[…] past and future. Another common aspect of the design field and the museum field is that the general audience might not consider either field in a political light. In fact, however, design in museums is a deeply political issue. The new design exhibitions in Oslo and Copenhagen articulate the relationship between aesthetics and politics […]
[…] account. It’s no parents’ dream to have to send their child to a residential and relief institution, and it is not a decision that has been taken lightly. This is particularly relevant for Fenrishus, where the children and young people have congenital brain damage, which means that their mobility is reduced considerably, their speech […]
[…] out that it is not exactly ‘woke’. It never considers the geopolitical history surrounding textiles and clothing, which does not exactly put Denmark in an exclusively positive light. It also does not address the Eurocentric fashion narrative that underlies the entire book, even though this perspective is currently under revision in universities and design […]
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[…] was enveloped in gentle harp music. The back wall featured Veronese’s mural of the wedding at Cana, the exhibits were orderly distributed on large, low plinths, the light was soft and muted. The harp was itself one of the exhibits. Here, Italy and Japan met in a shared tradition for exquisite craftsmanship: twelve of […]
[…] Her works can be seen as a response to Marianne Krogh’s encyclopaedia Connectedness from 2021. In a mention of the encyclopaedia the Danish Arts Foundation wrote: ‘In light of the current challenges to humanity it is essential that we examine what binds us together and search for ways to strengthen the threads that run […]
[…] Arts Foundation on 20 January at the University of Southern Denmark in Kolding with online streaming access for anyone who is interested. The conference aims to shed light on and spark debate about social values in crafts and design. This issue of Formkraft.dk aligns with the theme of the conference, Craft in a digital […]
Impending sense of doom Marianne Nielsen’s objects mainly reinterpret the fragility of the two maternal ancestors’ works. Her own process often begins with paper constructions, and the light character of this medium is maintained when her ideas are translated into porcelain, and flowers and plants stay upright by leaning against each other. Her colour […]
[…] potential of integrating works of art into architecture. Roepstorff, who also created the artwork GONG in Dokk1 in Aarhus, has turned the cold, raw concrete building volume into a poetic, fleeting and simple experience of light and colour effects; a contrast that in itself represents an interpretation of the complex character of the Canal District.
It is late afternoon, and we sense the influence of the failing light, as the relief is deliberately not illuminated. Terrainonly draws attention to itself when it is sought. This reflects the artist’s worldview and an artistic practice driven by exploration, reflections and general uncertainty.