Brydningstid – To epokers pejlinger i det ukendte

Only in retrospect does the picture appear clearly in a time of change. In the midst of change, everything is still flickering and moving, and the more important it is for the art to retain all that is still undigested and make it possible to reflect on it.

It is still true today, as it was at the beginning of the 20th century. With the project Times of Change, we will let two crucial and everchanging eras mirror each other and shed light on each other. Art is always a reflection of time that nurtures new views of the world – in times of change much more.

More than any other artistic concept the Gesamtkunstwerk can be said to be reflective of the different European notions of culture from the middle ages to now. It has always been attached to Utopia, and Utopia has always been a force behind the western history of culture, and it has influenced both new and old worldviews. It was true after the French revolution and it was true in the time around the first world war, and it is true today, where populism, identity policies, digitization and climate changes shake the foundation of the world we know.

So, what could have been more obvious than gathering five artists from varying branches of art and letting them focus on and work with the conflicts that influenced the world in the beginning of the twentieth century, and compare them to the changes in our time, through the Gesamtkunswerk.

The project is created with funding by Carl Nielsen and Anne Marie Carl-Nielsen’s grant, and uses the two danish artists’ artworks as inspiration.

 

©️/ Carl Nielsen Museet

 

Anne Marie Carl-Nielsen og Carl Nielsen

Carl Nielsen and Anne Marie Carl-Nielsen are, with their international caliber and careers, at the center of danish art in the time around the year 1900. The great works of art that they both created in their time, have an artistic position, which is more relevant today than ever.

As a married couple they attempted a modern marriage in a time, where the first steps towards the ideal of women’s lib had only just been taken. They matured as artists in a time, where the fight for a true democracy, which originated from the farming class and folk high schools, reached its peak with the change of the political system in 1901. Everything was changing: Agriculture began a process of industrialization, cities grew, and technology became increasingly present in everyday life. And in Europe a major conflict was brewing, a conflict which, when it erupted in 1914, threw the entire European world order into a state of chaos that knocked down Monarchies and fostered a bloody revolution.

Gesamtkunstwerk

In contemporary art boundaries are more fluent than ever – literature merges with visual arts, sound can be used sculpturally, mediums are being mixed. It is our wish that the five international artists from different mediums will create one or more artworks together which take bearings of an uncertain future.

We seek an artistic expression that is avant-garde in its intrepidity towards change yet rooted in tradition and relevant to a broader public.

 

Participants in the recidency program

 

Birgitte Christens (DK) Visual artist

MY WORK OF CERAMIC SCULPTURES AND INSTALLATIONS reflects the aspects of our lives in society and private settings. Often presenting a critical voice towards modern life and showing the vulnerable sides of humans, that is often hidden publicly because of taboo.

The themes concern diseases of different kinds, both physical and mentally. I transform everyday items into body parts or other given settings to tell my story in ceramics. Especially the use of metal sanitary objects because I see them as a strong metaphor of human organs. While we are often naked and vulnerable in bath rooms or hospitals, where these daily designs are present.

I often use humor to make my point of a serious statement. I am inspired by surrealism and grotesque art.

My technique for ceramics is always mixed. I like to cast in plaster. I am driven to try new materials such as silicone and alginate, to explore my knowledge and expression. Sometimes I sculpt by hands and use mainly stoneware and porcelain in my work. I like to use contrasts in my work. If my work is a soft organic shape, I will add an industrial pattern or strict metal design item, to make an interesting collaboration between the different expressions.

My work is inspired by the history of ceramics and sculptures. I see it as an important purpose to bring this knowledge and use into our modern context of ceramics. Ceramics is much more than pottery, design and crafts.

I use ceramics as a context between contemporary art and craft. I find it interesting to collaborate the art fields and bring ceramic into a high level of art while drawing on important aspects from its ́ history. Like gender and social status combined to modern gender and social status. I use female aspects and political views in my ceramics. Being it commercial slogans such as “Because you ́re worth it” to my disabled African figurines made in Raku in contrast to posh porcelain as a comment to our western use of medical experiments. Or raise the question of legal use of women as prostitution with “Her soul was like a drain” where I use a drain as vagina in my ceramic sculpture. Ceramics is going through a new level of conceptual art that I find important to be part of and exiting to explore the years to come.


Lisa Kottkamp (D) Visual artist

I AM A SCULPTOR FROM LEIPZIG and have been working with various materials for many years: mainly with malleable materials such as porcelain and clay, as well as cast materials such as plaster, concrete and epoxy resin, and with marble. I studied
at various universities: the Burg Giebichenstein Kunsthochschule Halle (ceramics), the Akademie der Bildenden Künste (with Monica Bonvicini), at the Angewandten in Vienna (with Hans Schabus) and most recently in Leipzig (media art), where I obtained the Meisterschüler title. The different places and people have influenced my work in that the basis is the sculptural approach to the material. This is enriched by an often preceding examination of questions about the present day.

Based on the respective thematic confrontation, e.g. with ’borders’, the ’artificial’ or ’nature/culture’, I use a wide variety of materials. Mostly this means a synthesis of classical sculptural materials with new media. By combining the different physical elements, I set material references that react to and reveal the questions in the content. It is important to me that my works raise questions, explore dialectical relationships and that my works have a modular character in that they are composed of different fragments/objects.


Miroslaw Baca (PL) Visual artist

AS AN ARTIST I MAINLY WORK in traditional sculpture materials as wood, stone, ceramics and metal, also willingly making experiments and applying new technologies in my works. The process of creation is open. It is an experiment. The result is impossible to be predicted. The only thing one can choose is the direction. This is exactly what I like about it – uncertainty and surprises. At the same time, I want to have the power over the process of creation to give it a sense, using the most adequate sources, which hit the heart of the matter, to create the general character. It is the receiver that matters, who should make his/her own judgment or even spell it out.

Although I created many individual sculptures I usually work on series of abstract pieces to complete the idea. I had opportunity to realize several large scale projects
in places of contrary cultural background which impacts me to focus on the art as an objective, neutral and universal mode of communication. My work is based on investigation and experimentation on classical material (wood and stone) in terms of its quality, precision in making, simplicity, discipline, synthesis and juxtaposition of varying components of the sculpture. Conquering limitations of natural material I attempt to extract the climactic potentiality of the form. I install sculpture components to create a new potential of the space and I invite the observer to be a part of the zone and the artwork itself.

I usually realize multiple pieces of abstract sculptures to create the composition that portrays the process and variable aspects of the matter. Repetition of the initialshape in different size and proportions, recurrence of material, iteration of matching elements or congruent details in each piece of the composition are always presentation of the progress in terms of development and modification of the sculpture. Evolution of the form becomes integral constituent of my work. An abstract form of the sculpture makes it possible to seek out a narration and allows the viewers to have their own interpretation. It becomes universal and objective in reception.


Morten Søndergaard (DK) Author

MORTEN SØNDERGAARD ​​(born 1964) is an award-winning poet and artist. Søndergaard is a graduate of the Danish Writers’ School, and has since his debut ‘Sahara I mine hænder’ (Sahara in my Hands) in 1992 published a large number of collections of poems, translated several works by Jorge Luis Borges into Danish, been editor of the literary magazine ‘Hvedekorn’, and has helped found the experimental poets’ association ‘Øverste Kirurgiske’ (Supreme Department of Surgery). In addition, Søndergaard’s tireless explorations of the collisions between meaning and materiality have resulted in a number of extensive extra-linguistic works that span sound art, ready-made, artists’ book, asemic writing practice and performance. Søndergaard’s artistic work unfolds around explorations and challenges of what poetry is and can be. His work is at the intersection of signs and things, and tirelessly examines the various alliances and breaks between world and language that constitute our always semiotically mediated lives.

Ida Bencke 2015


Marcela Lucatelli (DK/BRComposer/performance artist

MARCELA LUCATELLI IS A COMPOSER, improvisational vocalist and performance artist. She was born in 1988 in Brazil to a family with Italian roots and has lived in Denmark since 2005. Her production erupts from a performative approach to the immediate. Here the composition comes to shape itself through the fragile social and relational situations that arise in the encounter with the outside world under her artistic premises. The living, contemporary voice is her real source of research. She uses her voice not only as a vocalist, but also in relation to composing with a myriad of media. Her works have been performed by well-established vocal groups such as the DR Vokalensemblet and Neue Vocalsolisten Stuttgartt, as well as by some of the most active avant-garde and experimental ensembles and music collectives in the world, including Apartment House (UK), Bastard Assignments (UK), Pinquins (NO) and Mocrep (US). These have been presented at various festivals and international events across art forms and music genres. These include Darmstadt Internationale Ferienkurse für Neue Musik, Donaueschinger Musiktage, Ultima Festival, Borealis Festival, AllEars Festival for Improvised Music, Nordic Music Days, Reykjavik Arts Festival, SPOR Festival, KLANG – Copenhagen Avantgarde Music Festival, Copenhagen Jazz Festival, DMA – Danish Music Awards, Waverly Project NYU, FILE – Electronic Language International Festival, Festival Novas Frequências, WOMEX, as well as art museums such as Nikolaj Kunsthal, ARKEN and Henie Onstad Kunstsenter in Norway. Her music has also in recent years been played on several national radios, including DR P2, BBC3 and NRK. In 2016, her piece was chosen as the official image for Nordic Music Days at Harpa in Reykjavik, i.a. as a statement for Nordic integration and diversity in new music. Lucatelli’s works are known for reinventing music as a concept for talking about the times we live in.