationen kom fra børnenes tegninger og udsagn.

Freedom! is an exhibition inspired by Kierkegaard and some of the concepts that interest him. Freedom! is not, then, an exhibition about Kierkegaard’s thoughts on freedom, nor is it an exhibition about Kierkegaard. Freedom is one of the concepts addressed by Kierkegaard, although he often does so indirectly, usually by considering the subject of choice. He is also concerned with self-imposed restrictions and lack of freedom. Kierkegaard is not an advocate of freedom in the political sense of the word. For example he is no supporter of democracy; rather, he celebrates absolute monarchy and is thankful that someone else is willing to rule. That is interesting to us in an age where we often speak about freedom as something positive. Instead of celebrating freedom unreservedly the exhibition challenges our notions about what freedom is. Artists and Kierkegaard have a trait in common here: they do not offer clear-cut answers, preferring instead to prompt wonder, curiosity, and reflection.

/ How is Kierkegaard’s philosophy evident in the exhibition? Kierkegaard’s contribution to this exhibition concerns the ability to wonder about things, to ask questions, to make choices clear, and to challenge accepted norms. We do not ask questions of Kierkegaard, but with Kierkegaard.

/ Do children understand philosophy? To me philosophy is not an end product. I prefer to think of philosophy as a process that might just make you wiser. Only very few children will know about philosophers and philosophy, but children are really good at questioning things, at never taking anything for granted. Just look at the Danish children’s classic “Spørge Jørgen”, where the protagonists’ endless stream of questions may not be the deepest, but he certainly has the ability to look at everything as if he were seeing the world for the first time. Looking

at accepted standards afresh is a gift that Spørge Jørgen shares with philosophers. Children and grown-ups both try to understand their own existence in relation to the reality that surrounds them. What is special about children is that they try to understand the world on the basis of their own experience. One of the points made by Kierkegaard is that each individual must answer for himself. No-one else can do that for us. You must choose yourself, take ownership of yourself, instead of simply following the crowd or living like a robot, cruising on autopilot.

/ Kierkegaard – is that for children? Even though Kierkegaard certainly did not write for children, they can nevertheless relate to a character such as the aesthete in Either-Or, who is reminiscent of the character Palle from the Danish children’s classic Palle Alone in the World. Palle gets all the freedom he ever dreamt of, but can he live with it? Freedom is a subject that children find it easy to relate to, but rarely have the opportunity to reflect on. Are we free to choose when we shop in supermarkets, or do we buy what the commercials and supermarkets want us to? Is freedom for everybody? Is freedom free? And do we really want freedom at the end of the day?

/ You created the exhibition in collaboration with children. Why? We could not possibly stage an exhibition without inviting our target group all the way into the exhibition’s engine room. That was the only way to learn more about how children today view the subject – and how it can become relevant to their world. We have had more than a hundred children writing about and drawing pictures of freedom and its opposite, and all this empirical material formed the basis for the exhibition design and the choice of exhibits. For examples, swings with sound have become a significant spatial element in the exhibition. They were inspired by the children’s drawings and statements. 81

Flip-flapperen fungerer som en slags skattekort, hvor det ikke altid er den direkte vej, brugeren kommer ud på. Flere af de museumsgæster, der har benyttet sig af Flip-flapperen, giver udtryk for, at de er faret vild undervejs i deres søgen efter de angivne mål, men det lader ikke til at have generet dem, at deres vej er blevet længere og knap så direkte. Mange er blevet introduceret til nye dele af museet gennem dette værktøj – på en legende og opdagende måde.

Til børneudstillingen Frihed! lavede vi en flip-flapper. Flip-flapperen opfordrede familier på egen hånd til at udforske resten af museet efter endt besøg i børneudstillingen.

The fortune teller acts as a kind of treasure map, and users will not always be taken on a direct route. Several of the visitors who have used the fortune teller have stated that they got lost during their search for the destinations indicated, but they do not seem to have been bothered by having to take a longer, less direct route. Many have been introduced to new parts of the museum thanks to this tool – in a playful, exploratory manner.

/ We created a customised paper fortune teller for the exhibition Freedom! It contains hints and ideas that encourage families to explore the rest of the museum after their visit to the children’s exhibition had been completed.

Anthropologist Julie Thesander, on the occasion of a user survey conducted amongst visitors to the permanent collections 2013.

Antropolog Julie Thesander i forbindelse med en brugerundersøgelse i de faste samlinger 2013.

T BO

Look for freedom in the museum. Search high and low, search everywhere. Where can freedom be found for you? Find a work of art – any work. Look at it until you find freedom.

8 Find et kunstværk, som passer til dit tøj. Stå ved siden af det lidt og mærk forbindelsen.

Go home. School’s out.

Find a work of art that matches your clothes. Stand next to it for a little while and feel the connection between you.

Led efter friheden på museet. Kig oppe, nede, imellem og gennem. Hvor er friheden for dig?

ST L I AT U B ER E TY OF

Gå hjem. Du har fri

Go to the lobby, take the stairs up to the next floor and find the game in Room 205 European Art 13001800. Exercise your freedom and win the game!

Find et tilfældigt værk. Se på det indtil du har fundet friheden.

Go to the lobby, take the stairs up to the next floor and find the Drawing Studio in Room 226 in the exhibition of Danish and Nordic Art 1750-1900. Draw something you remember from the Freedom! exhibition.

Folding paper Fortune tellers

Find a person and ask him or her: What is freedom to you?

F G R U IHE D IN DS D E

FO L D F R I H E D FLIPFLAPPER

Gå til forhallen, tag trappen op og find spilmøblet i sal 205 Europæisk Kunst 13001800. Brug din frihed og vind spillet!

Find en person og spørg ham eller hende: Hvad er frihed for dig?

Go to the elevator in the Sculpture Street and go up to the fourth floor. Find something that reminds you of freedom. Stand next to it and express freedom with your body.

Gå til forhallen, tag trappen op og find tegnerummet i sal 226 i Dansk og Nordisk 17501900. Tegn noget du husker fra Frihed! udstillingen.

Gå til elevatoren i skulpturgaden og stå af på 4. sal. Find noget, der minder dig om frihed. Stil dig der og vis frihed med din krop.

FORMIDLING / materials

ARTIKEL

AF Stine Lundberg Hansen

Kan man tvinge en ko til at spise mariehøns?

Hvad sker der, når børn ikke kun skal forholde sig til kunstværket, men – som i boldspil op ad en mur – skal kaste frihed op ad kunsten og gribe den igen? Hvilke tanker fødes, og hvilke paradokser får vi øje på? Læreruddannet, DPU-studerende og omviser og underviser på SMK Stine Lundberg Hansen deler her sine erfaringer med børn i børneudstillingen ”Frihed!”

– når børn filosoferer

Frihed! Hvad er det? At bestemme selv? At lege alene? At spille fodbold? At gøre det, man gerne vil? At have fri fra skole? SMK’s 1-times forløb i børneudstillingen begynder med, at børnene sætter ord på, hvad frihed er for dem. De børn, som har lært at skrive, fuldender sætningen For mig er frihed... på en lap papir, som jeg samler ind. Efter at have talt om, hvad filosofi er, med afsæt i Nam June Paiks skulptur af Søren Kierkegaard, nærmer vi os værket Helena med fisken i blenderen. ”Skal jeg trykke på knappen?”, lyder mit spørgsmål. Børnene er splittede; både ja og nej. Det er jo bare en fisk, der alligevel ikke har et godt liv i blenderen. Andre er nysgerrige; det kunne være sjovt at se, hvad der skete. Nogle synes, det er synd for fisken: Den har jo også ret til et liv. Og skal jeg trykke, bare fordi jeg kan? Hvem bestemmer over hvem? Vi når ikke til enighed; et par børn hepper på, at jeg skal trykke. At der ikke er strøm på blenderen, får børnene først at vide efter et stykke tid. Det beroliger dem ikke nødvendigvis, for det ved fisken jo ikke, som en 10-årig dreng siger! Nu skal børnene tage stilling til udsagnet mennesket bestemmer over dyrene og fysisk placere sig efter, om de er enige eller uenige. Jo, mennesket bestemmer over dyrene, fordi vi spiser dem og har dem som kæledyr, mener den ene gruppe. Nej, vi bestemmer ikke 86

over dyrene, for man kan ikke tvinge en ko til kun at spise mariehøns, og vi bestemmer jo ikke over katten, der går, hvor den vil, siger den anden gruppe. I udstillingens øvre etage midt i en grøn labyrint sænker roen sig. Vi kigger efter firkløvere i en rundkreds omkring værket Looking for 4-leaf clover af Nikolaj Recke. Hvis den findes, giver den held, og der må ønskes. Hvordan føles frihed mon med kroppen? De små børn kommer efter tur ind og ligge. Nogle vil sove. Nogle tænker på sommer og at ligge i græsset. Nogle har lyst til at løbe eller hoppe. Nogle vil gerne være en snegl og lege gemmeleg. Andre synes, gulvet er hårdt, og projektoren skærer i øjnene. De større børn indkredser på en tegning, hvor på kroppen værket sidder. Det sidder i benene, fordi jeg får lyst til at spille fodbold. Det sidder i brystet, fordi jeg trækker vejret stille og roligt. Det sidder i hjertet, fordi det føles rart. Det sidder over hele kroppen, fordi jeg blev grøn. ”Ad!” Udbruddet kommer foran Wilhelm Freddies Sensibelt portræt. Maleriet vækker fascination og undren, og børnene er optaget af at finde svar på hvorfor. Hvorfor har han noget hvidt over munden og øjenbrynene? Hvorfor er han skaldet? Hvorfor har han papir på brystet? Er det edderkoppespind eller hår? Ad, det kommer ud af øjnene! Det ligner tårer. Han må ikke sige noget. Han er i fængsel. Han ligner en

borgmester, fordi han har fint tøj på. Han er ked af det. Hans øjne kigger ikke rigtigt. Han står op ad en væg. Jeg fortæller om Wilhelm Freddie som provokatør; han kom i fængsel, fik bøder og fik konfiskeret sin kunst. Er frihed ikke at gøre lige, hvad man vil? Kan vi gøre, hvad vi har lyst til? Nej, for der er regler. Så kommer man i fængsel. Hvis man kun gør, hvad man selv vil, så bliver man ensom, fordi de andre ikke gider at lege. Hvis vi alle sammen gør, hvad vi vil, bliver det bare en stor slåskamp. Det har konsekvenser. Hvis man ikke vil arbejde, så får man ingen penge, så kan man ikke betale sine regninger, og så bliver man hjemløs. Man skal tage hensyn til andre. Man tager andres frihed, hvis man gør lige, hvad man vil. Der er regler, så vi alle sammen har frihed. Som afslutning læser jeg de sætninger, som børnene indledningsvist skrev, op som et langt digt: For mig er frihed at ride. For mig er frihed at bestemme selv. For mig er frihed at være sammen med mine venner. For mig er frihed at være mig selv og blive respekteret som den, jeg er. For mig er frihed... Der er stof til eftertanke. Som det lyder i sidste linje af Poul Henningsens revyvise: Og drømmen om frihed, bliver aldrig forbi... 87

/ ARTIcle

BY Stine Lundberg Hansen

Can you force a cow to eat ladybugs?

- when children philosophiZe

What happens when children are not only asked to relate to a work of art in itself, but are also asked to bounce the concept of “freedom” off the art and catch the ball again? What thoughts are born, and what paradoxes do we see? Here, Stine Lundberg Hansen – a teacher, university student, and guide and art educator at the SMK – shares her experiences with children visiting Freedom!, the SMK’s exhibition aimed specifically at children. Freedom! What is that? Being able to make your own decisions? Playing on your own? Playing football? Doing what you want to do? Not being at school? The SMK’s one-hour teaching session in the children’s exhibition begins with having the children state what freedom is to them. Children old enough to have learnt to write complete the sentence “To me, freedom is …” on a piece of paper, and I collect their replies. Having talked about what philosophy is – based on Nam June Paik’s sculpture of Søren Kierkegaard – we approach the artwork Helena with the fish swimming in a blender. Should I press the button? I ask. The children are torn, saying yes and no. It is after all just a fish, which won’t be having a nice time of it in the blender anyway. Other children are curious; it might be fun to see what happens. Some feel pity for the fish; it also has the right to live. And should I push the button just because I can? Who decides that sort of thing? We do not reach consensus; a few children urge me to push the button. The fact that the blender is not plugged in is only revealed to the children after a while. This does not, however, necessarily assuage them, for – as a ten-year old boy comments – the fish doesn’t know that! Now the children are asked to consider the relationship between human beings and animals: do humans rule the animals? Do we “tell them what do do?” The children are asked to join one of two groups, positioned at either end of the room, depending on their own point of view. One group says yes, we rule the animals because we eat them 88

and keep them as pets. The other group says no, we don’t tell animals what to do, because you cannot force a cow to eat nothing but ladybugs and we can’t control the cat; it goes wherever it wants, says the other group. In the upper floor of the exhibition, at the heart of a green labyrinth, a sense of calm descends upon us. We sit in a circle around the work Looking for 4-leaf clover by Nikolaj Recke, all of us intent on searching for four-leaf clovers. If you find one it brings luck, allowing you to make a wish. How does freedom feel when you experience it with your body? The very youngest visitors are admitted in turns and invited to lie down. Some want to sleep. Some are reminded of summer and of lying down on the grass. Some want to run or jump. Some want to pretend they are a snail and play hide and seek. Others think that the floor is hard and that the projector lights are glaring. The older children create drawings showing where the artwork affects their bodies. It’s in my legs because I feel like playing football. It’s in my chest because I breathe slowly and quietly. It’s in my heart because it feels nice. It’s all over my body because I went green all over. Ewww! The exclamation is made in front of Wilhelm Freddie’s Sensitive Portrait. The painting evokes fascination and wonder, and the children are keenly interested in finding answers: Why does he have something white stuck across his mouth and eyebrows? Why is he bald? Why are there pieces of paper on his chest? Is that a cobweb or hair? Ew, it’s coming out of his eyes!

It looks like tears. He’s not allowed to say anything. He is in jail. He looks like a mayor because he’s all dressed up. He is sad. His eyes aren’t really looking. He is standing up against a wall. I tell them about how the Danish artist Wilhelm Freddie was a provocative figure in his own day; he went to prison, was fined, and had his art confiscated. Isn’t freedom about being allowed to do exactly what you want? Can we do exactly what we want? No, because there are rules. You would go to prison. If you only do what you want to do you’ll get lonely because the others won’t want to play with you. If we all just do exactly what we want we would end up with a huge fight. There are consequences. If you don’t want to work you won’t get any money, and then you can’t pay your bills, and then you become homeless. You need to take others into account. If you only do what you want, you take away the freedom of others. There are rules so that there can be freedom for all of us. At the end of the hour I read out the sentences the children wrote at the beginning as if it were a long poem: To me, freedom is riding. To me, freedom is making my own decisions. To me, freedom is being with my friends. To me, freedom is being me and being respected for who I am. To me, freedom is ... There is food for thought here. As the last line of the prominent Danish architect, lamp designer, writer and cultural critic Poul Henningsen’s famous song goes: And our dream of freedom, shall always remain ...

anmeldelse Artiklen blev oprindeligt publiceret i Weekendavisens, Faktisk-tillæg fredag den 6. september 2013. Af FREDERIKKE WINTHER

Filosoffer for en dag Tankekunst. Hvad er frihed? Har det noget at gøre med en fjernsynsrobot, en kunstig kløvermark og en guldfisk i en blender?

Faktisk har besøgt udstillingen »Frihed!« og

spekuleret over et af livets store spørgsmål.

Der lyder høje protester, da jeg fortæller de tre piger, at vi skal en tur på museum i eftermiddag. De vil meget hellere ud på rideskolen. Eller på legepladsen. Måske en tur i biffen. I hvert fald ikke på museum. »Kun døde fisk flyder med strømmen,« sagde den danske filosof Kierkegaard engang, og disse tre børn er sprællevende. Heldigvis er det mig, der er den voksne, og mig, der bestemmer. Så vi tager ind for at opleve udstillingen »Frihed!« på Statens Museum for Kunst, om de vil det eller ej. Museet er et enormt hus af sten og glas med højt til loftet. Vi skal smide skoene, før vi må træde ind i udstillingen, og tæerne mærker friheden med det samme. De går i gang med at udforske det kølige, glatte gulv, mens vi står og kigger på en enorm robot-figur bygget af fjernsyn. Den har en paraply i hånden og en høj hat, og den hedder »Søren Kierkegaard Robot«, efter den store danske filosof, som blev født for 200 år siden. Når Kierkegaard gik rundt i Københavns gader, stillede han spørgsmål til alt det, 90

han så. Han undrede sig over, hvorfor tingene var, som de var, hvorfor folk gjorde, som de gjorde, og prøvede at finde fornuftige svar. Og man behøver ikke at være en berømt filosof for at kunne filosofere. Buschauffører, læger, bedsteforældre og skolebørn kan også undre sig over livets store spørgsmål. Og det er netop, hvad folkene bag udstillingen Frihed! gerne vil have børn og voksne til at gøre.

Lyden af frihed Kierkegaard filosoferede også over emnet frihed. Men hvordan kan man overhovedet udstille frihed? Kan den males? Formes i ler? Eller måske udstoppes og sættes i en montre? Først undrer vi os over, hvad en lille fugl, en mobiltelefon, en bunke penge og en Batmanfigur har med frihed at gøre. Vi tænker højt, og pludselig er vi i fuld gang med at forestille os, hvad det hele handler om. Penge gør én fri - eller gør de? Mobilen giver i hvert fald frihed. Når det altså ikke lige er ens forældre, der ringer for at sige, at man skal komme hjem.

Næste værk er nogle gynger, man kan sætte sig på. Her vågner vores ører, for mens vi gynger stille frem og tilbage, kan vi høre lyden af leg. På legepladsen, ved stranden. Lyden af frihed. Så skifter lyden og bliver til lyden af ufrihed. Som når voksne skælder ud, biler dytter, eller vækkeuret ringer, og man skal noget, man ikke rigtig har lyst til.

Forlæns og baglæns Kierkegaard sagde, at »livet skal leves forlæns, men forstås baglæns«, og det er netop, hvad der sker, når man går fra det ene værk til det andet på udstillingen. Man ser de udstillede ting, tænker over dem, leder efter sammenhængen og forstår først til sidst, hvad de betyder. For én selv og for de andre. Mærkelige ideer, sjove eller triste minder, noget man ved eller mener, dukker hele tiden op i tankerne, mens man kigger på en guldfisk i en blender, et kæmpe stykke metal eller en film, der kører i ring. Og det er helt forskelligt, hvilke værker der undrer os mest. Esmeralda på 9 vil

»Af alle latterlige Ting forekommer det mig at være det allerlatterligste at have travlt i verden« SØREN Kierkegaard

gerne tilbage til kløvermarken. Hun vil undersøge, hvordan det føles at ligge fladt på ryggen i det grønne lys. Emilie på 13 er meget op taget af billedet af den triste mand, det minder hende om en masse ting, hun ellers ikke har tænkt over. Og Sira, som også er 13 år, sidder længe på gyngen og venter på at blive forstyrret, når den søde lyd af frihed bliver afbrudt af den skingre lyd af ufrihed. Kierkegaard er også kendt for at have sagt: »Af alle latterlige ting forekommer det mig at være det allerlatterligste at have travlt,« og vi giver os da også god tid til at komme igennem udstillingen. For hvis man ræser igennem de to små etager, udstillingen fylder, får man kun en brøkdel af det hele med.

Tænketid At tænke tager tid. Travle tanker er korte og kedelige. At gå på museum er kedeligt, hvis ikke udstillingen »siger én noget«, men på turen gennem museet op dager vi, at kunstværkerne ikke taler af sig selv. De kræver, at man stiller dem

spørgsmål, og at man har tid til at høre svarene. Da vi senere træder ud i aftenskumringen, kommer vi til at snakke om, at langt det meste af det, vi lige har set, oplevet, tænkt og lært, i virkeligheden kommer fra os selv. Ting, vi ikke vidste, at vi vidste, eller spørgsmål, vi endnu ikke havde stillet os selv. Minder og meninger, vi havde glemt. På den måde er det ikke en udstilling af frihed, vi lige har været på, men mere en indstilling eller en forestilling. Et sted, hvor man stiller ind og forestiller sig, hvad frihed er, og hvordan den føles. Hvis de tre børn havde haft frihed til at vælge, var de ikke taget med på museum. Men hvad nu, hvis de havde vidst, at der ventede dem en god oplevelse? Nogle gange kan det frie valg føre til ufrivillig uvidenhed. I hvert fald hvis valget er baseret på vaner og fordomme. For ak, »af alle fjender er vanen måske den lumskeste«. Gæt selv, hvem der har sagt det.

Tag din nabo, din klasse, din lillesøster, din farfar eller din bedste ven med på museum, og find ud af, hvad de tænker om frihed. ’Frihed!’ åbner den 6. september. Den er egnet for alle aldersgrupper og kan op leves på Statens Museum for Kunst frem til 3. august 2014. Gratis entré.

Filosofi = kærlighed til visdom Filosofi betyder »kærlighed til visdom«. Ordet dækker over de ideer og forklaringer, der opstår, når man tænker over livets svære spørgsmål: Hvad er kunst? Har mennesket en fri vilje? Hvordan er man en god ven? Filosoffer studerer og spekulerer over verden, og når de har tænkt sig frem til en god forklaring, siger de deres tanker højt eller skriver dem ned.

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På undervisningsforløbet var vi omkring generelle betragtninger omkring frihed med udgangspunkt i de forskellligartede værker på udstillingen. Eleverne lavede også et fælles digt om frihed, som nu hænger i klassen. Da undervisningen på museet var slut, var alle enige om, at det havde været super fedt, lærerigt og at vi godt kunne have været der endnu længere tid. Via engageret, dialogisk undervisning har museumsunderviseren bragt samtalen omkring værkerne i retninger, hvor eleverne virkelig har reflekteret over alment menneskelige eksistentielle livstemaer - på den fede måde.

This article was originally published in the Danish weekly newspaper Weekendavisen on Friday 6 September 2013. It was featured in the “Faktisk” section, which is aimed at children and teenagers. By FREDERIKKE WINTHER.

Philosophers for a day The art of thinking. What is freedom? Does it have anything to do with a TV robot, an artificial field of clover, or a goldfish in a blender? Faktisk has visited the exhibition Freedom! and pondered one of the great questions in life. Loud protests greet my announcement as I tell the three girls that we will be visiting a museum this afternoon. They would much rather go to the riding school. Or the playground. Certainly not to a museum. “Only dead fish float with the flow,” said the Danish philosopher Kierkegaard, and these three children are very much alive. Fortunately I am the grown-up and I make the final decisions. So we go to see the exhibition Freedom! at Statens Museum for Kunst whether they want to or not. The museum is a huge house built out of stone and glass, its ceilings soaring high above us. We are required to take off our shoes before we enter the exhibition, and our feet feel the sense of freedom straight away. Their toes begin exploring the cool, smooth floor as we look at a huge robot-like figure made from television sets. It carries an umbrella in its hand and a tall hat, and it is called Søren Kierkegaard Robot after the great Danish philosopher who was born 200 years ago. When Kierkegaard walked the streets of Copenhagen he questioned everything he saw. He wondered why things were the way they were, why people did what they did, and tried to find sensible answers to these questions. And you do not need to be a famous 92

philosopher to philosophise. Bus drivers, doctors, grandparents, and school kids can also wonder about the great questions in life. And that is precisely what the people behind the exhibition Freedom! want children and grown-ups to do. The sound of freedom Kierkegaard pondered the question of freedom. But how can freedom be exhibited at all? Can it be painted? Sculpted in clay? Or perhaps stuffed and placed in a display case? At first we wonder what a small bird, a mobile phone, a pile of money, and a Batman figurine have to do with freedom. We are all thinking out loud, and suddenly we are busy imagining what it is all about. Money makes you free – or does it? The mobile phone certainly gives you freedom. Unless of course it’s your parents calling to tell you to come home. The next installation consists of some swings you can sit on. Our ears prick up here, for while we are swinging back and forth we hear the sound of people playing. At the playground, on the beach. The sound of freedom. Then the sounds change and become the sounds of the opposite of freedom. Like when grown-ups yell at you, car horns honk, or the alarm clock goes off, summoning you to do something you don’t really want to do. Backwards and forwards Kierkegaard said that “life can only be understood backwards, but it must be lived forwards”, and that is exactly what happens as you move from one work to the next at this exhibition. You view the exhibits, think about them, look for connections, and only

at the end do you realise what they mean. To yourself and to others. Strange ideas, fun or sad memories, something you know or think – all these things keep popping up in your head as you look at a goldfish in a blender, a huge piece of metal, or a piece of film footage looping. Different works attract us and make us think and wonder. Esmeralda, 9, wants to return to the field of clover. She wants to try what it feels like to lie flat on your back in the green light. Emilie, who is 13 years old, is very interested in the picture of the sad man; it reminds her of a lot of things she hasn’t thought much about before. And Sira, who is also 13, spends a long time on the swings, waiting for the interruption that comes when the sweet sound of freedom is interrupted by the harsh shrieks of its opposite. Kierkegaard is also known for having said: “Of all ridiculous things the most ridiculous seems to me, to be busy,” and indeed we allow ourselves plenty of time to explore the exhibition. For if you dash through the two small exhibition floors taken up by Freedom! you will only take in a fraction of what it really has to offer.

thought, and learnt actually come from within ourselves. Things we did not know we knew, or questions we had not yet asked ourselves. Memories and opinions we had forgotten. In a way, what we have just experienced is not so much an exhibition about freedom, but a state of mind. A place where you home in on a specific way of thinking and imagine what freedom is and how it feels. If the three children had had the freedom to choose they would not have gone to the museum. But what if they had known that there was a good experience in store for them? Sometimes, freedom of choice can lead to involuntary ignorance. Certainly if that choice is based on habit and prejudice. For “out of all our enemies, habit may be the most insidious”. Guess who said that.

Time for reflection Thinking takes time. Busy thoughts are brief and boring. Visiting a museum is boring if the exhibition doesn’t “speak to you”, but as we walk along we realise that the works of art do not simply speak on their own. You must ask them questions, and you must take the time required to hear the answers. When we step out into the evening dusk afterwards we start talking about how most of the things we have just seen, experienced,

Philosophy = love of wisdom The word “philosophy” literally means “love of wisdom”. The term covers the thoughts, ideas, and explanations that arise when you think about the difficult questions in life: What is art? Do human beings have free will? How can you be a good friend? Philosophers study the world and think about it, and when they have thought out a good explanation they say their thoughts out loud or write them down.

Bring your neighbour, your school, your baby sister, your grandfather, or your best friend along to the museum and find out what they think about freedom. Freedom! opens on 6 September. It is suitable for all ages and is on at Statens Museum for Kunst up until 3 August 2014. Admission is free.

Kasper Nielsen, lærer på Øbro Fri Skole, om et undervisningsforløb i Frihed! med 6. kl.

/ During the teaching session we made general observations about freedom based on the various artworks featured in the exhibition. The students also created a collaborative poem about freedom that is now up on the wall in our classroom. After the teaching session we all agreed that it had been really great, educational, and that we would happily have stayed there even longer. Through dedicated, enthusiastic, dialogue-based teaching the museum educator prompted discussion about the artworks that made the students reflect on universal questions of human existence – in a really cool, constructive way. Kasper Nielsen, teacher at Øbro Fri Skole, describing a teaching session held for a group of 6th graders in the Freedom! exhibition.

Udstillingen Frihed! og ikke mindst de formidlingsinitiativer, museet har skabt til den, viser en af SMKs allerstærkeste sider. Udstillingen er et af de vigtigste eksempler på, at Søren Kierkegaards ellers komplekse tanker kan ajourføres og stilles til rådighed for nutidens mennesker. Det er simpelthen en fornøjelse at se, at det kan gøres så godt. Rasmus Quistgaard, projektleder, programrådet for Kierkegaard 2013

/ The exhibition Freedom! and particularly the interpretation and learning activities created for it showcase the real strength of the SMK. The exhibition is an important example of how Søren Kierkegaard’s complex thinking can be brought up to date and made relevant and accessible to contemporary audiences. It is a real pleasure to see that this can be done so well. Rasmus Quistgaard, Head of project KIERKEGAARD 2013

anmeldelse

EFTERTANKE. SMK har bygget en installation med trappetrin og gynger, hvor børn kan lege og slappe af midt i udstillingen. I trappetrinnene er der huller med kig til effekter, der signalerer frihed.

Foto: Katinka Hustad

Statens Museum for Kunst stiller stærke værker, frie rammer og gode spørgsmål til rådighed for en etisk og eksistentiel diskussion mellem børn og deres forældre i den Kierkegaardinspirerede børneudstilling ’Frihed’.

Denne artikle blev oprindeligt publiceret i Politiken den 7. september 2013

♥♥♥♥♥♥ AF Marie Carsten Pedersen

Har du talt med dit barn i dag?«, stod der på 1980’ernes bagrudesticker. Gad vide hvor langt vi, der sad med sikkerhedssele på på bagsædet i bilen dengang, kunne være nået, hvis det sympatiske pædagogiske slogan var blevet opgraderet til »Har du haft en åben, filosofisk diskussion med dit barn i dag?«. Hvis vi, i stedet for at have talt om, hvad vi havde for af lektier, havde snakket med vores forældre om, hvad det vil sige at være fri? Om frihed altid er godt? Og om vores egen frihed også kan være en begrænsning for andre? Det er det niveau af samtale mellem børn og forældre, Statens Museum for Kunst (SMK) lægger op til med den nye børneudstilling ’Frihed’. Med syv udvalgte kunstværker sat i scene i et nyt design i museets børneafdeling 94

vil SMK have de yngste brugere fra 6 til 12 år til at benytte kunsten som indgang til at diskutere frihed. Anledningen er Kierkegaard-året. Og det første, der møder børnepublikummet, er Søren Kierkegaard, som vi aldrig har set ham før: i form af en tre meter høj robot af den gamle skole, bakset sammen af gamle tv-apparater fra før fladskærmens tidsregning, med bogreol i maven, små flimrende billedstorme af notesbogsider på alle skærmene og Søren K.s trofaste paraply i udstrakt arm. Det er den amerikanske installationskunstner Nam June Paiks portræt af filosoffen, skabt i 1996, der er trukket frem fra samlingen som maskot for den nye udstilling. I forhold til de andre værker, der indgår i ’Frihed’, er robotten ikke mest givende rent betydningsmæssigt. Mensom markør fungerer den godt: Densbarnlige og bogstavligt talt klodsedeformsprog byder børn velkommen og skaber en fornemmelse af, at det her er et rum, hvor deres fantasi og forestillinger bliver taget alvorligt. Her kan en drøm om en kæmperobot blive til virkelighed. Ikke et skidt sted at starte, når man skal møde børn et sted, hvor de har

lyst til at åbne op og tænke højt OG TÆNKES – det skal der. ’Frihed’ er en slags eksperimentarium for god gammeldags filosoferen over etik og eksistens, med kunsten som afsæt for refleksionen. I et minimalistisk udstillingdesign med en stærk græsgrøn farve som gennemgående element er der plads til at vende og dreje, hvad frihed er for noget. Måske er det at vegetere i en gynge med grønt under tæerne – det er der også mulighed for i en installation, SMK selv har skabt til udstillingen, med fastgjorte gynger og grønne trappeplateauer fulde af nysgerrige kikhuller. Sammen med en labyrint af høje, grønne paneler er gyngeområdet en fremragende løsning på at tilgodese børns sanser og behov for bevægelse. De elementer er dog det eneste spræl, der er i designet. Ud over det forbliver vi i SMK’s stramme hvide rammer. Det er ikke vanvittigt livligt, men det er i tråd med museets identitet, og det understreger, at det er kunsten, der gemmer på oplevelserne her. De få værker, udstillingen består af, syner ikke af meget. Men indholdsmæssigt har de kompleksiteten til at skabe en nuanceret diskussion af en lang række aspekter af frihedsbegre-

bet. Til at understøtte dem har SMK lavet en fin folder til de voksne, med kvalificeret inspiration til spørgsmål og emner, der kan tages op, når familien står ansigt til ansigt med værkerne. Udvalget er foretaget på baggrund af en lang række interview, hvor SMK’s kuratorer har spurgt skolebørn, hvad frihed er for dem. Dernæst har børnene været forbi museet og udpeget værker fra samlingen, som rummede deres tanker om frihed. Resultatet er mangfoldigt og relevant: Her er Marco Evaristtis blender med en levende fisk i, et veletableret og uendeligt let aflæseligt ikon for det etiske valg. Fisken er fin og smuk og ligner den hjemme fra akvariet, blenderens formål kender børnene fra køkkenregionerne, og knappen sidder lige dér, midtfor på maskinen, og sætter et væld af modsatrettede moralske impulser i gang hos mennesker i alle aldre. Er der strøm på? Måske, måske ikke. Men hvad betyder det, når det frie valg er truffet? NIKOLAJ RECKES virtuelle videoskov af firkløvere, ’Looking for 4-leaf Clovers’, er et visuelt stimulerende syntetisk bud på lommefilosoffens foretrukne arbejdsposition: at ligge på ryggen i græsset med ud-

sigt til det uendelige. For her må man gerne ligge på kunstværket og tænke. Men ideen blegner desværre, når man stirrer direkte op i dels en blændende projektor, dels dødssyge loftsplader. Den del kunne godt tænkes bedre igennem i en ellers veludført installation. Peter Fischli og David Weiss’ videoværk ’Der Lauf der Dinge’, der er udlånt fra Louisiana, er også et skønt og umiddelbart værk, hvor en endeløs række af Storm P.-maskiner udløser dominobrikreaktioner hos hinanden. Det er ikke til at vende sig væk fra kædereaktionerne, og samtidig kan der snakkes om, hvordan vores handlinger påvirkes af alt muligt andet end vores frie valg. Knap så åbent står Danh Vos fragment af ’Frihedsgudinden’, plukket direkte fra særudstillingen ’We the People’ i skulpturgangen. Her skal der forklares lidt, før værkets temaer om migration, demokrati og konstitutionel frihed åbner sig for et barn. Til gengæld peger værket videre ud i SMK’s samling og skaber dermed en adgang til den del af museet, der ellers er for de voksne. Det samme gælder for de to værker i ’Frihed’, der ikke er samtidskunst. J.F. Willumsens ’Dreng der ta-

ger et hovedspring’ (1909) og Wilhelm Freddies ’Sensitivt portræt’ (1940). Det er kunst med stort K, i ramme og det hele, af den slags, voksne elsker at kigge på, men som kalder gabene frem ved første øjekast hos mange børn. Men i den kontekst, de optræder i her, bliver de børnenes ejendom. Her er de underlagt deres tolkninger, og de bliver del af den personlige fortælling om frihed, børnene er i gang med at skabe. ’FRIHED’ SLÅR EN tyk, græsgrøn streg under gyldigheden af SMK’s faste princip om altid at benytte originale værker i børneudstillingerne. Det er the real deal, børnene får, i kunstfaglige rammer, der matcher resten af museets – ikke en juniorversion, der er gennemtygget til ufarlig Disney-hed af velmenende formidlere. For hvis kunstens erkendelsespotentiale har den universelle gyldighed, vi har det med at påstå, så må den også kunne tale med sin egen stemme til de yngste og måske allermest åbne repræsentanter for menneskeslægten. Det får den friheden til på SMK. marie.carsten.pedersen@pol.dk 95

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Giving children the freedom to think With Freedom!, an exhibition inspired by Kierkegaard and aimed specifically at children, the SMK offers strong art, an unrestricted setting, and excellent questions that can prompt children and parents to enter into conversations about ethics and existential issues. Originally published in Politiken September, 7, 2013

♥♥♥♥♥♥ BY Marie Carsten Pedersen

“Did you talk to your child today?” was a widespread message on bumper stickers back in the 1980s. I wonder how much further those of us who sat securely strapped in the backseats back then would have gotten if this praiseworthy educational slogan had been upgraded to “Did you have a frank, free, and open discussion about philosophy with your child today?” If we had talked less about our homework with our parents, and more about what it means to be free? Whether freedom is always a good thing? And whether our own freedom might impose constraints on others? The new exhibition Freedom!, aimed specifically at children, invites sophisticated conversations between children and parents such as the ones outlined above. Staging seven

carefully selected works of art in a new exhibition design within the museum’s department for children and young adults, the SMK wants to encourage their youngest users, children aged 6 to 12, to use art as their starting point for discussing freedom. The exhibition is part of the overall celebrations of Kierkegaard this year. And the first sight that greets the juvenile audiences is Søren Kierkegaard as we have never seen him before: as a three-metre tall old-school robot, clobbered together from old TV sets that predate the flat-screen era, bookshelves in his belly, torrents of pages from his notebooks flickering on all the screens, and Søren K.’s trusty umbrella held in his outstretched hands.

This portrait of the philosopher was created in 1996 by the US installation artist Nam June Paik, and has now been brought forward as the mascot of the new exhibition. Compared to the other works featured in Freedom! the robot is not the most poignant of artworks. But it makes an excellent signpost: its childish, angular, boxy form welcomes the children and creates the sense that this is a space where their imagination and ideas will be taken seriously. Here, dreams about giant robots can come true. Not a bad place to start when you want to engage with children in a space where they feel like opening up and thinking out loud.

AND THINKING is certainly on the agenda. Freedom! is a kind of experimental lab for good oldfashioned philosophising on matters of ethics and existence, taking art as the point of departure of the reflections. Presented in a minimalist exhibition design with bright, grass-green colours as the recurring design feature, this exhibition allows plenty of scope for pondering the nature of freedom. Perhaps freedom is loafing about on a swing with green foliage underfoot – and visitors can do exactly that in an installation that the SMK created specifically for the exhibition: swings to sit on and green staircase tableaux full of holes for curious souls to peep through. These, together with a labyrinth of tall, green panels, makes the swing area an excellent solution to accommodating children’s senses and their urge to move.However, these elements are the only really playful parts of the design. Apart from them we remain firmly set within the sober, white setting typical of the SMK. Not very vibrant, perhaps, but entirely in keeping with the museum’s identity, and the choice accentuates the fact that in this place, you need to look to the art. The few works featured in this exhibition do not look like much. But their subject matter is sufficiently complex to allow them to prompt nuanced discussions of a wide range

of aspects of the concept of freedom. To support such discussions and conversations, the SMK has created an excellent little leaflet for the grown-ups: it offers inspiration for questions and subjects that might usefully be raised as families view the artworks. The artworks featured in the exhibition were chosen on the basis of a wide range of interviews where the SMK’s curators have asked school children what freedom is to them. The children then visited the museum to point out works from the SMK collections that expressed their thoughts about freedom. The results are diverse and relevant: Here we find Marco Evarissti’s blender containing a live fish; a well-established and very easily decoded icon for ethical decision-making. The fish is delicately beautiful; the children know exactly what the blender can do, and there’s the button right there, right in the middle of the machine, prompting a wealth of ambivalent moral impulses in people of all ages. Is the blender connected? Will it work? Perhaps, perhaps not. But what does that mean when the freedom to choose has already been exercised?

NIKOLAJ RECKE’S video forest of four-leaf clovers, Looking for 4-leaf Clovers, is a visually stimulating synthetic take on the favourite working position of all small-time philosophers: lying on your back, gazing up into infinity. Here you are allowed to lie down on the work of art to think. Sadly, the excitement fades rather when you find yourself staring directly up into a blinding light and dreary ceiling tiles. That aspect deserves rethinking in an otherwise well-executed installation. Peter Fischli and David Weiss’ video work Der Lauf der Dinge, on loan from the Louisiana Museum of Modern Art in Humlebæk, is also a marvellous and immediately accessible work where an endless succession of curious machines trigger knock-on effects in each other. It is almost impossible to take your eyes off the sequence of chain reactions, and at the same time we can talk about how

our actions are affected by all sorts of factors beside our free choice. Dahn Vo’s fragment of the Statue of Liberty, taken directly from the We the People (Detail) exhibition in the museum’s Sculpture Street, is less immediately accessible: it requires some explanation before the work’s themes – migration, democracy, constitutional freedom – open themselves up to a child. However, the work does point out towards the SMK’s collection, thereby providing a point of entry to the part of the museum otherwise reserved for the grown-ups. This is also true of the two noncontemporary works of art featured in Freedom!: J.F.Willumsen’s Boy Taking a Header (1909) and Wilhelm Freddie’s Sensitive Portrait (1940). This is Art with a capital A, in frames and everything, of the kind that grown-ups love to look at, but which tend to induce immediate yawns in most children. Here, however, the context used to present the paintings make them the children’s property. They are subjected to the children’s interpretations, and they become part of the personal narratives about freedom that the children are creating.

FREEDOM! UNDERSCORES – with a bright, grass-green highlighter – the validity of the SMK’s wellestablished principle of always using original artworks in their exhibitions for children. The children get the real deal here: real art presented in a professional environment that matches the rest of the museum – not a junior version downsized and predigested into a tepid, unthreatening Disneyfied blandness by wellmeaning educators. For if art’s potential for generating insights truly has the universal validity we tend to ascribe to it, then it must also be able to speak in its own voice to the youngest – and perhaps most receptive – representatives of the human race. At the SMK, it is given the freedom required to do exactly that. marie.carsten.pedersen@pol.dk 97

Kulturminister Marianne Jelved følger et undervisningsforløb i børneudstillingen Frihed!

STRATEGI / STRATEGY

/ The Danish Minister for Culture, Marianne Jelved, attends a teaching session conducted in the children’s exhibition Freedom!

Overordnede formål med SMK’s BØRNEudstillinger: 1.

At skabe vedkommende udstillinger af første klasses kunst på børnenes egne præmisser vha. tætte samarbejder med børn og fagfolk på området.

At skabe rum for fordybelse, hvor få værker (i børnehøjde) fylder meget – mentalt som fysisk.

At stimulere børns fantasi, kreativitet og undren vha. dialog, flerstemmighed og variation.

At eksperimentere med formidling, rum og design, hvorved udstillingerne fungerer som et mikrokosmos for læring i forhold til organisationens øvrige aktiviteter.

At dokumentere og evaluere udstillingerne i samarbejde med eksterne forskere og løbende samle det i mindre publikationer.

/ Overall objectives behind the SMK’s exhibitions for children:

To create relevant, engaging exhibitions of first-rate art on the children’s own terms through close co-operation with children and professionals within the field.

To create a space for reflection where just a few carefully selected artworks (presented in a way that is suitable for children) take up a lot of space – mentally as well as physically.

To stimulate children’s imagination, creativity, and sense of wonder through dialogue, multivoicedness, and variety.

To experiment with various education and learning activities, space design, and exhibition design, thereby allowing the exhibitions to act as a microcosm for learning that can infuse the organisation’s other activities.

To document and evaluate the exhibitions in co-operation with external peers, scholars, and researchers, and to regularly present the findings in publications.

Børneudstillinger på SMK SMK har lavet børneudstillinger siden 1994. I begyndelsen var udstillingerne af kort varighed, men med tiden har de fleste udstillinger varet et helt år. Målgruppen er børn i alderen 6-12 år, og udstillingen egner sig både til undervisning og til familier på egen hånd. Enkelte udstillinger har haft en yngre målgruppe.

1994 1995 1998 1999 1999 2000 2000 2001 2002 2004 2007 2007 100

/ Exhibitions for children at the SMK SMK has created exhibitions specifically aimed at children since 1994. At first the exhibition periods were brief, but they have gradually been expanded so that most exhibitions now have a one-year duration. The target audience are children aged 6 to 12 years, and the exhibitions are suitable for teaching purposes as well as for families exploring them on their own. A few exhibitions have been aimed at even younger children.

Hvorfor holder vi jul / Why do we celebrate Christmas? Engle / Angels Jeg samler på … / I Collect … En maler og hans saks – en Matisse udstilling for børn / A Painter and his Scissors – a Matisse exhibition for children Liv og død / Life and Death Ind i billedet / Into the Picture Lys og Mørke / Light and Darkness Rundt om skulpturen / About Sculpture Hånd i hånd – Dem og os – dig og mig / Hand in Hand – Them and Us – You and Me Fortælling, myte og drøm / Story, Myth, and Dream Havfruehår og Neptuns hovedpine / Mermaid’s Hair and Neptune’s Headache 2+2=7 /2+2=7

2008 2009 2009 2009 2011 2012 2013

Drømmerier / Dreams and Fancies Blomsten og bien / Birds and Bees Dans, dans, dans / Dance, Dance, Dance Hoppetosserier / Bouncing Pranks Kunsten i Træet / Art in the Wood Liv og døden / Life and Death Frihed! / Freedom!

KORT NYT / SHORT NEWS

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PRIS / AWARD Klatværket_plakat_ny.pdf 1 12-01-2011 12:34:19 Klatværket_plakat_ny.pdf 1 12-01-2011 12:34:19

SEX & SAMFUND Samarbejde med Sex & Samfund

C C M M Y Y CM CM MY MY CY CY CMY CMY K K

dr.dk/klatvaerket ”Klatværket” vandt Undervisningsmiddelprisen 2013

Multimedieproduktet ”Klatværket”, som SMK udviklede i samarbejde med DR, vandt i marts 2013 Undervisningsministeriets undervisningsmiddelpris. Prisen gives til et undervisningsmiddel af bemærkelsesværdig høj kvalitet til folkeskolen, ungdoms- eller voksenuddannelserne. Læs mere om ”Klatværket” i B&U’s årbog fra 2011 eller i artiklen ”Ud på nettet-ind i billedet”, som første gang blev trykt i Billedpædagogisk tidsskrift, nr. 2, 2011.

/ ”Klatværket” wins Ministry of Education Award 2013

The multimedia project Klatværket, developed by the SMK in collaboration with the Danish broadcasting corporation DR, won the Danish Ministry of Education’s “Undervisningsmiddelpris” (“Teaching Resource Excellence Award”) in March 2013. The award is presented to teaching materials of unusually high quality aimed at primary, secondary, or tertiary education. Read more about Klatværket in our 2013 Yearbook or in the article “Ud på nettet-ind i billedet”, which was first printed in Billedpædagogisk tidsskrift, no. 2, 2011. 104

Når vi udvikler undervisning på SMK, bliver vi altid ekstra begejstrede, når museet indgår i nye faglige sammenhænge, og når kunsten kan være med til at skabe nye betydninger. I 2013 indgik vi et samarbejde med Sex & Samfund om udvikling af undervisningsmaterialer om familierelationer i billedkunsten og om identitet, krop og køn. Lone Smidt, national projektleder for Sex & Samfund siger: Kunsten kan åbne for nye veje til viden, erkendelse og erfaring i forhold til krop, følelser, relationer, køn, identitet og seksualitet. Kunst som formidlingsform tilbyder således spændende muligheder for oplevelse, dialog og refleksion omkring temaer, der er essentielle i seksualundervisningen, og som har stor betydning i børn og unges liv.

/ Co-operating with Sex & Samfund (The Danish Family Planning Association) As we develop education and learning activities at the SMK we always get an extra boost of enthusiasm when the museum enters into new professional constellations and when art can help create new meaning. In 2013 we began co-operating with Sex & Samfund (The Danish Family Planning Association) on creating teaching resources about family dynamics and relationships and about identity, body, and gender – and how they are reflected in art. Lone Smidt, national project manager at Sex & Samfund, says: Art can pave new pathways towards new insight, knowledge, and experiences relating to body image, emotions, relations, gender, identity, and sexuality. As a vehicle for communication, art offers exciting opportunities for dialogue and reflection on themes that are essential to sex education and which are hugely important issues in the lives of children and young people.

NYT SAMARBEJDE MED SPROGSKOLE / New collaboration with language centres I 2013 indledte SMK et samarbejde med en ny målgruppe: sprogkursister og lærere fra sprogskoler. Projektet handler hverken om børn eller unge, men det handler om undervisning og læring - en af vores kernefagligheder i B&U. På SMK har vi ofte besøg af sprogskoler og sproglærere, der sammen med deres kursister bruger museet som udflugtsmål og som en del af sprogundervisningen. Men hvordan kan man egentlig blive bedre til at tale dansk på et kunstmuseum, en højborg for visuelle udtryk? Og hvordan kan museet i det hele taget byde sprogkursister og nye borgere velkommen til Danmark og bidrage til at skabe nye kulturelle og historiske referencerammer – både for dem og for museet? Det vil vi undersøge i dette projekt i samarbejde med bl.a. Københavns Sprogcenter. Følg vores blog om projektet, som strækker sig ind i 2014, på www.smk.dk/udforsk-kunsten/smk-blogger

In 2013 the SMK began a new educational initiative in collaboration with Danish language centres for foreign adults learning Danish as a second language. As such, the project is neither about children nor young people, but it is about teaching and learning – one of our core competencies here at B&U. At the SMK we are often visited by language centres; their teachers

bring students here for excursions and use them as part of their teaching. But how can you improve your Danish skills at a museum of art, a place where visual modes of expression take centre stage? How can such initiatives constitute a framework for cultural citizenship for new citizens in Danish society? How can the museum contribute to the creation of new cultural and historical frameworks for new

Danish citizens as well as for the museum as part of a collective learning process? That is what we wish to explore in this project in collaboration with e.g. Københavns Sprogcenter/ Copenhagen Language Centre. The project continues in 2014, and you can follow its progress on our blog: www.smk.dk/udforsk-kunsten/smk-blogger

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I care – education, children and art

B&U samarbejder med Prinsessegårdene i Valby, tre daginstitutioner i Scandicci kommune i Toscana og Centro per l’Arte Contemporanea Pecci i Prato. Projektet er EU-finansieret (Comenius-projekt) og har som mål at undersøge og udvikle pædagogers arbejde med børns visuelle kommunikation og billedudtryk med fokus på moderne kunst gennem udvikling af nye formidlingsmetoder. Museets deltagelse består i tilrettelæggelse af et efteruddannelsesforløb for pædagoger både med og uden børn. Samt samarbejde med både de danske og italienske pædagoger og Pecci center for samtidskunst om udvikling af nye kunstpædagogiske metoder. Det har taget tid, og vi har øvet os meget, og øver os stadig, men efterhånden er den kreative proces blevet en del af hverdagen, hvorved hverdagen har fået en ekstra dimension. Arbejdet med kreative processer rummer alle læringsstile og tilgodeser derved både børnenes og medarbejdernes forskelligheder. Det at gå på museum er samtidig blevet en naturlig del af hverdagen og en inspiration til projekter.

Karen Svendsen, pædagog, Margrethegårdens Børnehus

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The Children and Young People Unit at the SMK co-operates with the children’s day-care institutions Prinsessegårdene in Valby, three day-care institutions in the Scandicci region of Tuscany, and the Centro per l’Arte contemporanea Pecci in Prato. The collaborative project aims to examine and evolve the educators’ work with visual communication amongst children, focusing on modern art. Funded by the EU (a Comenius project), the initiative will develop new methods for interpretation and learning activities. The SMK’s participation involves arranging a supplementary training course for educators – with and without children – as well as collaborating with Danish and Italian educators and the Pecci Centre of Contemporary art to develop new methods and approaches to using art in education for pre-school children. It has taken a long time, we have practised a lot, and we’re still practising, but by now the creative process has become part of our everyday work, and this has added new facets to our days. Our work with creative processes encompasses all learning styles, thereby accommodating diversity amongst the children and employees alike. Also, visiting museums has become a natural part of our everyday lives and a source of inspiration for our projects. Karen Svendsen, educator, Margrethegårdens Børnehus

KIDS CITY

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eller varm kakao KIDS CITY – børn erobrer byen Som optakt til efterårsferien overtog børnene i bogstaveligste forstand SMK den 13. oktober 2013. Den dag var det børnene, som bød velkommen, solgte billetter, var vagter i samlingerne, arbejdede i værkstedet og cafeen samt varetog omvisningerne. I dagens anledning blev der også produceret særlige børnevenlige oversigtskort. Projektet var en del af Kids City – Børn erobrer byen, hvormed Wonderful Copenhagen ønskede at skabe fokus på børn i byen.

Børneomvisning i børneudstillingen F R I H E D ! Kl. 13 / GRATIS Billeter afhentes i InformatioNen senest 30. min før start Toilet

KIDS CITY – kids take over As the autumn holidays in Denmark drew near, children quite literally took over the SMK on 13 October 2013. On that day children manned the stations: they greeted visitors, sold tickets, acted as guards, worked at the workshops and in the café, and conducted guided tours. To mark this special occasion the museum also produced special, child-friendly maps of the site. The project was part of the Kids City – Børn erobrer byen (Kids City – children conquer the city) project launched by the Wonderful Copenhagen organisation in order to attract attention to children and their lives in the city.

FotoS: VIBEKE TOFT

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BILLEDERNE SYNGER / THE PICTUREs ARE SINGING

Billederne synger – en opera for børn på museum er en samproduktion med Operaen i Midten og Den Ny Opera. Historien tager afsæt i tre malerier, som i forestillingen bliver levende. Forestillingen blev set af mere end 1100 børn på SMK i oktober 2013. Projektet blev støttet af Københavns Kommune.

MUVI - cards

MUVI-cards At tale om billeder kan træne os i at skabe betydninger, som vi ikke i forvejen vidste fandtes. Arbejdet med billeder kan derfor bruges til at udvikle vores evner til at være producerende i stedet for blot lærende og registrerende. I undervisningen bruger vi bl.a. MUVI-cards, som er udviklet af billedkunstner Carina Zunino, der arbejder i museets værksted, og erhvervspsykolog Thea Mikkelsen. Kortene styrker innovationskompetencerne hos både børn og voksne.

Fotos: Ole Mortensen

/ MUVI-cards Talking about pictures can help us create meaning we did not know existed. Working with images can develop our skills as co-producing participants, making us more than simply observing users. One of the tools used in our teaching are MUVI-cards – a concept developed by the artist Carina Zunino, who is affiliated with the museum workshop, and the corporate psychologist Thea Mikkelsen.

/ The Pictures are Singing – an opera for children at museums is a co-production arranged in co-operation with Operaen i Midten and Den Ny Opera. The narrative takes its point of departure in three paintings that come alive in the show. The show was watched by more than 1,100 children at the SMK in October 2013. The project was co-funded by the City of Copenhagen.

FotoS: carina zunino

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SMK FRIDAYS

FotoS: MAGNUS KASLOV

SMK Fridays Én gang om måneden præsenterer SMK en række anderledes og uformelle møder med kunsten uden for normal åbningstid. Programmet ændrer sig fra gang til gang, men SMK Fridays byder altid på en god blanding af kunst, musik, film, art talks, forfattermøder, kunstnerDJ’s og fredagsbar - ligesom et gadekøkken ruller ind i museets store Skulpturgade. SMK tiltrækker tusindvis af gæster hver gang, heriblandt også de alleryngste. Ansatte fra B&U-enheden bidrager med art talks og workshops. SMK Fridays er støttet af Bikubenfonden

/ SMK Fridays Once a month the SMK offers a different, informal approach to art outside its usual opening hours. The exact contents vary from month to month, but all SMK Fridays events offer an exciting mixture of art, music, film, art talks, writer’s talks, workshop activities, artist DJs, and a bar. Also, a mobile street kitchen is set up in the museum’s large Sculpture Street. The events attract thousands of visitors every time, including the very young. Staff from the Children and Young People Unit contribute art talks and workshops. SMK Fridays is sponsored by the Bikuben Foundation

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Foto: tonny beentjes

Foto: INSTITUTO PER I BENI CULTURALI DELLA REGIONE EMILIA ROMAGNA

pris / award

SMK vinder international pris for børneformidling 12 nominerede museer fra hele verden, heraf flere dedikerede til børneformidling, deltog i kampen om Children in Museums-prisen, der blev etableret i 2012 af European Museum Academy, EMA, og børnemuseernes internationale organisation Hands On! International. Formålet med prisen er at anerkende fremragende arbejde på museer rundt om i verden samt sprede nye tilgange og idéer inden for området. Prisen uddeles årligt. Juryen skrev i forbindelse med valget af SMK som vinder: ”Juryen roser enstemmigt SMK for deres præsentation, materialer og programmer for børn. De er dybdegående, af høj kvalitet og unikke for et kunstmuseum (…). Børn tages seriøst af både kuratorer og direktør, og idéerne fra børnepræsentationen er i tråd med resten af museet. Komplekse emner, som er researchet grundigt, er gjort tilgængelige for børn, og danner grundlag for et unikt, overraskende og stimulerende miljø, der er baseret på en original tilgang og idéen om tankefrihed. Kombinationen af værksteder, udstillingsareal og tegnerum er en unik idé”. / The SMK wins international award for activities aimed at children A total of 12 nominated museums from all across the world, several of them dedicated entirely to presenting art to children, were in the running for the 2014 Children in Museums Award. The award was first launched in 2012 by the European Museum Academy, EMA, and Hands On! International, the international organisation for children’s museums. The objective behind the award is to recognise excellence at museums worldwide and to promote and disseminate new approaches

and ideas within the field. The award is presented annually. Having appointed the SMK as winner of the award, the jury said: ”We are unanimous in praising the in-depth and high quality presentation, materials and programmes, which are unique for an art museum (…) Children are taken seriously by curators and director, and ideas from the children’s presentation are adapted in the main museum. Complex subjects, well researched, are made accessible to children and offer a unique, surprising and stimulating environment based on the idea of freedom of thought and an original approach. The combination of workshop spaces, exhibition area and drawing room is a unique idea.”

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SØNDAG FOR BØRN / SUNDAY FOR KIDS

/ SØNDAG FOR BØRN Den første søndag i måneden er der ekstra fokus på aktiviteter i børnehøjde i form af et program fyldt med oplevelser for hele familien. På Scenen er alle inviteret til at udforme store fælles kunstværker i samarbejde med museets akademiuddannede kunstnere, der styrer slagets gang, og i værkstederne kan børn skabe kunstværker med materialer af enhver art. Museets café serverer hyggelig familiebrunch, og der er børneomvisning i løbet af dagen.

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/ SUNDAY FOR KIDS On the first Sunday of every month the Gallery places extra emphasis on activities for children, offering a programme full of fun for the entire family. At the Stage everyone is invited to form large-scale communal works of art together with the Gallery’s Academy-trained artists who oversee the proceedings; in the workshops children can create works of art out of all kinds of materials. The Gallery café offers a delicious family brunch, and a guided tour for children is conducted across the Gallery collections.

glæd dig til 2014 / COMING UP 2014

Barokekspeditionen – et samarbejde med Concerto Copenhagen Barokekspeditionen er et undervisningsforløb for 2. klasser, der blander barokmusik, billedkunst og fortællelyst. I forløbet skaber eleverne sammen med professionelle musikere fortællinger i ord og musik.

Udstilling om kunstneren Asger Jorn (28. februar – 15. juni) SMK viser en omfattende udstilling i 100-året for Asger Jorns fødsel. Udstillingen viser bredden i Jorns valg af medier og udtryksformer og har som overordnet spor Jorns tanker om kunstens revolutionære potentiale. Vi udvikler undervisningsforløb til grundskole og ungdomsuddannelser, værkstedsaktiviteter i weekenden, tegnehæfte til familier og en kort dukkefilm om Jorn målrettet børn.

PLUS – partnerskaber mellem københavnske skoler og virksomheder/kulturinstitutioner PLUS er et projekt iværksat af Københavns Kommune med det mål at skabe tættere samarbejde mellem skoler og kultur/erhvervsliv. SMK indgår i 2014 partnerskab med Øster Farimagsgade Skole.

/ The Baroque Expedition – a co-production with Concerto Copenhagen

Efteruddannelse SMK ønsker at indlede en række længerevarende tværfaglige efteruddannelseskurser med fokus på kreativitet og dialogbaseret undervisning, som kan inspirere og styrke undervisningen i folkeskolen i forbindelse med den nye folkeskolereform.

The Baroque Expedition (Barokekspeditionen) is a teaching session for 2nd and 3rd graders that mixes Baroque music with art and storytelling. Students work together with professional musicians to weave narratives out of words and music.

Og meget mere ...

/ Exhibition about the artist Asger Jorn (28 February – 15 June) The SMK celebrates the 100th anniversary of the birth of the danish artist Asger Jorn with an extensive exhibition. It showcases the sheer breadth and scope of Jorn’s choice of media and overall artistic practices, all bound together by Jorn’s ideas about the revolutionary potential of art. We are developing teaching sessions for primary and secondary schools, workshop activities for weekends, a drawing book for families, and a brief puppet film about Jorn aimed specifically at children.

/ PLUS – partnerships between Copenhagen schools and enterprises/cultural institutions The PLUS project has been launched by the City of Copenhagen with a view to furthering closer cooperation between schools and the cultural and business communities. In 2014 the SMK will team up with Øster Farimagsgade Skole.

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/ Supplementary training The SMK wishes to begin launching a series of supplementary training courses for teachers. Focusing on creativity and dialogue-based teaching these courses will inspire and enhance teaching in Danish schools and tie in well with the new general reform of the Danish school system (“folkeskolereform”). And much more ...

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Forsidefoto er et udsnit fra remixet Kunst på Byens Hegn, Marmorkirken, CC-BY, Unges Laboratorier for Kunst. Alle værker er fra SMKs faste udstilling Dansk og Nordisk Kunst, 1750-1900. / Front page is a detail taken from the remix at Metro – Cool Construction, The Marble Church, CC-BY, Young People’s Art Lab. All art works are a part of SMK’s permanent exhibition Danish and Nordic Art 1750 – 1900. Billedtekster til artiklen ”Fra idé … til Byens Hegn” side 51 / Photo captions related to the article ”From idea ... to the city’s fences” page 55: Q Remix, Marie Wengler Nikolai Abildgaard(1743-1809), Dansk, Den sårede Filoktet, 1775 / Nicolai Abildgaard (1743-1809), Danish, The Wounded Philoctetes, 1775, W Remix, Marie Wengler Laurits Andersen Ring (1854-1933), Dansk, I havedøren. Kunstnerens hustru, 1897 / Laurits Andersen Ring (1854-1933), Danish, The Artist’s Wife, 1897 E Remix, Filip Vest Cornelis Cornelisz van Haarlem (15621638), Hollandsk, Titanernes fald, 1588-90 / Cornelis Cornelisz van Haarlem (15621638), Dutch, The Fall of the Titans (The Titanomachia), 1588-90 R Remix, Marie Wengler Jens Juel (1745-1802), Dansk, Niels Ryberg med sin søn Johan Christian og svigerdatter Engelke, f. Falbe (Det Rybergske familiebillede), 1797. / Jens Juel (1745-1802), Danish, Niels Ryberg with his Son Johan Christian and his Daughter-in-Law Engelke, née Falbe, 1797. T Remix, Filip Vest Vilhelm Hammershøi (1864-1916), Dansk, Artemis, 1893-94. / Vilhelm Hammershøi (1864-1916), Danish, Artemis, 1893-94.

Redaktør / Editor: Marianne Grymer Bargeman Tekstbidrag af / Contributions by: Marianne Grymer Bargeman, Nana Bernhardt, Michael Hansen, Stine Lundberg Hansen, Julie Maria Johnsen, Frederik Henrik Knap, Berit Anne Larsen, Nikolaj Recke, Lise Sattrup, Filip Vest og Marie Wengler. Kunstpiloter 2013 / Art pilots 2013: Karoline Krabbe, Filip Vest, Malthe Gaarden, Marie Wengler, Astrid Nordlund, Majse Vilstrup, Natalie Türck Østergaard, Lise Astrid Grundtvig Olsen, Emil Lüth, Charlotte Westphal Ter-Borch, Louise Hammer Moritzen, Anna Seibæk, Savan Mohammad Amen, Simone Mai Valeur, Lukas Nikolaisen, Sally Uhrskov, Sophy Langkilde, Amalie Sølling, August Rønne, Rebekka Gram Jensen, Anna Balsløw Dester, Anna Wirenfeldt Minor, Alberte Caroline Darré, Lea Mathilde Svendsen, Caroline Bøjesen Schmit-Andersen, Mia Jamie Carlson, Oliver Elias Larsen, Frisk Bjørn, Anker Schilling Silke Defs Nedergaard, Aydan Mamedova, Nana Nordentoft, Astrid Edith Hansen, Kia Øyås, Nanna Olivia Sander, Frederik Thymark, Line Landø Hartnack, Marie Cecilie Bah-Ida Lagui, Annemette Mygind Haarh, Sabrina Winther, Sascha Helene Carlsen, Clara Bruun Sandbye, August Holck Olrik, Anna Stensgaard Nielsen, Asker Lund Jensen, Hector Fagerlund, Martine Dragsbæk-Friis, Nanna Clemmensen, Gustav Hooge, Karl Emil Bengtson. Ud over en kæmpe tak til piloterne for deres enorme engagement skal der også lyde en stor tak til interaktionsdesigner Louise Springborg for hendes store bidrag til idéudvikling og processen vedr. Byens Hegn og til praktikant i Digitale Produktioner Nicolaj Engelbreth Nielsen. Også en stor tak til indretningsarkitekt Pernille Jensen og praktikant fra Designskolen Josefine Herløw for deres vigtige bidrag til børneudstillingens rumlige formidling. Og endelig skal der også rettes en tak til bogredaktør Sven Bjerkhof for hjælp med bogen. / We want to warmly thank the pilots for their huge commitment, and to express our great gratitude to interaction designer Louise Springborg for her vast contribution to the concept development and creative process associated with Byens Hegn, and to our intern in our department for Digital Production, Nicolaj Engelbreth Nielsen. Warm thanks are also due to interior designer Pernille Jensen and our intern from Designskolen Josefine Herløw, for their important contributions to the space created for the children’s exhibition. Finally, we wish to express our gratitude to editor Sven Bjerkhof for his assistance on this book Grafisk tilrettelæggelse / Graphic design: Olga Bramsen Oversættelse / Translation: René Lauritsen Korrektur / Proofreading: Sofie Vestergaard Jørgensen og Sebastian Ross Tryk / Printed by: Narayana Press Tak til / Thanks to: Kulturstyrelsen, Skoletjenesten på Sjælland, Sex og Samfund, Buster Filmfestival for børn og unge, WOCO, Københavns Sprogcenter, Operaen i midten, Golden Days Festival og Programrådet for KIERKEGAARD 2013, International Institute for the Inclusive Museum, Common Ground, Gefion Gymnasium, Frederiksberg Dage, Københavns Metroselskab, Bibliotekerne Frederiksberg, Det Kgl. Vajsenhus, Prinsessegårdene i Valby, Øbro Fri Skole, Dansborgskolen, Øster Farimagsgade Skole, Guldbergskolen, Lindevangsskolen, Jon Andersen, Emil Fritzemeier, Finn Jespersen, Sorring Lervarefabrik, Staedtler Nordic A/S, IKEA, Totax Plastic A/S, Printsolutions, RIAS og mange flere. Copyright © Wilhelm Freddie/billedkunst.dk © Nikolaj Recke/billedkunst.dk © J. F. Willumsen/billedkunst.dk © Marco Evaristti/billedkunst.dk CC-BY Byens Hegn/METRO - COOL CONSTRUCTION Alle fotos ©: SMK, hvis andet ikke er anført. SMK foto: Frida Gregersen, Riccardo Burarella. / All photographs ©: SMK, National Gallery of Denmark, unless otherwise stated. SMK photo: Frida Gregersen, Riccardo Burarella.

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”Denne bog er den tredje i rækken af årbøger fra B&U-enheden. Bøgernes primære formål er at dokumentere arbejdet med børn og unge for herved at gøre det lettere at dele erfaringer og kvalificere indsatserne, nationalt som internationalt”. /“This book is the third yearbook published by the Children & Young People Unit. The main objective of these yearbooks is to document our activities aimed at children and young adults, thereby making it easier to share our experiences with others and invite new input and inspiration – nationally and internationally”.

Sølvgade 48-50 1307 København K 33 74 84 94 www.smk.dk 122