Obst. Amb. / birth / pregnant

22-10-2013 Kl. 01:00

I para I am.first time pregnant,

GA 39 + 0 I am. pregnancy Age

VA I am. Water drainage / you are. from kl. 14.30 / you are expected. Parturition. Night. natural

UDV. US I am one. external examination / you are. I usually. You are in a hvst-Main position

I am. Uterus soft and tender on palpation

You are. Fundus / I am. top of uterus / there is. ca. 3 fgr. There is. finger widths / there are. Processus xiphoideus / the tip of a sternum

fundus plural fundi

fundus is. The large cave organ is further away from an opening.

Fundus is. The top. Hollow. Part of the uterus and

Fundus is. The back. Internal part of the eye that accommodates the retina and associated blood vessels

Caput is. the head. BI is. Pelvic inlet. FS is fetal beauty is SF is Science Fiction. You are. 3500 grams

(Excerpt from Nanna Lysholt Hansen’s audio/video sculptureZira Mater Matrix, 2020)

Nanna Lysholt Hansen’s project in Astrid Noack’s Atelier consists of three parts: an exhibition, a live performance and a book publication. The title of the exhibition Mother Mould is taken from the English term for ‘a supporting shell around a mould’. By focusing on the surrounding material – ‘the supporting shell’ – ecologies and technologies in the creation process are emphasized. Interfaces, cast and mold, are examined as two contingent parts. Organs are created in direct contact with the mother body. Creation takes place through a temporary organ; the placenta. Through the placenta, the fetus and mother exchange genetic material and some of these micro-chimera cells live on in the mother’s body after birth. The boundary between individuals is thus dissolved.We are a biologically cohesive liquid symbiotic organism. The mother is chimera, a hybrid of machine and organism, a fictional creature, the ultimate cyborg. In her exhibition in Astrid Noack’s Atelier, Nanna Lysholt Hansen uses the cyborg mother as a figure to think through with the aim of rethinking kinship, subjectivity and knowledge production.

In the series The Chthonic Ones (2016-2020), which is part of the exhibition, Nanna Lysholt Hansen works sculpturally with the anatomy of the clitoris, a tentacular organ which was not mapped until as recent as in 2005 with the help of new 3D scanning technologies. The title of the series is borrowed from biologist and philosopher Donna Haraway’s concept of the chthulucene. A concept that thinks of an individual’s identity as fluid, amorphous and diverse. The chthonic means in/of/under the ground/earth. In ancient Greek mythology, the subterranean, the chtonic deities, are associated with the fate of the dead as well as with the fertility of the earth. Haraway suggests a return to the chthonic, the earthbound, recycling and composting, as a necessity for survival in a world destroyed by the exploitation of the earth’s resources. We must think of ourselves as compost, bound together as fungi, lichen, mould.

As part of the exhibition, a body-sized clitoris made of concrete will occupy the construction site that currently surrounds Astrid Noack’s Atelier. Based on her own body as material, Nanna Lysholt Hansen will initiate a study of spatial and temporal processes. The body will enter into a direct relationship with the surrounding architectural space – the studio as well as the construction site – and aspects of memory, gender, language and narratives will be challenged in relation to the gaze of the body over time. The artist recalls her ongoing memories about the female body, pregnancy, childbirth and motherhood and uses these experiences as material in Mother Mould.

The exhibition opens on Thursday 24 September and is the first part of Nanna Lysholt Hansen’s project in Astrid Noack’s Atelier. Later this year, Nanna Lysholt Hansen launches her upcoming artist book and presents a live performance. These events will be announced later.

In connection with the exhibition Mother Mould, the platform bastard arranges a conversation between Nanna Lysholt Hansen and writer, art critic and author Mette Garfield in Astrid Noack’s Atelier Thursday 24 September 5-6 PM. www.bastard.blog

The exhibition is open Friday and Saturday 2-5 PM or by appointment 60329184.

The project Mother Mould is supported by The Danish Arts Foundation, the Beckett Foundation and Rådet for Visuel Kunst, City of Copenhagen.

Nanna Lysholt Hansen is educated from The Royal Danish Academy of Fine Art in Copenhagen (2006-2011) and Kingston University, Faculty of Art, Design & Music in London (2002-2005).

Performative photographic workshop for all interested in Astrid Noack’s Mobile Children’s Studio in Mimersparken behind the Staffed Playground, Borgmestervangen 51, 2200 Copenhagen N

Week 39: Wednesday at 13-16, Thursday at 13-16, Friday at 13-16 and weekend at 10-15

Week 40: Monday at13-16, Tuesday at 13-16

In Malene Jorck Heide-Jørgensen’s OPEN AIR PHOTO BOOTH participants are invited to create their own group portrait under the sun. On light-sensitive sheets the image exposes more slowly than we are used to, and in this way the participants will have the opportunity to dream under the open air, while an imprint of their bodies slowly emerges step by step.

The workshop is based on the old photographic technique Cyanotype, and participants will have the opportunity to try cyanotype for themselves before trying out large body-sized formats. The preparatory work for the large formats takes place in marked areas on the square next to the studio. As a group participants are encouraged to play and experiment and most importantly reach an agreement; once the sheet is spread out, the exposure process is underway!

The square around the studio will become an open exhibition space and the images will depend on the active participation of the audience, the course of the weather and other common unpredictability. It’s a rare opportunity to have an alternative family portrait taken or to hang out with your friends in a different way. Feel free to bring your knitting kit, your dog or your favorite teddy bear. If you are not completely done with your ice cream, include it in the picture. Most things can be exposed if it doesn’t move during the exposure, which of course depends on the weather and other unpredictabilities.

Malene Jorck Heide-Jørgensen is interested in photography as a process and as a body. With the sun’s late summer rays, the time at which the body leaves its imprint is extended and, in contrast to the digital screen’s exposures of carefully selected data, the body is given the opportunity to sense how the photograph will take shape in the public space.

Malene Jorck Heide-Jørgensen graduated from the Glasgow school of Art in 2006. She works primarily with photographic media, from which she examines movement, heritage and space. KIND OF BLUE #2 – OPEN AIR PHOTO BOOTH is her first performative work in which she explores the relationship between private and public spaces under the sun.

The project is supported by The Danish Agency for Culture and Palaces: ”Pulje til kunstneriske sommeraktiviteter i Danmark” and Dj-ophavsretsfond.

After the Letter II is the second part of Pia Rönicke’s stay in Astrid Noack’s Atelier. While the preliminary activities in the studio in May were closed to the public, the second part in September takes place around two public events.

“Conversations in Space” with Henriette Heise, Stine Hebert, Johanne Løgstrup and Pia Rönicke, 13 September 2020, at 15.

Conversations are part of a practice, the ongoing, the interrupted. The forgotten is remembered through conversations, even those conversations that never leave us. Conversations with other practices are a thread running through the work. Although I have looked closely at the spaces in Florence Henri’s photographs, I know little about her working conditions. Astrid Noack lived in her studio, the same space where other practices are now unfolding. “There is a void in the house (of art)”, writes art historian and writer Elisabeth Lebovici about the largely undocumented history of the ‘living room’ as exhibition space. But, what kind of works are made (or dissolve) in such living spaces? What exactly is the space we work in, and what kind of conversations can we hope to unfold in the work space? How is a practice a potential to expand the workspace and transform what is close to it? Astrid Noack’s Atelier invites you to step into an artistic practice and break with the notion of it.

We invite you to a conversation where work processes are not separated from working conditions, and where isolation is also connected to touch. Here, Henriette Heise, Stine Hebert, Johanne Løgstrup and Pia Rönicke meet and share aspects of their ongoing practices. The letter is central in the conversation about work, and the rejection of it, in a space of ongoing and completed works between Babara Hammer, Sonja Ferlov Mancoba, Lotte Beese and Florence Henri, (from surfaces into space.)

The conversation is part of After the Letter, which is the working title of Pia Rönicke’s two-part stay in Astrid Noack’s Atelier. In this connection, Partial lunar eclipse as viewed from the surface of the phlanet, 2020 by Henriette Heise and After the Letter, a film under way by Pia Rönicke, will be shown. The conversation will take place on Sunday 13 September at 15:00.

There are a limited number of seats and registration is required at kbr@astrid-noack.dk. From 16:30 to 18:00, Astrid Noack’s Atelier is open to everyone.

“City walk 1968/2020” with Finn Thybo Andersen, 6 September, at 10.

“Together, in the spring of 1968, we did some city walks in different parts of the Copenhagen area based on our interest in urban space, urban planning and architecture, following the situationist derivé method. Among the participants were: Michael Buchwald, Elbjørk, Poul Gernes, Gorm Hansbøl, Preben Maegaard, Felix Pedersen, Jane Pedersen, Ole Sandvad Pedersen and others…Today the pictures (taken in connection with the city walks) have historical and local interest. Back then, it was a crucial sculptural experience, to experience the buildings and the space they occupied, the masses, the weight, the spaces, the accumulations, the change of mood, but also the interaction of people with these constructed spaces. It was a journey into the spaces of reality, an aesthetic experience and a reading of reality that inspired new forms of artistic action. ”

Finn Thybo Andersen wrote this in YNKB TEMA 12 about the city walks, which he took part in and documented photographically as active in the Urbanist Group from the Experimental Art School.

Sunday, September 6th at 10, Finn Thybo Andersen – with his photographic work as an introduction – will take us on the same route through Ydre Nørrebro and Østerbro, as the group did in 1968. Just as the photographs constitute a historical document, they also reflect the change that the district is undergoing. We will meet at the corner of Nordbanegade and Stefansgade.

Anyone passing by the exhibition space Astrid Noacks Atelier in Rådmandsgade in Copenhagen will notice that the site currently is a fenced off site of construction. The multifaceted backyard environment that until recently surrounded the atelier is literally becoming a hole in the ground. Reinforcements, excavators and concrete elements shape a provisional landscape, in which the studio itself is inaccessible and enclosed by a wall of cover plates.

In this landscape, fueled by property speculation and gentrification capital, Eva la Cour will turn to a landscape of a different kind and region, by introducing the Muitalus sámiid birra. A book from 1910 about the life of the Sami, and the first book ever written in Sami by the Sami Johan Turi. Or, thewolf-hunter who became a writer.However, part of the credit for the book’s creation can be attributed to the Danish female painter contemporary with Astrid Noack, Emile Demant Hatt (1888-1958). Her role as female artist, ethnographer, translator and collaborator in the publishing of Muitalus sámiid birra, will be the point of departure for Eva la Cour’s work in the context of Astrid Noack’s Atelier.

Practically, an outdoor LED screen will function as a sculptural support structure for an experimentation with collaborative video-editing. Approaching exhibition making as a process of encounters and the notion of audience as a critical resource, a portable cabin, parked inside the construction site, will more precisely function as a temporary studio during a couple of events between the 14^thand 30^thof August.

The first event will take place on August the 16^th, when the authors, lecturer Dorte Smedegaard and historian Helle Askgård will talk about their joint and affectionate research into the life of Emilie Demant Hatt. Meanwhile la Cour will live-edit a visual montage in collaboration with the Copenhagen-based artists Mia Edelgart and Rasmus Brink Pedersen and later the Tromsø-based filmmaker Rachel Andersen Gomez and professor of Northern Studies at UiT, Britt Kramvig.

In 2021 la Cour will further unfold her research into the collaboration between Demant Hatt and Turi inside Astrid Noacks Atelier.

Eva la Cour holds an MFA from the Jutland Art Academy and is trained in Media and Visual Anthropology at Freie Universität in Berlin. She is currently working on a Phd at Valand Academy of Art in Gothenburg, Sweden.

The exhibition programme at Astrid Noack’s Studio is supported by The Danish Arts Foundation, Nørrebro Lokaludvalg, BKF’s udvalg til fordeling af kulturelle midler and Zeuthens Mindelegat.