Current

ANA Air

Oscar Lara Corónica Redistributed

11.08.25 - 07.09.25

Oscar Lara’s project Corónica Redistributed is based on the Inca manuscript El primer nueva corónica y buen gobierno, which is in the collection of the Danish Royal Library. The 17th-century manuscript addresses the Spanish king to ask the Spanish colonial power to relinquish its control over the South American indigenous peoples and their lands. Corónica bears witness to the struggle of colonised indigenous peoples for the right to self-determination and highlights how this struggle remains a radical and utopian vision in a time when the neocolonial extractive logics of capitalism have abstracted the relations of exploitation. During the exhibition period, Lara will investigate what it means to re-actualise the demands of the script by addressing questions of repair and restitution in different graphic formats.

BIO:

Oscar Lara is a visual artist based in Stockholm and Lima. Drawing on social practices, Lara explores the relationship between art and structural change by looking at how recontextualising cultural materials can activate decolonial struggles.

The project is part of roda – soft water on hard stone and curated by Katarina Stenbeck and Carla Zaccagnini. It is supported by the Bikuben Foundation (The Vision Exhibition Award) and the Danish Arts Foundation.

Events

Calendar

ANA Air

Oscar Lara Corónica Redistributed

11.08.25 - 07.09.25

BIO:

Past events

ANA Forum

David Torstensson För sen ankomst 1: Att ha rätt

28.06.25 - 29.06.25

ANA and the text collective Fredag Aften are pleased to present a screening of the essay film Att ha rätt (English: To Be Right) from 2023 by the Swedish visual artist David Torstensson. The film will be accompanied by an installation at ANA. After the screening, Fredag Aften invites you for some food and a conversation about some of the film’s themes.

The following day, Torstensson will invite you to a drawing workshop about weight, lightness, work and rest based on some of the objects that appear in the film. There will be an opportunity to watch the film before and after the workshop.

In Att ha rätt, a father’s involvement in a small communist vanguard party is placed in relation to his free church background. The film portrays both a personal grieving process and suggests a different political legacy than the father’s intended one. Is there/there anything to learn for collective practice today?

Att ha rätt is the first part of a two-part essay film project entitled För sen ankomst (English: Tardy Arrival), which takes as it´s starting point individual examples of Christian and communist organizing in the context of the southern Swedish region of Småland. The second part, with the working title Läsesällskapet (English: The Reading Community), examines through theater-based processes collective closeness and distance in a small Christian revival that at the end of the 18th century is said to have collectivized their belongings in order to serve God full-time. För sen ankomst 2 (English: Tardy Arrival 2) will be presented at a later date.

PROGRAMME

Saturday, June 28

6 pm – Door opens

6.30 pm – Introduction and screening

7.30 pm – Food and conversation

Sunday, June 29

11 am to 4 pm – Video installation open

12.30 pm to 3 pm – Drawing workshop

BIO: David Torstensson (b. 1987) lives in Malmö and works as an artist and pedagogue. He is educated at the Oslo Academy of Fine Arts, Malmö Academy of Fine Arts and the Stockholm School of Art and Design. Torstensson primarily works with slow, research-based film processes and collective, situation-based art practice – preferably in collaborative constellations.

BIO: Friday Evening met every Thursday for a few years to produce a digital weekly newsletter of the same name. Since then, they have published forewords and translations as well as irregularly organized public programs and discussions.

The events at ANA are realised with funding from Nordic Culture Point

ANA Air

Hanni Kamaly Object/Other

19.05.25 - 26.06.25

During their two-part residency in ANA, Hanni Kamaly will to work on a project with the working title Object/Other. The project is an artistic exploration of the historical interplay between research, politics, museology and art, with the aim of showing how these elements together constituted a form of knowledge production that has left traces in our contemporary visual and material culture. The project is based on research into the use of visual media, photographs and sculptures in the representation of ‘races’ and how this helped shape the political landscape.

Art from antiquity was seen as beautiful and as an expression of a higher civilisation more developed than other “races”, and Greek sculptures from antiquity were used to assert the superiority of the “white race”. The white marble became a symbol. A comparison between Greek sculptures and the white or Nordic was also used in theories of phrenology and skull measurements. This later found its counterpart in ethnographic sculptures. Artworks created to present and illustrate differences between the so-called ‘human races.’ Several sculptors were active in this type of artistic practice. Among them was Ellen Locher-Thalbitzer, daughter of the painter Carl Locher, married to the ethnographer William Thalbitzer and contemporary with Astrid Noack. Together with her husband, she travelled to Greenland, where she sculpted several portraits and works of art.

FILM SCREENING & CONVERSATION:

On Thursday 26th June at 5pm we will be showing Hanni Kamaly’s HeadHandEye (2017-2018), In this video work Kamaly interweaves images and stories in associative thought chains that reveal how power has always been exercised by controlling and dehumanising the body of the other. The French psychoanalyst Jacques Lacan (1901–1981) claimed that infants initially experience their body as separate parts but that the brain, in the mirror stage, connects the fragmented body into a whole, and that this is when the Subject emerges. Kamaly’s film shows the reverse course of events, namely how the Subject is torn to pieces and becomes an Object at the mercy of authority. The title of the film names three parts of the body that are vital to our ability to manifest ourselves in the world –head, hand and eye. Throughout the ages, these body parts have been severed as punishment for breaking the rules and challenging the rulers.The fragmented body can then be used in the ensuing process of dehumanising.

After the screening, Hanni Kamaly will have a conversation with critic Frida Sandstrom about the research on Ellen Locher-Thalbitzer, a project that weaves together visual culture, ethnography, and history with the aim of addressing patriarchal, colonial, and racist structures that still exist today.

There will be wine and snacks after the talk.

BIO:

Hanni Kamaly (b. in Hedmark, 1988) is a research-based artist based in Malmö. Kamaly’s practice uncovers narratives of subject making through sculpture, film and performance. Kamaly intervenes into racial and colonial history to emphasise moments of dehumanisation and the construction of the Other.

Frida Sandström is a critic and PhD fellow in Modern Culture at the Department of Arts and Cultural Studies at the University of Copenhagen. Sandström teaches art history and critical theory at several Scandinavian universities and art academies. Her research particularly focuses on feminist collaborative practices.

The project is supported by the Danish Arts Foundation.

ANA Local

Maia Torp Neergaard Reflections on soil and agriculture

03.04.25 - 09.05.25

The project Reflections on soil and agriculture began in 2015 when I met John Eriksen, a conventional farmer in Djursland, Jutland. Through farm work and afternoon coffee, I became part of the community around his farm and made a film portrait of him. In Part I of this exhibition project, I explore how we talk about a difficult and emotional subject like farming across rural and urban areas, across generations and national borders. Through newly produced works centered on analogue film and interviews with the farmers, I reflect on how farmers relate to the land and their work to create produce in the midst of a biodiversity and climate crisis.

Throughout the exhibition period, I will open up ANA with the aim of creating dialogue between farmers and visitors. Partly through a dialogue event, through communal meals and a letter-writing workshop, where the focus is on writing letters from the city to the countryside.

Everyone is warmly welcome.

OPENING HOURS:

Open every Wednesday, 3-6pm.

Friday April 11th 4-7pm.

Saturday April 19th 1-4pm.

Sunday April 27th 1-4pm.

PROGRAM:

Thursday April 3th: Opening 5-8pm.

Saturday April 5th 5pm: Dialogue event between contributing farmers and visitors. The exhibition opens at 3.30pm.

Wednesday April 23th 7-9pm: Letter writing workshop from the city to the countryside.

Friday May 2th 7-10pm: Film screening and communal dinner in cooperation with the film collective BeforeForgetting.

All events are free.

BIO:

Maia Torp Neergaard, she/her.

I grew up in a suburb of Copenhagen. Collectivist, artist and filmmaker.

I’m trying to give as much space to people, animals and plants around me as possible.
I’m grateful for all the help that both known and unknown people give me daily. Trying to give back.

Many thanks to all the people and animals involved.

Reflections on soil and agriculture is supported by the Danish Arts Foundation, Nordic Analog Network, Nørrebro Local Committee and Astrid Noack’s Atelier.

ANA Local

Jan Danebod, Louisa Yaa Aisin, Andreas Haglund, Lone Aburas, Luka Holmegaard og Jonas Eika In Solidarity with Palestine: performance and reading, 5-7.30pm

26.03.25

On March 26th, we will open Astrid Noack’s Atelier and start the event series In Solidarity with Palestine. This Wednesday evening we invite you inside for performances and readings of the new newspaper piece Falestin Post, made by Jan Danebod. There’ll be dinner and drinks to buy – and of course the newspaper. The money will go towards making the next event, which will be an exhibition of works by Palestinian artists.

Artists Louisa Yaa Aisin and Andreas Haglund, as well as authors Lone Aburas, Luka Holmegaard and Jonas Eika will perform and read from the newspaper during the evening.

‘’FalestinPost ‘’ is based on artistic work and research conducted over the last five years by Jan Danebod.

‘’Based on travelling in the occupied Palestinian territories and the occupied Golan in Syria, I have developed a number of projects with different kinds of character. The works in the newspaper examine how, using language as a lever, we have succeeded in establishing a precedent in the international world order, where international law is deliberately ignored for the Palestinians in order to legitimise and maintain Jewish-Israeli state power and occupation.

– Jan Danebod

In Solidarity with Palestine is organised by a group from Cultural Workers for a Free Palestine. We want to focus on and show art and culture from and about Palestine.

Everyone is warmly welcome.

The event is held in Danish.

See full archive

About ANA

Photo: Laura Stamer.

ANA is an independent, non-profit space for artistic experimentation, knowledge sharing and community building in Outer Nørrebro in Copenhagen. It is housed in the former studio of Danish sculptor Astrid Noack. ANA’s mission is to use art as a critical pedagogical tool to influence the surrounding society and move it in a more sustainable direction.

ANA was established in 2009 and has a background in the activist artist collective YNKB (Ydre Nørrebro Kulturbureau). ANA’s programme consists of four strands: ANA Local, ANA Air, ANA Children and ANA Forum. These refer Astrid Noack’s everyday life and artistic work in her studio from 1936-1950, where social and professional exchanges with neighbours and artists from near and far were part of everyday life. ANA’s cross-aesthetic programme connects the history of the space with a desire to jointly develop the place, which as a result of gentrification is left isolated, cut off from its former 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 that have helped to support and develop the space over the years. ANA’s institutional modus operandi is rooted in a principle of repetition, slow (research) processes, knowledge sharing and collective (un)learning. To allow artists and curators to develop projects over several years and get to know the site and the surrounding rapidly gentrifying neighbourhood – which used to be a typical working-class neighbourhood – we emphasise inviting them several times, so they can continue their research and conversations over time. This is with a desire to keep things moving, to prioritise process over outcome and to function as a responsive, self-critical and relational art space.

In the coming years, we will further emphasise commoning and collective (un)learning. Practices that go against the productivity and growth-oriented values that characterise the surrounding capitalist society. We want to gradually slow down 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 central.

ACCESS NOTE:

ANA is wheelchair accessible and admission to our exhibitions and activities is always free.

COLLABORATION PARTNERS:

PASS – Center for Practice-based Art Studies, University of Copenhagen

roda – soft water on hard stone (Katarina Stenbeck & Carla Zaccagnini)

SUPPORTED BY:

Overretssagfører L. Zeuthens Mindelegat

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.

Current

Oscar Lara Corónica Redistributed

Events

Calendar

Oscar Lara Corónica Redistributed

Past events

David Torstensson För sen ankomst 1: Att ha rätt

Hanni Kamaly Object/Other

Maia Torp Neergaard Reflections on soil and agriculture

Jan Danebod, Louisa Yaa Aisin, Andreas Haglund, Lone Aburas, Luka Holmegaard og Jonas Eika In Solidarity with Palestine: performance and reading, 5-7.30pm

About ANA

Preservation Work

Astrid Noack

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