when the world becomes our body
The artists Benjamin Skop & Amund Bentsen investigates the relationship between human and nature. In four grand video projections the human body and the tidal landscape meet each other, blurring the boundaries between our body and the world.
In a world where sea-level rise and climate change are difficult to relate to, the tidal landscape can show us that dramatic changes can occur so gradually that they go unnoticed – in a few hours the tidal water rises enough to swallow us completely. In the exhibition when the world becomes our body, the familiarity of the human body is at the center of the pictures, while the body’s physical activity is minimized; thereby it becomes nature’s rhythm, temporality and weather, which dictates the creation and development of the pictures. In this way the human presence is supporting nature in its lead role.
Reflections at the Foot of Heaven
Photographer Janne Klerk has created an exhibition about immersion, nature and cosmos. As part of the Danish Science Year 2022, the exhibition brings nature into the city centre and the Round Tower with Janne Klerk’s series of large photographic reflections.
According to Janne Clerk, these reflections are not just a visualization of the brief moments that occur. It is also a play with the light as it unfolds in the colour space that unfolds between the atmosphere and the subject below and above the water surface. The reflections in the water play together and form a fascinating picture of how we humans also contain several layers in our dialogues and when we are among each other.
The project “Reflections at the Foot of Heaven” will be realized as both an exhibition and a book. Having been on the way since 2016, it is based on photos or the same location during several years and through the changing seasons of the year.
Read more about Janne Klerk
Maxi Reload In Unknown Depth
A sculptural exhibition by artists Clara Black Starck and Kristine Hymøller about society approaching The Fourth Industrial Age.
The Third Industrial Revolution has opened up the digital world to us. But computers and the internet have long been commonplace. Ahead of us awaits the Fourth Industrial Age defined as a total integration between the digital and the physical world – for instance through robots that are going to change the world as we know it.
The exhibition “Maxi Reload in Unknown Depth” is about the love-hate relationship to the age we are living in and the unknown world we are entering. The artists Clara Black Starck and Kristine Hymøller occupy the Round Tower’s Library Hall with sculptures and objects that reflect their ambivalent relationship to innovation, architecture, machines, and technology.
The works of Clara Black Starck and Kristine Hymøller examine the urban infrastructure in a broad sense as a connection and a communication between points of the city, buildings, and people. The works are juxtaposed in order to create a dialogue between the artists’ individual and common interpretation of the persistent acceleration of the Third and Fourth Industrial Ages with the Library Hall as the setting for a narrative about the development of our society.
About the Artists
The works of Clara Black Starck (born 1978) confront the mechanical usage and industry. She is interested in production methods and their reflection in different societies by installing machines that are running their own sequences and thus making the product justify the machine and the production. Clara Black Starck creates a narrative in which infrastructure becomes an anthropological study and society is portrayed as a caricature.
Kristine Hymøller (born 1972) examines the relationship between our own identity and the urban space we move in. She addresses the position we take on the decay of urban space and how renewal is linked to the human need to embellish and retouch. Kristine Hymøller works with architectural models based on urban development and urban transformation, in which buildings and construction meet cosmetics.
The exhibition is kindly supported by
Statens Kunstfond (Danish Arts Foundation)
Rådet for Visuel Kunst (Copenhagen Visual Arts Council)
Konsul George Jorck og Hustru Emma Jorck’s Fond
The Sisters of Cassandra – the painters of the future repeal the curse
15 contemporary female artists have created diverse works within painting – in a broad sense, virtuoso, and pastose, and with the mythological character Cassandra as a central figure. The exhibition is a tribute to painting, a sisterhood of solidarity, and a reinterpretation of Cassandra’s destiny.
The painting has been deemed in and out of style, been said to be stone-dead or alive and kicking. Female artists have mostly been suppressed and barred from art history and the academies. However, increased focus and initiative suggest a disruption and a breakthrough for contemporary female artists – as well as those, who have been written out of art history. Now, art history is up for debate. The curators are on a mission when they invite reinterpretations of the Greek myth of Cassandra.
A selection of 15 contemporary female artists have been invited to create works relating to the theme of ‘truth and consequence’, taking the myth of Cassandra as a starting point. Cassandra was an attractive princess and was given the gift of prophecy by the god Apollo. However, Apollo expected the favour to be repaid with her love. But Cassandra did not reciprocate Apollo’s interest. The rejection enraged Apollon, and he cast a curse on her, which meant that no one would believe her prophecies. The artists approach the myth from each their own angle, and interpret and build upon the myth’s many perspectives, as well as Cassandra’s character and struggles, from a more contemporary perspective.
With their strong narrative sense, painting skills, and insistent sympathy for the visionary, but ostracised, Cassandra, the artists show how the ancient myth still carries importance today. Apollo-types are unfortunately not only present in ancient Greek literature, but the artists stick together, both in personal experiences, and in their resistance to structural challenges in the art industry of today. They have produced imageries characterised by anger, loneliness, consolation, reconciliation, spirit, solidarity, integrity, sovereignty, resistance, and much more, as they approach the myth of Cassandra and the painting from their own perspectives in the historical surroundings of Round Tower’s Library Hall.
The organisers of the exhibition and the network Cassandra’s Sisters are Henriette Hellstern, Anna Walther, and Helle Moalem. The exhibition is curated by Henriette Hellstern and Anna Walther, and presents both established and younger artists. In collaboration with art advisor Helle Moalem, the curators also wished to, on top of the exhibition, establish a community, a network, and exchange among colleagues, in an aim to initiate more collaborations and synergy between artists, and to lift each other into a sisterhood, who paint each other better.
The participating artists are:
Agnete Bertram, Ditte Marie Frost, Emily Gernild, Henriette Hellstern, Mie Olise Kjærgaard, Tanja Nis-Hansen, Coline Marotta, Mie Mørkeberg, Marie Rud Rosenzweig, Bolatta Silis-Høegh, Ida Sønder Thorhauge, Anne Torpe, Helene Vestergaard, Anna Walther, and Maria Wæhrens.
In connection with the exhibition, a publication with an introduction by the curators Henriette Hellstern and Anna Walther, art advisor Helle Moalem, and philosopher Helene von Tabouillot, is published. The artist bios are written by art historian Natalia Gutman, graphic design is by Anders Gerning, and photographs are by Rine Rodin.
The exhibition is kindly supported by:
The Fairy-tale Tower
Children and adults can experience Hans Christian Andersen’s fairy-tale universe in the Library Hall where the world of books inspired the Danish writer.
Hans Christian Andersen visited the Round Tower as one of the first things when he arrived in Copenhagen as a young man. Since then, he returned to the tower time and time again in his writings. The fairy-tale tower appealed to the fairy-tale writer above them all. How could it not be so?
From February to April, children and adults can enter Hans Christian Andersen’s fairy-tale universe, as the Round Tower tells a number of his most imaginative stories in tableaux and words. Experience scenes from seven fairy tales that you know or think you know – or do not know yet. The exhibition is inspired by Victorian paper peepshows where the curious audience could explore small worlds of great beauty and a wealth of ideas.
The centre of the exhibition is a large circus tent from which you can peep into the fairy-tale scenes and try to guess which fairy tale they depict. In which fairy tale do you meet the dreamy umbrellas? And where do the flowers go to the ball at night?
The exhibition is located in the Library Hall that once contained the University Library’s tens of thousands of volumes. This is where the young Hans Christian Andersen was inspired by the worlds of imagination in the books. In one of his poems he even lets the books jump off the shelves and throw themselves into a festive dance!
The exhibition is created by Round Tower in collaboration with selected artists.
For the first time in Denmark, a large private collection of Japanese Meisen silk kimonos is exhibited.
The exhibition, curated by Henriette Friis, shows a large collection of long and short Japanese Meisen silk kimonos from the heyday of the Meisen kimonos from 1910 to 1955, and tells their story.
The inspiration from Japan to Europe – also called Japonisme – is known and shown in many exhibitions. “Europeanism”, with the inspiration going from Europe to Japan, is less shown. It is a story of mutual inspiration cross country.
In the first part of the 20th century, modernist European art inspired the Japanese artists to create kimonos in bold large compositions and colours with both stylistic flowers and nonfigurative abstractions. In the 1960s and 1970s, these compositions again inspired Scandinavian textile design, for example Finnish Marimekko.
Part of the story of the Meisen kimono is that through them, the Japanese women of the time expressed independence and liberation by dressing in their bold compositions.
It is the first time in Denmark to experience Meisen kimonos and hear their history. It becomes an experience of modernism, from figurative to abstraction.
A catalogue of the exhibition will be available online in February 2021.
More on https://www.meisenkimonocollection.com/
The exhibition is supported by the Toyota Foundation.
The exhibition and the women’s life festival “Transitions #2” examines and communicates the many transitions of life from a women’s perspective through visual arts, talks, panel discussions, literature, music and performances.
Life is full of transitions: as we grow up, move out of home, start a family, enter the labour market, retire or face illness and loss on our way. It is a universally human condition.
Yet there are biological differences that make specific transitions in girls’ and women’s lives – we menstruate, are pregnant and give birth and often live longer than men. The transitions in women’s lives have been historically and culturally problematic. Through the eyes of the surroundings, the transitions and the woman’s body are often reduced to something shameful, sinful, medically imperfect or inferior.
Women have experienced to be categorized as sick and infirm due to “fluctuations and imbalances”, and instead of strong and vigorous, women have been disparaged as unpredictable and hysterical.
In “Transitions #2”, the transitions in women’s lives are examined through the eyes of girls and women.
Participating Artists in the Group Exhibition
Orsolya Bagala, Camilla Reyman, Elisabeth Toubro, Jeanette Land Schou, Lilibeth Cuenca Rasmussen, Maria Wæhrens, Mette Kit Jensen, Nanna Lysholt Hansen, Rikke Benborg, Sophie Dupont, Sophie Hjerl, Stense Andrea Lind-Valdan, Ursula Reuter Christiansen, Molly Haslund and Lærke Posselt.
The exhibition is originally curated by Julie Rokkjær Birch, The Women’s Museum, and Sophie Hjerl.
The Project Group Behind the Women’s Life Festival
Lotte Hvas, doctor
Christina Prinds, midwife
Therese Strand Kudajewski, vicar
Sophie Hjerl, artist
H.C. Ørsted Anew – the Beauty in Nature
Hans Christian Ørsted was an important person in the scientific and cultural life of early 19th century Denmark. New exhibition presents a man, who was rooted in the Round Tower.
200 years ago, Hans Christian Ørsted discovered electromagnetism – a discovery which resulted in rapid scientific and technical development and made electricity an essential prerequisite for modern society.
It took Ørsted many years to reach this discovery. During that period, he made frequent use of the University Library, which was then located in the Library Hall with access from the Round Tower. In 1817 he additionally conferred two doctor’s degrees in the Trinity Church just below the Library Hall. So Ørsted was a frequent guest in the building complex that will show his exciting life and the unique discovery of the connection between electricity and magnetism.
For Ørsted, the discovery of electromagnetism was also a confirmation of the unity and beauty in nature: Everything in nature is connected.
The exhibition presents Ørsted as a scientist and prominent person in the cultural life in the period 1800-1850, whose work also had a great linguistic impact. He even influenced Hans Christian Andersen, who was inspired by Ørsted for several of his fairy tales.
The exhibition is arranged by the Society for the Dissemination of Natural Science.
On Saturday 19 September, part of the Library Hall will be used in connection with the World Voice Day. The exhibition is still open but if you want to experience it undisturbed, we recommend that you choose another day for your visit.
This autumn, Baskets4life is exhibiting in the Library Hall. “Swarm” is based on the groups fascination with natural materials, desing and weaving.
Baskets4life has existed since 2006 as a group of nine professional basket makers and artists. Over the years, the group’s collaboration has developed into deep friendships and an understanding of diversity. The common works and exhibitions are characterized by what one might in modern words call swarm intelligence.
A swarm seems controlled but is nevertheless unmanageable. It looks very organized but it is not easy to direct. Baskets4life connects the nerve and energy of a swarm with their way of working. They spread and gather in order to finally meet and unite the many elements in the common expression of the exhibition. Baskets4life is connected by natural materials, which is clearly reflected in the works. The group has a very experimental and curious approach to materials and techniques.
The exhibition consists of a large joint project with countless small elements that are suspended in one or more swarms. In addition, they will each exhibit individual, personal works. Small families in the more traditional weave field but also more experimental objects.
More information follows – see also Baskets4life.dk
1 + 1 = 11
Danish and Colombian craftsmanship are interwoven at the exhibition 1+1=11, when designers and craftspeople from two cultures interpret each other’s work.
In northern Colombia, the Wayuu people are fighting a battle against hunger, climate change, corruption and the pursuit of natural resources by global corporations. Despite these challenges, their rich culture continues, with its distinctive form of craftsmanship playing a central role. Wayuu women learn characteristic weaving and crocheting techniques in their early teens and refine them through their entire lives.
In the exhibition, 11 Wayuu women and 11 Danish artisans and designers interpret each other’s work, with unique designs and ideas emerging – across cultures, languages and traditions.