ASTRID NOACKS ATELIER

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    • Astrid Noacks Atelier
    • Rådmandsgade 34
    • 2200 København N
    • kbr@astrid-noack.dk

Current

ANA Children

Jan Danebod & Peter Olsen Surrounded by Forest Part II

29.08.22 - 02.10.22

In their joint practice, Jan Danebod and Peter Olsen explore a number of mechanisms and processes in the public space with an in-depth interest in the city’s contemporary building culture, its biases and presence in a future that requires a radical change in our approach to the built environment; In climate and environmental issues in particular but also in the massive formative presence construction constitutes. For where and how is it possible in this all-encompassing urban space to carve a place out for oneself? They work sculpturally with materials found in these constructed environments and use the techniques of the construction industry in an attempt to mirror our surroundings and expose structures in order to draw attention to them.

To make this work accessible to the children and young people who move daily on and around the staffed playground in Bispeengen, they will take on the role of a kind of translators. They will move their studio to ANA’s mobile children’s studio for a period and through open artistic work processes try to equip the local children and young people with a sharpened view of their local environment.

With a hands on sculptural approach, the children will become acquainted with a number of materials such as cement, gravel, iron and brick, which form basic elements in the city’s many construction projects. They will come into contact with everything from redevelopment of green areas to the establishment of new construction. Urban planning that can generally seem elusive and out of reach. In Surrounded by Forest, Danebod and Olsen pull these issues down at a children’s level and make them available in new engaging and critically-creative formats.

The project is supported by The Danish Art Foundation’s Huskunstnerordningen

Events

Calendar

ANA Children

Jan Danebod & Peter Olsen Surrounded by Forest Part II

29.08.22 - 02.10.22

In their joint practice, Jan Danebod and Peter Olsen explore a number of mechanisms and processes in the public space with an in-depth interest in the city’s contemporary building culture, its biases and presence in a future that requires a radical change in our approach to the built environment; In climate and environmental issues in particular but also in the massive formative presence construction constitutes. For where and how is it possible in this all-encompassing urban space to carve a place out for oneself? They work sculpturally with materials found in these constructed environments and use the techniques of the construction industry in an attempt to mirror our surroundings and expose structures in order to draw attention to them.

To make this work accessible to the children and young people who move daily on and around the staffed playground in Bispeengen, they will take on the role of a kind of translators. They will move their studio to ANA’s mobile children’s studio for a period and through open artistic work processes try to equip the local children and young people with a sharpened view of their local environment.

With a hands on sculptural approach, the children will become acquainted with a number of materials such as cement, gravel, iron and brick, which form basic elements in the city’s many construction projects. They will come into contact with everything from redevelopment of green areas to the establishment of new construction. Urban planning that can generally seem elusive and out of reach. In Surrounded by Forest, Danebod and Olsen pull these issues down at a children’s level and make them available in new engaging and critically-creative formats.

The project is supported by The Danish Art Foundation’s Huskunstnerordningen

ANA Local

Eva la Cour New Notes

05.10.22 - 30.10.22

Perceptive to the potentiality of reverberations, I read the title of Henriette Heise’s exhibition in Astrid Noack’s Atelier August 2022: The Lunatic Future […]: Learning from the late work of artists who figured out how on earth to keep going. What resonates is the idea that past lives and struggles holds a potential for historical becoming; the possibility of a more-than-linear futurity. Or, is what resonates the increasingly impossible conditions for the processes of historical becoming?

In connection to my exposition at Astrid Noack’s Atelier two years ago, I wrote the essay Notes on Muitalus Samiid Birra / or / On the production of a practice. Shortly before that I had read Muitalus Samid Birra – the first book written in Sami by the Sami Johan Turi (1854-193) and a collaboration with the Danish female painter (and contemporary of Astrid Noack) Emilie Demant Hatt (1873-1958). At the same time, I filmed in the area around the Atelier, which back then was a fenced off site of construction. The previously multifaceted backyard environment was razed to the ground that summer, and only a modest information stand, placed between concrete elements and excavators, made passers-by aware of the existence of Astrid Noack’s Atelier. Video stills were cropped and became part of my essay. I had a speculative sense that something might emerge by juxtaposing Turi and Demant Hatt’s work with Muitalus Samiid Birra – a testimony of Sami life and displacement at the beginning of the last century – with today’s gentrification of the outer Nørrebro neighborhood in Copenhagen.

New Notes is a presentation of a research material concerning Johan Turi and Emilie Demant Hatt’s collaboration. But it is also a space to explore film practice, as a mode of caring and training affective sensibility and attention. Perhaps it is even a film editing suite and a work with an essay film, where a significant aspect of the work subsist in looking at the presented material together with invited colleagues, professionals and locals, aiming towards the film’s ‘material bank’. New notes, as it were.

New Notes is part of an artistic research project and wider attempt to navigate a political tension between the possibility of the more-than-linear as an artistic methodology and the realization of the unavoidable and looming futurity of destructive behavior. The slow violence of a climate collapse. Or, is there another way of talking about this tension? Not as conflicting modes of thinking and operating with time, but as some species of integrative temporality?

OPEN: Thursdays and Fridays from 11am-3pm or by appointment (email: lacour.eva@gmail.com)

OPENING & CONVERSATION:

Wednesday, 5 October at 4pm-8pm

At 5.30pm, conversation with art historian Mathias Danbolt, who has for several years been working with the relationship between Nordic colonialism and art history. The starting point for the conversation is la Cour’s publication, Notes on Muitalus Samiid Birra / or / On the production of a practice, which will also be available for purchase.

CONVERSATION:

Thursday, 27 October from 5.30pm-7.30pm.

Conversation with curator Lisa Rosendahl about contemporary art as historical critical practice. In connection with curating the GIBCA biennale in Gothenburg (2019, 2021), Rosendahl has thoroughly investigated the presence and critical reflection of Swedish colonial history in contemporary Nordic art.

New Notes will also be visited by historian Mads Sørensen and visual artist Imri Sanstrøm. Sørensen has written a thesis on Sami understanding of time in relation to historiography as a science. Sandström works on the research project “Att Skriva Visuelle Relationer” at HDK-Valand, University of Gothenburg. Excerpts from both conversations will be audio recorded.

The exhibition is supported by the Danish Arts Foundation, Copenhagen Visual Arts Council and the Danish Art Workshops. Also, many thanks to ANA, Jakob Jakobsen, Nordiska Museet in Stockholm, Museum Salling in Skive, Dorte Smedegård, Hanni Kamaly, Åse Eg, Kristian Poulsen and Ting Mattsson.

BIO: Eva la Cour is a Danish visual artist and researcher, also trained in media and visual anthropology. Using analogue film, video, text and display aesthetic elements, la Cour’s artistic research and work praxis revolves around mediating processes in relation to colonial terrains for visual production – her works are often place-responsive, open-ended, and charged with a search for potentiality. She recently completed a practice-based Ph.D. at HDK-Valand (the Faculty for Fine, Applied and Performing Arts, Gothenburg University), investigating ‘live-editing’ as a performative and situated filmic expression that seeks methodological reorientation of linear storylines towards new constellations of thought and image, archive and social process, authenticity and authority. Over the past ten years, la Cour has exhibited internationally, but also developed a consistent writing practice, as well as a role as a teacher and organizer. In addition, she has an ongoing collaboration with filmmaker and visual artist Tinne Zenner (since 2018), revolving around the Denmark’s colonial presence in Greenland, past and present. In September 2022 la Cour is commencing a postdoc at the department for Arts and Cultural Studies, Copenhagen University (as part of the ‘Art as Forum’ research project).

ANA Forum

Molly Balsby, Emeli Bergman og Marianne Larsen Oplæsning mellem efterår og vinter

30.10.22
ANA Local

Mie Lund Om sorg

31.10.22 - 11.12.22

Sorry, this entry is only available in Dansk. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language.

I udstillingen retter Mie Lund blikket mod de ofte oversete og undervurderede omsorgshandlinger, som kontinuerligt finder sted i forsøget på at bevare Astrid Noacks Ateliers sårbare bygningskrop. Med afsæt i konserveringsfaglige metodikker og performative greb er udstillingen en form for opdateret tilstandsrapport, der afdækker de ’abjekte’ materielle ressourcer, der ligger skjult i rummet og som resonerer intime relationer og mentale tilstande. Produkter som CO2, patina, smudspartikler, plastaffald m.m. betragtes normalt ikke som aktiver, der kan værdisættes. De anses der imod ofte som ubetydelige (overskuds)produkter, der blot relaterer til forfald, vedligeholdelses-, bevarings- og plejearbejde. Udstillingstitlen “Om sorg” afspejler samspillet mellem vores erfarede, fysiske og materielle virkelighed og vores mentale tilstande med reference til kroppens ressourcer og (sår)helingsproces.

BIO: Mie Lund er optaget af materiale-, lære og -forståelse, og hvordan det bidrager til en fysisk erfaret virkelighed og mental sundhed. Begreber som værdisætning, bevaring, bæredygtig forbrug, arkivering, historieskrivning, afdækning af magtstrukturer er centrale i Lunds processuelle og metodiske tilgang til værkproduktion, hvor hun ofte fokuserer på, hvordan vekselvirkningen mellem en individuel og kollektiv handling påvirkes af de rumlige muligheder ogomstændigheder, vi stilles overfor. Uddannet som både Billedkunstner (DFK/FAA, 2010) og Monumental konservator Ba.Sci. (KADK, 2016) har Lunds praksis de seneste år været centreret omkring Astrid Noacks Atelier, også som bestyrelsesmedlem siden 2019. Ofte stedsspecifikt og installatorisk arbejder Lund både konceptuelt og intuitivt i flere medier og traditioner med både performativitet og klassisk skulpturhåndværk.

 

Past events

ANA Local

Henriette Heise The Lunatic Future for the Depressed Planet and the Flanet (flat planet): Learning from the late work of artists who figured out how on earth to keep going

17.08.22 - 18.09.22

(Drawing: The Flanet wearing invisibility cloak)

In this moment of multiple crises around the world, it seems impossible to conceive of a future. How do we find the incentive to go on? How can we think differently about our future? Perhaps precedent lies with the precarious lives of artists who have come before; those who have continued in their work in spite of crisis and resistance. Artists who didn’t give up or drop out, but who passed through years of precarity and invisibility and who continued working somehow undeterred.

In 1952 – two years before she died – Astrid Noack went on a long, final journey to various places in Italy. There are three sketchbooks from this last journey, but there is only one surviving drawing where Noack leaves a trace of her own presence, sitting outside a café in Italy, drinking a cup of coffee and observing life around her. Characteristically, this drawing is almost discarded, torn from the sketchbook, a piece of the page is missing, and there’s an unreadable address written on the back of the remaining piece. In the front of the drawing, a single cup of coffee on an otherwise empty circular tabletop, contrasting a busy table in the background where five men are preoccupied with a game of dice. Noack observes the dynamic between the men meticulously — their body language reveals exactly who and what each of them is focused on. The group clearly have no idea that they are being observed; Astrid Noack is invisible to them. She takes advantage of her invisibility and shares her receptivity — along with her perspective with us: the circular table she rests her sketchbook on takes up half of the drawing. The thin lines that suggest the table have been altered twice, each time enlarging the table. She drew one version, erased it, drew a larger one, only to erase this one too. The final version of the table is now so large that it almost exceeds the borders of the page.

Some years ago, two characters appeared in my work: The Depressed Planet and The Flanet (the flat planet). They emerged as a way of dealing with a state of increasing exhaustion, a sense of an encroaching future without a future. Since then, they’ve made increasingly weary appearances in films, paintings, drawings, texts and sculptures. The materials I have chosen to render these husked figures with, tend to dissolve between an idea of their traditional use and their appearance. Sometimes the materials perform like an invisibility cloak as if The Depressed Planet and The Flanet were dressing up to disappear.

@h_heise

Opening Wednesday 17 August from 4pm-7pm

Open Saturdays 12pm-5pm or by appointment (e-mail: henrietteheise@gmail.com)

EVENT: Things Change Anyway

Saturday 3 September at 4pm, MC Coble and Louise Wolthers:

Things Change Anyway is an ongoing collaborative project by artist MC Coble and art historian Louise Wolthers. Consisting of photographs from the couple’s shared image archive, montage drawings by Coble and essays by Wolthers, it revolves around various kinds of metamorphosis in bodies, relationships, nature, and life – in all its non-binary impermanence and imperfection. Both the image flow and Coble’s drawings, a series of which will be on display at ANA at the event, convey a deliberately ‘messy’ complexity of ephemeral, bodily, and imaginary temporalities and experiences – of gender transition, ageing, and being put on hold by the system, of life after depression and ways of gaining agency. At ANA, readings from the essays include excerpts that connect themes such as photo history, abjection, trans* theory, the non-human, adoption, desire, friendship – as well as pictures never taken.

The event will be held in English.

The exhibition is supported by the Novo Nordisk Foundation and the Danish Arts Foundation. Thank you to til ANA, the Study Room at SMK and the Astrid Noack Study Collection at Holstebro Kunstmuseum.

BIO: Henriette Heise is a visual artist based in Copenhagen. Heise combines collaborative work with a more introverted studio-based practice. Heise graduated from the Slade School of Fine Art in London and has since then co-founded and run several collaborative projects: The Info Centre in London, The Copenhagen Free University, the local TV-station tv-tv and most recently The Studio Whisperer’s Office. After ending 12 years of teaching at the Royal Danish Academy of Fine Arts in 2021, Heise is now working on a Novo Nordisk funded practice-based postdoc with the title: The Lunatic Future for the Depressed Planet and the Flanet: Learning from the late work of artists who figured out how on earth to keep going.

ANA Forum

Golden Days 2022 Sculpture Queens

11.09.22

This discussion panel explores women artists working with sculpture. From its inception until today sculpting has been dominated by male artists, who have shaped the education and practice of sculptors through millennia. What does it mean to work as a woman in a field conventionally inscribed by masculinity? And what about the representation of women within sculpture? Women sculptors continue to be underrepresented in museum collections, exhibitions, and historical studies. Bringing together scholars and artists, this panel sheds light onto the overlooked sculpture queens of art history.

The event will be held in English from 14-15. Tickets are free and can be ordered on Billetto: https://billetto.dk/e/sculpture-queens-billetter-681200?utm_campaign=billetto+web&utm_content=2DK&utm_medium=frontpage&utm_source=billetto+advertising

Participants bio:

Kerry Greaves is Assistant Professor of Art History at the Department of Arts and Cultural Studies, University of Copenhagen. Her research focuses on recovering overlooked aspects of Nordic art history, feminist theory and women artists. Her book, The Danish Avant-Garde and World War II: The Helhesten Collective was published by Routledge in 2019. In 2020, she edited the anthology Modern Women Artists in the Nordic Countries, 1900-1960 (Routledge).

Amalie Skovmøller is Assistant Professor of Art History at the Department of Arts and Cultural Studies, University of Copenhagen. She has studied sculpture from Antiquity until today, centering on artists’ workshops and crafts communities. Her book Facing the Colours of Roman Portraiture (De Gruyter, 2021) explores representation in ancient, painted Roman marble portraiture, and her upcoming book Connected by Sculpture focusses on public monumental sculpture from workshop till display.

Lea Guldditte-Hestelund is a Copenhagen-based artist who works sculpturally and performatively to examine how humans attach meaning to materials, especially in connection with the human view of the ideal body. She is a graduate of the Royal Danish Academy of Fine Arts (2015) and the Academy of Fine Arts in Düsseldorf (2013). Her recent solo exhibition at Politikens Forhal, Hissyfit (2022), narrates the mental and physical challenges related to motherhood through sculpture and installations targeting structural issues of modern health care systems and the history of misdiagnosis of women bodies.

Elisabeth Toubro is a Danish artist who has been a major contributor to the renewal of sculpture in Denmark. Born and raised in Nuuk, Toubro relocated to Copenhagen in 1977 where she attended the Royal Danish Academy of Fine Arts. She received the Eckersberg Medal in 1999 and the Thorvaldsen Medal in 2010, and in 2017, she made the Monument for Inge Lehmann at Vor Frue Plads, the first public depiction of a Danish, woman scholar. In September 2022, she will present an exhibition in collaboration with one of the most influential women sculptors of the late nineteenth century, Anne Marie Carl Nielsen, at Fuglsang Kunstmuseum.

ANA Air

Åsa Sonjasdotter Cultivating Abundance 15-17pm

11.06.22

Image published with kind permission by Lantmännens’ historical archive by The Centre for Business History, Sweden.

Welcome to an afternoon in ANA where we enquire relations of plant breeding and cultivation. How can these practices, so vital to humans’ life, be understood? What kind of wordings are used to describe them? How do wordings shape the understanding of their relations? Beginning with a preview of the film Cultivating Abundance, the afternoon will open for conversations with invested artists and researchers regarding what human relations to cultivated plants are, have been, and could become.

Background: With the establishment of the Swedish Seed Association in Svalöv, Sweden, in 1886, a modern method for plant breeding was invented that still today is in use by more or less all plant breeding industries across the globe. With a starting point in a series of restored photographs from the very first plant breeding experiments in Svalöv, as well as by the association Allkorn’s (Common Grains) initiative for the restitution of peasants’ grains, the film Cultivating Abundance enquires aspects of traditional and modern breeding and cultivation, and what this shift in method would come to mean for human and more-than-human relations. The film opens for debate regarding its ethical and aesthetic impact on culture also at a wider socio-political scope.

With artist Åsa Sonjasdotter and film maker Matilda Mester, as well as with contributions by further scholars, theorists and artists via zoom.

The film Cultivating Abundance will further be presented as part of the program “Cultivating Stories” taking place in farm fields of South Sweden July 10 and September 18, combined with a seminar at Malmö Art Museum September 17. The program is curated by Åsa Sonjasdotter and is hosted by the Peoples’ Art promotion Skåne and Malmö Art Museum.

In her practice Åsa Sonjasdotter engages in processes for the rehabilitation and re-narration of livelihood relations. Through cultivation of outlawed crops and close readings of related archival matter, lost knowledge and imagination is brought into re-existence. Her recent film Cultivating Abundance deals with ethical and aesthetic-political questions related to plant breeding. Sonjasdotter is a Doctoral Researcher in Artistic Practice at HDK-Valand, the University of Gothenburg, Sweden.

Matila Mester studied cinematography at Deutsche Film- und Fernsehakademie Berlin. As a cinematographer she has centered on documentary and experimental film forms as well as art films, and her work has been shown on numerous international film festivals and art exhibitions. In recent years she has also worked as an editor for documentary and art films. 

Naomi Hennig works as researcher, artist, curator, editor, and project coordinator. Henning is a doctoral candidate at Goldsmiths, University of London, researching agriculture and extractivism. Her current work is informed by an interest in political ecology, finance, land-use and accumulation in rural and urban contexts.

ANA Local

Maria Nørholm Ramouk We could go to the Sea (Nmchiw lb7re)

29.05.22

Photos: Miriam H Nielsen

Maria Nørholm Ramouk’s poetic and process-related performance work “We could go to the Sea (Nmchiw lb7re)”, takes its starting point in the feeling of longing for Africa and examines what it means to feel at home and to have a sense of belonging to more places in the world. “Nmchiw lb7re” is the Moroccan translation of “We could go to the Sea” written in Latin letters. “We could go to the Sea (Nmchiw lb7re)” is part of a long-term artistic study that, through performance, text and installation, focuses on community structures, loneliness and repetition as security. In Astrid Noack’s Atelier, the performance work, which has previously been shown at e.g. Rønnebæksholm, takes a new turn, as it is produced on site and adapted to both the old studio building and the new backyard environment in and around ANA. Dates for the performance follows.

The performance will be held on Sunday 29 May at 12 pm and at 14 pm.

Maria Nørholm Ramouk is a visual artist based in Copenhagen who primarily works in Denmark and Morocco. With a starting point in Ramouk’s own family history, she examines how resources affect the communities we identify with, as well as how these structures are organised internally. Ramouk is concerned with how social contexts, social heritage, resources and cultural conditions are closely related. Loneliness as well as finding security in communities and repetitions are some of the topics that recur in Ramouk’s artistic practice. The work is most often presented in media such as performance, text and installation.

Performers: Simin Stine Ramezanali, Luna Scales, Mia Edelgart og Maria Nørholm Ramouk.

The project is supported by The Danish Art Foundation, The Municipality of Copenhagen – Council for Visual Arts and Nørrebro Lokaludvalg.

See full archive

About ANA

ANA is a cross-aesthetic space for artistic experiments, knowledge sharing and critical discussion at Ydre Nørrebro in Copenhagen. ANA is dedicated to the notion of art as a public sphere and as a collective reflection tool that can create forms and images making us see and sense, ask questions and think about the world and everyday life in new ways. ANA focuses with and through art on sharing knowledge, testing ideas and presenting alternative horizons of imagination and models of action.

ANA was established in 2009 and has a background in the activist artist collective YNKB (Ydre Nørrebro Culture Bureau). ANA’s program has four tracks: ANA Local, ANA Air, ANA Children and ANA Forum. These draw threads back to the Danish sculptor Astrid Noack’s everyday life and artistic work in the studio in the period 1936-1950, where social and professional exchanges with neighbors and artists from near and far were part of daily life. ANA’s cross-esthetic program links the history of the room with a desire to jointly develop the space, which, as a result of gentrification, is left isolated, cut off from its previous existence as part of a lively backyard environment with workshops and small industry.

Today, ANA stands on the shoulders of the many artists and actors who over the years have contributed to supporting and developing the space. ANA’s institutional modus operandi is rooted in a principle of repetition and slowness. In order to allow artists to develop projects over several years and to gain knowledge of the space and the surrounding rapidly gentrified area – which used to be a typical working class neighbourhood – we emphasize inviting artists on several occasions, so that over time they can continue investigations and conversations. Our desire is to keep things moving, to prioritize process over result and to act as an open, caring, generous and inclusive art space.

In the coming years, we will further try to emphasize values around slowness, contemplation, ‘commoning’ and collective (un)learning. A set of values that moves against the productivity- and efficiency-oriented structures that characterize the surrounding capitalist society and the art institution, and which often result in stress and exhaustion. We want, step by step, to slow the pace and focus on offering artists generous time for reflection and the opportunity to experiment and research in a context where knowledge sharing, negotiation and critical dialogue are at the center.

ANA’s program 2022 is supported by

Overretssagfører L. Zeuthens Mindelegat

 

 

  • ANA Air
  • ANA AIR is a residency track for international artists who are invited to develop projects over time, often based on the physical and local context of Ydre Nørrebro.
  • ANA Children
  • ANA CHILDREN is a track for children and young people, where artists are invited to develop process- and dialogue-based works over time with children. The track is based in ANA's Mobile Children's Atelier in Bispeengen and is being run in close collaboration with The Staffed Playground.
  • ANA Forum
  • ANA FORUM is a track for knowledge sharing, contemplation, ‘commoning’ and critical discussion.
  • ANA Local
  • ANA LOCAL is a track meant for resident artists, which emphasizes process-oriented studies of historical as well as current societal questions and issues.

Preservation Work

It’s still there. The sculpture studio in Rådmandsgade 34 on Outer Nørrebro in Copenhagen. The sculptor Astrid Noack (1888-1954) lived and worked here under very primitive conditions in the back building in the period 1936-1950. From here she fought her way up through the male-dominated art world of the time, and created some of her most significant works.

In 2010, the Foundation Rådmandsgade 34 was formed with the aim of gently restoring the studio. In September 2016, as the first important step in the Foundation’s work, the restoration of the part of the backyard where Astrid Noack lived and had a studio began. The restoration was realised with support from the New Carlsberg Foundation and was handled by architect Erik Brandt Dam.

Astrid Noack

Astrid Noack (1888-1954) is one of the twentieth century’s most significant Danish artists. As a sculptor she was inspired by the French tradition, which is characterised by frugality and scarcity of means, and by archaic sculpture. The figures stand in space and small displacements of movements gives life to the sculptures. The sculptures are built up from the inside, from where the displacements are propagated towards the surface and further into the room.

The association

Astrid Noack’s Atelier is an association of which you can be a member. Members and the board are made up of all sorts of people; artists, art historians, cultural workers and everyone who has an interest in ANA’s activities and in the preservation of the old historic building.

The association’s overall purpose is partly to work for the preservation and reuse of Astrid Noack’s Atelier in Rådmandsgade 34, and partly to continuously develop the space into a living platform for artistic experimentation, critical discussion and knowledge sharing.

Become a member

We need you if Astrid Noack’s Atelier is to be preserved and developed for posterity.

Annual fee

Personal membership: DKK 150.
Membership for associations: DKK 300.
Membership for companies/institutions: DKK 600.

Payment can be made at: Reg. No. 2109 and Account No. 6883606696

Remember to note your name and email when paying. And sign up for Astrid Noack’s Atelier newsletter.

Contact

  • Astrid Noacks Atelier
  • Rådmandsgade 34
  • 2200 København N

  • Director & curator
  • Kathrine Bolt Rasmussen
  • 22 30 80 91
  • kbr@astrid-noack.dk

The Board

  • Chairman
  • Victor Réne Valqui Vidal
  • 43 64 78 49
  • rvvv@dtu.dk
  • Boardmember & artistic director
  • Kirsten Dufour
  • 20 61 31 73
  • saas.dufour.andersen@gmail.com
  • Boardmember
  • Finn Thybo Andersen
  • 60 81 02 18
  • finnthybo@gmail.com
  • Boardmember
  • Rikke Diemer
  • 40 38 94 29
  • rikke.diemer@gmail.com
  • Boardmember
  • Mie Lund Hansen
  • 27 28 15 29
  • mielun@gmail.com
  • Treasurer
  • Helle Westergaard
  • 42 46 09 54
  • helle.hik@gmail.com