ASTRID NOACKS ATELIER

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.

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

Current

ANA Air

Seçil Yersel and Özge Açıkkol Traveling with and Surrounding Astrid Noack

08.11.21 - 28.11.21

Since their first residency in Astrid Noack’s Atelier in 2013 the two artists Seçil Yersel and Özge Açıkkol from Turkey have been preoccupied with the work and life of Astrid Noack. During their stay in ANA in November they will gather their experience with Noack around the question; “How to read Astrid Noack”.

When you look at Astrid Noack in the linear chronological art history context you get an overall impression of her and of her production. What Seçil Yersel will try to do is to make a “circular-affect based history reading”, where she will come close to places and people that were not in the circle of Noack; from different time periods and geographies. So, the interpretation of Noack together with Yersel’s personal mapping of other women figures both from Istanbul and other cities, forms and stories will hint the potentiality of the “affect power”.

Özge Açıkkol will investigate both what physically surrounds the sculptress herself and her studio. As a reaction to Seçil Yersel’s insight/inside curiosities, she will construct a diary from Astrid Noack’s voice and perspective trying to imagine the past time and space in which Astrid Noack has lived. In her essay Why Have There Been No Great Women Artists? the art historian Linda Nochlin writes that “In every instance, women artists and writers would seem to be closer to other artists and writers of their own period and outlook than they are to each other.” Following this very critical aspect in art history, Açıkkol’s intention is to try to formulate connections between herself, Astrid Noack and other women artists and search for another type of relational surrounding for her, based on her artistic intelligence and horizon.

On Saturday 27 November at 14.00 – 16.00 the two artists are inviting you for “a walk and a look” that will start and end at ANA. After a short introduction to the performative walk, we will stroll around with guidance following some of the imaginary routes that Astrid Noack’s might have moved along. Together in silence we will experience some pieces of works, corners, spots and things in “sustained attention”. Coming back to ANA we will share the experiences around the table while Astrid Noack’s “Young Man Planting a Tree” will witness the process from the corner of the room.

 

Özge Açıkkol and Seçil Yersel are co-founders of the artist collective Oda Projesi (2000) together with Güneş Savaş. Besides their collective work they work individually.

Seçil Yersel has a background in sociology and art. She works with photography + text + sound and her main concern is to capture the potentials of the in-between space and focusing on the present moment and memory; with a therapeutic approach she makes montages and uses different exhibition methods including performative talks.

Özge Açıkkol works at the intersection of art, socio-spatial practices, literature, and pedagogy. She is a collector of situational usages of İstanbul’s public spaces and she is in search of alternative pedagogies related with those spatial practices. Since 2013, with Oda Projesi she questions the transformatory capacity of ‘the artist mother’. Hence, she is interested in reclaiming the fundamental and invisible act of “caring” as a support structure in the public sphere beyond its trapped interpretations in the private.

Oda Projesi is an artist collective based in Istanbul. It was founded by Özge Açıkkol, Güneş Savaş and Seçil Yersel who turned their collaboration into a project in 2000. From January 2000 their space in Galata functioned as a non-profit independent space, hosting projects, gatherings and acts up until 2005, when Oda Projesi was evicted from the apartment due to gentrification. Since 2005 Oda Projesi continues to work with different mediums and create spaces for meetings and gatherings.

Events

Calendar

ANA Local

Rikke Luther The New Mud

03.12.21 - 20.12.21

Screenshot of Google Satellite Map, Kangerlussuaq area, 2021

Rikke Luther: Missing Atmospheric Ice Crystal, 2021

New, unpredictable weather, caused by the climate changes related to human activities, creates new, unpredictable muds. Older more stable habitats are threatened. In 2021 the journal “Nature: Geoscience” published a new study on the effect of climate breakdown on the Atlantic Meridional Overturning Circulation. The AMOC is at its weakest for a thousand years, ultimately threatening the Gulf Stream that regulates temperatures in the northern hemisphere. Increased heatwaves in Europe and storms on eastern seaboard of north America will increase mud-flows in some areas, while hardening muds in others, effecting tree cover and vegetation vital to the carbon cycle.

To predict future patterns, scientists collect proxy data gleaned from ancient sedimentary muds and ice-cores in Greenland, as if the past is returning to regain control of an unpredictable future. Nations may be defined by their laws, but ecosystems and muds do not obey laws or boundaries. A new way of thinking is needed.

The unpredictability of The New Mud forms the basis of Rikke Luther’s exhibition project in ANA. The work stems from i.a. of a recent stay in Kangerlussuaq in Greenland and at Narsaq International Research Station. On the basis of a spatial presentation of Luther’s preliminary studies and a number of artistic outputs in the form of e.g. clay, mud and textiles as well as other material in process, film screenings and a conversation will be held from 3 December to 17 December. This program follows.

The New Mud is part of an ongoing artistic research project Digital Materialities at The Royal Danish Academy of Fine Arts, which invites artists and researchers to think collectively from and about the materials on the basis of which we build our allegedly immaterial digital life.

Rikke Luther’s current work explores the new interrelations created by environmental crisis as they relate to landscape, language, politics, financialisation, law, biology and economy, expressed in drawn images, photography, film, and pedagogical strategies. Since her participation in the 32nd Bienal de São Paulo in 2016 she has been working solo. Prior to that, Luther worked exclusively in art collectives. She was a co-founder of Learning Site (active 2004 to 2015) and of N55 (active with original members from 1996 through to 2003). In 2021 Luther defended the PhD Concrete Aesthetics: From Universal Rights to Financial Post-Democracy. It will be published in 2022 with extended texts by Esther Leslie and Jaime Stapleton.

The exhibition is supported by the Danish Art Foundation and the Danish Art Workshops.

ANA Local

FACTORY WORKERS UNITE (Tina Helen & Søren Thilo Funder) Lights-out Factory

28.02.22 - 10.04.22

 

Past events

ANA Air

Seçil Yersel and Özge Açıkkol Traveling with and Surrounding Astrid Noack

08.11.21 - 28.11.21

Since their first residency in Astrid Noack’s Atelier in 2013 the two artists Seçil Yersel and Özge Açıkkol from Turkey have been preoccupied with the work and life of Astrid Noack. During their stay in ANA in November they will gather their experience with Noack around the question; “How to read Astrid Noack”.

When you look at Astrid Noack in the linear chronological art history context you get an overall impression of her and of her production. What Seçil Yersel will try to do is to make a “circular-affect based history reading”, where she will come close to places and people that were not in the circle of Noack; from different time periods and geographies. So, the interpretation of Noack together with Yersel’s personal mapping of other women figures both from Istanbul and other cities, forms and stories will hint the potentiality of the “affect power”.

Özge Açıkkol will investigate both what physically surrounds the sculptress herself and her studio. As a reaction to Seçil Yersel’s insight/inside curiosities, she will construct a diary from Astrid Noack’s voice and perspective trying to imagine the past time and space in which Astrid Noack has lived. In her essay Why Have There Been No Great Women Artists? the art historian Linda Nochlin writes that “In every instance, women artists and writers would seem to be closer to other artists and writers of their own period and outlook than they are to each other.” Following this very critical aspect in art history, Açıkkol’s intention is to try to formulate connections between herself, Astrid Noack and other women artists and search for another type of relational surrounding for her, based on her artistic intelligence and horizon.

On Saturday 27 November at 14.00 – 16.00 the two artists are inviting you for “a walk and a look” that will start and end at ANA. After a short introduction to the performative walk, we will stroll around with guidance following some of the imaginary routes that Astrid Noack’s might have moved along. Together in silence we will experience some pieces of works, corners, spots and things in “sustained attention”. Coming back to ANA we will share the experiences around the table while Astrid Noack’s “Young Man Planting a Tree” will witness the process from the corner of the room.

 

Özge Açıkkol and Seçil Yersel are co-founders of the artist collective Oda Projesi (2000) together with Güneş Savaş. Besides their collective work they work individually.

Seçil Yersel has a background in sociology and art. She works with photography + text + sound and her main concern is to capture the potentials of the in-between space and focusing on the present moment and memory; with a therapeutic approach she makes montages and uses different exhibition methods including performative talks.

Özge Açıkkol works at the intersection of art, socio-spatial practices, literature, and pedagogy. She is a collector of situational usages of İstanbul’s public spaces and she is in search of alternative pedagogies related with those spatial practices. Since 2013, with Oda Projesi she questions the transformatory capacity of ‘the artist mother’. Hence, she is interested in reclaiming the fundamental and invisible act of “caring” as a support structure in the public sphere beyond its trapped interpretations in the private.

Oda Projesi is an artist collective based in Istanbul. It was founded by Özge Açıkkol, Güneş Savaş and Seçil Yersel who turned their collaboration into a project in 2000. From January 2000 their space in Galata functioned as a non-profit independent space, hosting projects, gatherings and acts up until 2005, when Oda Projesi was evicted from the apartment due to gentrification. Since 2005 Oda Projesi continues to work with different mediums and create spaces for meetings and gatherings.

ANA Local

Joen Vedel Peter Petersen (1953-2020) – a mourning play

02.10.21 - 24.10.21

Peter Petersen (1953-2020) – a mourning play, takes its starting point in my father’s life and death, as well as the system that took part in killing him.

On a late Saturday morning at the end of September last year my father collapsed and died, just 67 years old. The last 15-20 years of his life were marked by depression, unemployment, illnesses, social isolation, severe opioid- and alcohol abuse, a prison sentence, an economy in ruins, and a life on the edge and the bottom of Danish society. My father belonged to that category of people that society no longer needs. He was declared a surplus citizen, an abject-subject, unproductive and reduced to a body that simply needed to be administered, through additional medication and disqualification. In addition to a huge debt and a broken-down house, he left behind large amounts of boxes full of objects he had found in the trash – everything from porcelain figures to old film projectors, things that no one saw any value in any longer. This collection of fragments from his life, his material leftovers, is the framework of the exhibition, which will take the form of several performances in Astrid Noacks Atelier.

The mourning play (’Trauerspiel’) is a dramatic genre within the baroque tragedy, where death and mourning are the main protagonists: here the decay of humans and nature are in focus, the language gets fragmented and everything appears already as a ruin, or in the process of becoming one. By leaning into this tragical theater-form I allow myself to dwell on that which is decaying, on that which is no longer. By staging my father’s life and death, I want to invite the audience to take part in the mourning-process in order to de-individualize the grief. For the mourning is not only mine, every loss also contains a political dimension. The great taboo that surrounds death, means that grief gets privatized and made into something you must get over quickly. But I do not need to get over my loss and I will not let my father’s life disappear into silence. By creating a space around his death and the anger and loneliness that simmers in my grief, I want to open up a discussion of what constitutes a mournable life.

Opening: Saturday 2 October from 16-21 with performances at 16:30, 18:00 and 19:30.

There will also be performances:

Sunday 3 October at 16:30, 18:00 and 19:30.

Wednesday 6 October at 16:30, 18:00 and 19:30.

Thursday 7 October at 16:30, 18:00 and 19:30.

Friday 8 October at 16:30, 18:00 and 19:30.

Saturday 9 October at 16:30, 18:00 and 19:30.

Registration is required at: kbr@astrid-noack.dk. You are also welcome to show up and get a free seat if there is one. The duration of the performance is approx. 40 min. There is free admission and seats for a maximum of 10 people at a time.

NOTE! After 9 October and until 24 October, the exhibition will consist of a video documentation of the performance.

The video documentation is open:

Saturday 16  and Sunday 17 October at 13-16

Sunday 24 October at 13-16.

Trailer: https://player.vimeo.com/video/609739528?h=e05d2c7f4e

 

The exhibition is supported by The Danish Art Foundation and the Danish Art Workshops.

ANA Children

Pelle Brage The Border – A Social Sculpture Experiment

06.09.21 - 26.09.21

Pelle Brage has been invited to develop a new social art project in ANA’s mobile children’s studio at Den Bemandede Legeplads in Mimersparken on Nørrebro. Under the title “The Border. A Social Sculpture Experiment”, the project in a critically playful way invites children and young people to discuss our society and the world we live in.

With a focal point in a sculptural installation consisting of a fence and a border barrier, the project investigates and further develops this temporary border. It’s about rules – why some can get through and others not. Does a visa require any specific actions? Or are there any questions you need to answer to pass the border? Do you have to be approved by the children?

The idea of ​​”The Border. A Social Sculpture Experiment” is to bring together a group of children and young people in a creative activity where the content is developed at a children’s level. This in a local area, where the children, in continuation of current initiatives and legislation (such as the ghetto law), are confronted on a daily basis with issues of discrimination and unequal access to common resources on the basis of ethnicity and nationality.

The project is supported by Huskunstnerordningen (the Danish Art Foundation)

ANA Local

Acts of Listening: A Common Attempt to (Re)Articulate a Feminist Position

10.09.21 - 26.09.21

Acts of Listening: A Common Attempt to (Re) Articulate a Feminist Position is based on the feminist video archive Let Us Speak Now, which was initiated by Kirsten Dufour and Andrea Creutz in 2002. The unfinished archive, where new voices are constantly being included, consists of more than 100 filmed interviews with artists and cultural workers from countries such as the United States, France, Armenia, the United Kingdom, South America, India and Denmark. Across generations, the archive illuminates and maps how feminist strategies have evolved over the years and how art, activism and feminism form a diverse field.

Inspired by the archive’s position of ‘listening’, and it’s polyphonic and collective method, Acts of Listening is conceptualized as a series of consecutive “files”, where the audience is invited to take part in the process when Let Us Speak Know is once again activated. With a focus on selected interviews in combination with contextualizing material and newly produced interviews, each file step by step illuminates the questions and obstacles that feminism currently faces.

The first file which is opened in ANA, and which revolves around the American part of the archive, will resemble a ‘work-archive’, where the process is in focus. In this first moment, a provisionally spatial presentation forms a framework around a series of conversations and events that provide space for collective discussion about ephemeral archives and the position of feminism today. These are arranged by visual artist Nanna Katrine Hansen and the feminist working group Ecstatic Feminists, which consists of Marie Louise Krogh, Misja Thirslund Krenchel, Merete Enggaard Jakobsen, Anna Baagø, Hannah Lutz, Kirstine Nordentoft Mose, Anne Louise Fink and Thea von der Maase.

The project is organized by curator Johanne Løgstrup, visual artist Pia Rönicke, art historian Karen Mette Fog Pedersen and curator Kathrine Bolt Rasmussen.

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 2021 is supported by

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Logo-Nørrebro-lokaludvalg

 

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  • 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 Mimersparken 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

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.

Det ligger der endnu. Billedhuggeratelieret i Rådmandsgade 34 på Ydre Nørrebro i København. Her boede og arbejdede billedhuggeren Astrid Noack (1888-1954) under meget primitive forhold i baghuset i perioden 1936-1950. Herfra kæmpede hun sin vej op gennem tidens mandsdominerende kunstverden, og skabte nogle af sine betydeligste værker.

I 2010 blev Fonden Rådmandsgade 34 dannet med det formål, nænsomt at restaurere atelieret. I September 2016 påbegyndtes, som det første vigtige skridt i Fondens arbejde, restaureringen af den del af baggården som Astrid Noack boede og havde atelier i. Restaureringen realiseres med støtte fra Ny Carlsbergfondet og varetages af arkitekt Erik Brandt Dam.

Astrid Noack

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.

Astrid Noack (1888-1954) er en af det tyvende århundredes betydeligste danske kunstnere, og som billedhugger var hun inspireret af den franske tradition, gennem sin lærer på Maison Watteau, Charles Despiau, som er karakteriseret ved nøjsomhed og knaphed i midlerne og med forbillede i den arkaiske skulptur. Figurerne står i rummet og med små bevægelser skabes forskydninger, der giver skulpturen liv. Skulpturerne er bygget op indefra, hvorfra forskydningerne forplantes ud mod overfladen og videre ud i rummet.

The association

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.

Astrid Noacks Atelier er en forening, som du kan blive medlem af. Medlemmer og bestyrelsen består af alle mulige folk; både af kunstnere, lokale beboere, kulturformidlere og alle der har en interesse i ANAs aktiviteter og bevarelse.

Foreningens overordnede formål er at arbejde for en bevarelse og genanvendelse af Astrid Noacks Atelier i Rådmandsgade 34 for på sigt at udvikle stedet til et nyt kunst- og kulturmiljø for og med lokale beboere.

 

Bliv medlem

Hvis Astrid Noacks Atelier skal bevares og udvikles for eftertiden, har vi brug for dig.

Årligt kontingent

Personligt medlemskab: 150 kr.
Medlemskab for foreninger: 300 kr.
Medlemskab for firmaer/institutioner: 600 kr.

Der kan indbetales på: Reg. nr. 2109 og Konto nr. 6883606696

Husk at notere navn og email ved betaling. Og tilmeld jer Astrid Noacks Ateliers nyhedsbrev.

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