Birgitte Anderberg

The exhibition and book Bjørn Nørgaard. Re-Modelling the World presents one of the most ground-breaking and agenda-setting figures within Nordic contemporary art since the mid-1960s. When Bjørn Nørgaard began his career as a very young man, he operated on the outskirts of the established art scene. Right from the outset, he adopted a critical view of the main institutions of art – particularly the art academy, art museum, and art criticism – and it is quite telling that he got his education within the working collective Eks-Skolen (The Experimental Art School) rather than at the Royal Danish Academy of Fine Art, which at the time was regarded as the main route leading to widespread recognition as an artist. The experimental art school formed a setting for individual and collective explorations of the links between art, politics, economics, and everyday lived life. This involved the use of new materials, new forms of working, and new forms of presentation, some of which drew on the lessons learnt by historical avant-garde art founded in the early twentieth century, but at the same time, the work was strongly influenced by the young artists’ encounters with the most recent art from Germany and the USA where happenings, installation art, and action art had begun to gain prominence. The book and exhibition Bjørn Nørgaard. Re-Modelling the World showcases a prominent artist’s road from the 1960s with their radical, at times Utopian striving for open-ended works up towards the popular, narrative, and visually seductive artistic production that has characterised Bjørn Nørgaard in recent decades. This road has led to monumental works in the public space, but these large-scale works have emerged side by side with material actions and performances, which the artist has maintained as part of his practice throughout his career. In the mid-1960s, no-one would ever have guessed that an experimental artistic practise that initially took on the most humble and fragile forms – using plaster, wire, cardboard, and textiles as favourite materials – would ever progress the way it did, even reaching far into the institutions to which the artist offered such resistance as a young man. Nevertheless, a red thread runs through his entire production, and this is documented in this book.

SMK – Statens Museum for Kunst er Danmarks nationalgalleri for kunst og har ansvar for landets største kunstsamling. Over 200.000 værker, der spænder over 700 år fra renæssancegrafik til nutidens kunstneriske formater. Denne bog præsenterer 50 værker fra SMK’s samling, der markerer sig som relevante lige nu, både i lyset af aktuel forskning og nylige udstillinger – og den samtid, museet er en del af. Udvalget består af kendte såvel som mindre kendte værker, som alle rummer høj kunstnerisk kvalitet og interessante historier. Bogen udpeger ikke udelukkende samlingens hovedværker, men tegner til gengæld en levende kunsthistorie gennem en evigt aktuel samling.

SMK – The National Gallery of Denmark is the country’s national museum for art and home to Denmark’s largest art collection. With over 200,000 works spanning 700 years, from Renaissance prints to contemporary artistic formats, SMK holds a wealth of treasures. This book presents 50 works from the museum's collection that stand out as particularly relevant today, informed by current research, recent exhibitions, and the contemporary context in which the museum operates. The selection includes both well-known and lesser-known pieces, all marked by high artistic quality and compelling stories. Rather than exclusively highlighting the collection's masterpieces, the book offers a vibrant art history shaped by a perpetually relevant collection.

Masks, myths, blubber, and stilettos. In a new solo exhibition, using humour and tragedy in equal measure, Jessie Kleemann examines how Greenlandic identity, culture, and nature change over time.For three decades now, Kleemann has been a significant figure on the contemporary art scene with her original approach to video art, experimental theatre, and performance art. Her art is rooted in the complex relations between Greenland, where she was born and raised, and Denmark, where she resides today.This booklet has been published in connection with the exhibition 'Time Runs, Runs Time' at the National Gallery of Denmark, August 24th - November 26th, 2023

Masker, myter, spæk og stilletter. I en ny soloudstilling undersøger Jessie Kleemann med lige dele humor og tragik, hvordan grønlandsk identitet, kultur og natur forandrer sig over tid.Gennem tre årtier har Kleemann været en markant figur på samtidskunstens scene med sin originale tilgang til videokunst, eksperimentalteater og performancekunst. Hendes kunst tager afsæt i de komplekse relationer mellem Grønland, hvor hun er født og opvokset – og Danmark, hvor hun bor i dag.Dette hæfte er udgivet i forbindelse med udstillingen 'Tiden løber løber tiden' på Statens Museum for Kunst, 24. august - 26. november 2023

Portræt af Bjørn Nørgaard (f. 1947) som udfolder hovedlinjerne i kunstnerens bevægelse som billedhugger fra 1960'erne til idag samt bidrag der belyser og diskuterer udvalgte aspekter af Bjørn Nørgaards æstetiske praksis

I år afsluttes Carlsbergfondets hidtil mest gennemgribende restaurering af J.C. Jacobsens private villa, væksthuse og have. Det fejres med en rigt illustreret publikation, hvor villaen, dens omgivelser og dens rige historie præsenteres af en række eksperter: husets arkitektur og haveanlæg, restaurering og videnskabshistorie. Hovedkapitlet af Birgitte Possing er en ny fortælling om J.C. og Laura Jacobsen og de værdier, de sammen byggede Carlsberg på. Helt ny læsning af eksisterende litteratur og kilder viser, at Carlsberg ikke blev bygget af én mand, men af det tæt samarbejdende ægtepar J.C. og Laura Jacobsen. Carlsbergs succes som et forbillede i erhverv, videnskab, arkitektur, kunst, kultur og mæcenvirksomhed skyldes dette indbyrdes samarbejde. Possing stiller derfor spørgsmålet, som alle viser sig at have overset: Hvorfor slettede J.C. Jacobsen alle spor efter hustruen Laura? Og hvorfor lod generationer af historikere Laura Jacobsen forsvinde i historiens tåger?

I år afsluttes Carlsbergfondets hidtil mest gennemgribende restaurering af J.C. Jacobsens private villa, væksthuse og have. Det fejres med en rigt illustreret publikation, hvor villaen, dens omgivelser og dens rige historie præsenteres af en række eksperter: husets arkitektur og haveanlæg, restaurering og videnskabshistorie. Hovedkapitlet af Birgitte Possing er en ny fortælling om J.C. og Laura Jacobsen og de værdier, de sammen byggede Carlsberg på. Helt ny læsning af eksisterende litteratur og kilder viser, at Carlsberg ikke blev bygget af én mand, men af det tæt samarbejdende ægtepar J.C. og Laura Jacobsen. Carlsbergs succes som et forbillede i erhverv, videnskab, arkitektur, kunst, kultur og mæcenvirksomhed skyldes dette indbyrdes samarbejde. Possing stiller derfor spørgsmålet, som alle viser sig at have overset: Hvorfor slettede J.C. Jacobsen alle spor efter hustruen Laura? Og hvorfor lod generationer af historikere Laura Jacobsen forsvinde i historiens tåger?

Håndbog til smeltende bogstaver og en svævende flyvemaskine Med udstillingen 'Efter stilheden – kunstens kvinder tager ordet' kaster SMK nyt lys over en række kvindelige kunstnere, der går i kødet på både fortidens og nutidens store politiske temaer. Glæd dig til alt fra smeltende bogstaver og monumentale vægtæpper til videoværker, installationer, malerier, grafik, lertavler og ikke mindst en svævende flyvemaskine, af kunstnerne Käthe Kollwitz, Hannah Höch, Hannah Ryggen, Nancy Spero, Paula Rego, Dea Trier Mørch, Kirsten Christensen, Ursula Reuter Christiansen, Kirsten Justesen, Lene Adler Petersen, Jenny Holzer, Mona Hatoum, Shirin Neshat, Pia Arke, Simone Aaberg Kærn, Jeannette Ehlers, La Vaughn Belle, og Tabita Rezaire. 50-året for RødstrømpebevægelsenUdgangspunktet for udstillingen er 50-året for Rødstrømpebevægelsen og 1970’ernes kampe for en mere fredelig, mere lige og mere fri verden. Herfra ser vi 50 år tilbage i tiden og 50 år frem for at vise, hvordan udvalgte kvindelige kunstnere både tidligere og i dag bruger kunsten til at udtrykke modstand og kritik.Denne håndbog guider dig gennem udstillingen. Undervejs ser vi på udvalgte værker, sådan som kunsthistorien forstår dem og som nutidige aktivister læser dem. Du kan selv tage del i samtalen bagerst i bogen.?????? “Fuldstændig forrygende udstilling på SMK” Politiken????? “En stærk og vedkommende udstilling”Jyllands-Posten

Stig Brøgger’s artistic endeavours from the 1960s to the present day encompass virtually all artistic media – from photography to painting, installation art, film, artists’ books, sculptures and public art projects. For more than six decades, Stig Brøgger (b. 1941) has been an important figure on the Danish art scene. At a very early stage of his career, he took part in experimental exhibitions showcasing young Danish art, contributing to the develop-ment of new trends such as Land art and Conceptual art on the international scene. Brøgger’s works can be seen as artistic reflections on new departures within culture, art history, media technology, philosophy and science. In his artistic practice, as well as in his capacity as a writer, editor, exhibition organiser and professor at the Royal Danish Academy of Fine Arts, Brøgger has always sought to expand the scope of what an artist can do, thereby paving the way for and inspiring subsequent generations of Danish artists.Featuring lavishly illustrated articles by Mikkel Bogh, Anne Ring Petersen, Tania Ørum, Charlotte Præstegaard, Jean-François Lyotard and the artist himself, Stig Brøgger – Now Here offers the first full survey of Brøgger’s extensive body of work.

Stig Brøgger NOW HERE giver for første gang en enestående kortlægning og dokumentation af billedkunstneren Stig Brøggers (f. 1941) omfattende værk. Stig Brøgger har været en vigtig figur i dansk kunst siden 1960’erne og 1970’erne, hvor han tog aktiv del i de nye internationale strømninger, især popkunst, minimalisme, konceptkunst og land art, og bogen viser hans enorme spændvidde som kunstner fra fotograf og maler over skribent til film- og tegneseriemager.Gennem fem årtier har Stig Brøgger arbejdet multimedialt med fotografi, film, skulptur, maleri og installation i en omfattende kunstnerisk undersøgelse af den rolle, billedet og det billedlige spiller for vores erfaring af omverdenen. Billedkunstens forankring i verden har fra begyndelsen været et omdrejningspunkt i Stig Brøggers arbejde, og bogen giver et unikt indblik i hans kunstneriske univers.Stig Brøgger NOW HERE er redigeret af Birgitte Anderberg, museumsinspektør og seniorforsker ved Statens Museum for kunst, og rummer bidrag af kunsthistorikerne Mikkel Bogh, Anne Ring Petersen, Charlotte Præstegaard, Tania Ørum og den franske filosof Jean Fran?o-is Lyotard.Bogen er gennemillustreret med farvegengivelser af kunstnerens omfangsrige produktion og indeholder desuden udstillingsliste, bibliografi og biografi

Susanne Ussing bevægede sig på tværs af kunstarterne som keramiker, arkitekt og billedkunstner. Hun stod bl.a. bag en række opsigtsvækkende og provokerende udstillingsvinduer for Nørgaard paa Strøget samt en række innovative sanse- og børneudstillinger. Hun var en af 1970’ernes feministiske stemmer, og kunstkritiker Mikael Wivel har betegnet hende som ”en af tidens mest originale begavelser”.Hun forholdt sig kritisk til sin samtid og udfordrede bl.a. det konventionelle boligbyggeri med byggeeksperimenter i Thylejren i 1970. Bogen rummer syv artikler af eksperter indenfor kunst, arkitektur og litteratur og kommer hele vejen rundt om Ussings værker fra 1960’erne og frem til hendes død i 1998. Desuden bidrager forfatteren Peter Laugesen, der kendte Susanne Ussing personligt, med et nyskrevet digt. Bogen kaster nyt lys på en markant skikkelse i dansk kunsthistorie og henvender sig til alle, der interesserer sig for billedkunst og arkitektur – og alt det midt imellem.

The main article of this catalogue by Birgitte Anderberg explores the Danish experimental art scene from 1965 to 1975 and focuses especially on the female artists from the 1970s and the early Avant-Garde art. The article is accompanied by a large number of texts from the period by the artists themselves – about the art and what happened at that time.

Katalogets hovedartikel af Birgitte Anderberg beskriver den danske eksperimentelle kunstscene i perioden 1965-75 med særlig vægt på 1970’ernes kvindelige kunstnere og periodens tidlige avantgarde kunst. Anderbergs artikel suppleres af en lang række tekster fra perioden af kunstnerne selv – om kunsten og det der skete i tiden.

The exhibition and book Bjørn Nørgaard. Re-Modelling the World presents one of the most ground-breaking and agenda-setting figures within Nordic contemporary art since the mid-1960s. When Bjørn Nørgaard began his career as a very young man, he operated on the outskirts of the established art scene. Right from the outset, he adopted a critical view of the main institutions of art – particularly the art academy, art museum, and art criticism – and it is quite telling that he got his education within the working collective Eks-Skolen (The Experimental Art School) rather than at the Royal Danish Academy of Fine Art, which at the time was regarded as the main route leading to widespread recognition as an artist. The experimental art school formed a setting for individual and collective explorations of the links between art, politics, economics, and everyday lived life. This involved the use of new materials, new forms of working, and new forms of presentation, some of which drew on the lessons learnt by historical avant-garde art founded in the early twentieth century, but at the same time, the work was strongly influenced by the young artists’ encounters with the most recent art from Germany and the USA where happenings, installation art, and action art had begun to gain prominence. The book and exhibition Bjørn Nørgaard. Re-Modelling the World showcases a prominent artist’s road from the 1960s with their radical, at times Utopian striving for open-ended works up towards the popular, narrative, and visually seductive artistic production that has characterised Bjørn Nørgaard in recent decades. This road has led to monumental works in the public space, but these large-scale works have emerged side by side with material actions and performances, which the artist has maintained as part of his practice throughout his career. In the mid-1960s, no-one would ever have guessed that an experimental artistic practise that initially took on the most humble and fragile forms – using plaster, wire, cardboard, and textiles as favourite materials – would ever progress the way it did, even reaching far into the institutions to which the artist offered such resistance as a young man. Nevertheless, a red thread runs through his entire production, and this is documented in this book.