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
    • kbr@astrid-noack.dk

Current

ANA Local

VAV (Vida, Ana Pavlović & Vladimir Tomić) FABULA

22.09.23 - 22.10.23

All parents – and maybe especially parents like us – who were not born in Denmark, are often worried about how much the background and baggage we carry will affect our children, as well as how our stories and experiences will follow them throughout life. At the same time, we are aware that concepts such as bilingual, immigrant, second generation, third generation will influence our children in their upbringing no matter what. Children of parents with another ethnic background know that their parents come from another country, they overhear conversations and are also told stories at home about the parents’ past, about their family, about flight and about the homeland, but much of it is still intangible. Against the background of such fragments, they fantasize further – as children often do.

In the exhibition “FABULA” we examine, partly in a newly produced cut-out animated film and partly in a series of workshops, how children of parents with a different ethnic background experience the parents’ story of flight, migration and war. In the cut-out animated film, our daughter Vida take the lead role and tells our story from her own perspective, which raises questions such as: How is the children’s knowledge of the parents’ experiences manifested – consciously and unconsciously? How does their imagination connect with reality? That, for example, you mostly see your grandparents over Viber and have to fly to another country when you have to visit them? That you can’t quite communicate in a common language?

In combination with the newly produced film, a series of workshops for the children and their parents will be hosted in ANA, where we jointly try to ‘translate’ their experiences, thoughts and memories with the help of cut-out animation, which will afterwards be presented as an installation in the room. With the help of family photographs, drawings and the children’s own words and experiences, the exhibition thus moves between the near and the far, between child and parents at the same time as it addresses complicated issues in relation to whether the parents’ traumatic experiences can be observed in the children, and whether one can track and talk about a transgenerational trauma which children in different ways are processing.

Thanks to animator Kristian Nordentoft.

OPENING:

Friday September 22 from 4pm-7pm.

EVENT:

Saturday October 14th at 4pm there will be an artist talk with Vladimir Tomić and Ana Pavlović. In continuation of the family workshops held in the previous weekends, the two artists will present the cut-out material they have produced together with the children and their parents. More info to follow.

OPENING HOURS:

It is possible to see the newly produced cut-out animation film in connection with the two closed workshops on Saturday September 30th and Saturday October 7th, both days at 11am-4pm. The exhibition will also be open on Sunday September 24th at 1pm-3pm and Saturday October 21th at 1pm-5pm and by appointment (email: vladimirtomic80@gmail.com or ananico77@gmail.com)

The exhibition is supported by the Danish Arts Foundation.

BIO: Ana Pavlović (1977, SRB/DK) was educated at the Royal Danish Academy of Art in 2014. Her work is concerned with articulations of identity and cultural differences in the wake of globalization, as well as the role stories of ‘the other’ play in our collective conscious. Ana Pavlovic’s work has received several awards and is part of the State Museum of Art collection. She exhibits both in Denmark and abroad.

BIO: Vladimir Tomić’s art films belong in the field of contemporary art as well as experimental documentary. Often with an essayist approach, main themes in his productions are inspired by very universal and human tensions, for example between the individual identity and the changing structure of the society. Tomić’s work has been awarded and shown at Berlinale Forum, NY Anthology Film Archives, IDFA and many more. His work is included in the collection of the National Gallery of Denmark. In 2022 Tomić debuted with his first auto fictional novel at publishing house Gyldendal. Tomić is originally from Sarajevo. He graduated from The Danish Royal Academy of Fine Arts, 2009.

Events

Calendar

ANA Local

VAV (Vida, Ana Pavlović & Vladimir Tomić) FABULA

22.09.23 - 22.10.23

All parents – and maybe especially parents like us – who were not born in Denmark, are often worried about how much the background and baggage we carry will affect our children, as well as how our stories and experiences will follow them throughout life. At the same time, we are aware that concepts such as bilingual, immigrant, second generation, third generation will influence our children in their upbringing no matter what. Children of parents with another ethnic background know that their parents come from another country, they overhear conversations and are also told stories at home about the parents’ past, about their family, about flight and about the homeland, but much of it is still intangible. Against the background of such fragments, they fantasize further – as children often do.

In the exhibition “FABULA” we examine, partly in a newly produced cut-out animated film and partly in a series of workshops, how children of parents with a different ethnic background experience the parents’ story of flight, migration and war. In the cut-out animated film, our daughter Vida take the lead role and tells our story from her own perspective, which raises questions such as: How is the children’s knowledge of the parents’ experiences manifested – consciously and unconsciously? How does their imagination connect with reality? That, for example, you mostly see your grandparents over Viber and have to fly to another country when you have to visit them? That you can’t quite communicate in a common language?

In combination with the newly produced film, a series of workshops for the children and their parents will be hosted in ANA, where we jointly try to ‘translate’ their experiences, thoughts and memories with the help of cut-out animation, which will afterwards be presented as an installation in the room. With the help of family photographs, drawings and the children’s own words and experiences, the exhibition thus moves between the near and the far, between child and parents at the same time as it addresses complicated issues in relation to whether the parents’ traumatic experiences can be observed in the children, and whether one can track and talk about a transgenerational trauma which children in different ways are processing.

Thanks to animator Kristian Nordentoft.

OPENING:

Friday September 22 from 4pm-7pm.

EVENT:

Saturday October 14th at 4pm there will be an artist talk with Vladimir Tomić and Ana Pavlović. In continuation of the family workshops held in the previous weekends, the two artists will present the cut-out material they have produced together with the children and their parents. More info to follow.

OPENING HOURS:

It is possible to see the newly produced cut-out animation film in connection with the two closed workshops on Saturday September 30th and Saturday October 7th, both days at 11am-4pm. The exhibition will also be open on Sunday September 24th at 1pm-3pm and Saturday October 21th at 1pm-5pm and by appointment (email: vladimirtomic80@gmail.com or ananico77@gmail.com)

The exhibition is supported by the Danish Arts Foundation.

BIO: Ana Pavlović (1977, SRB/DK) was educated at the Royal Danish Academy of Art in 2014. Her work is concerned with articulations of identity and cultural differences in the wake of globalization, as well as the role stories of ‘the other’ play in our collective conscious. Ana Pavlovic’s work has received several awards and is part of the State Museum of Art collection. She exhibits both in Denmark and abroad.

BIO: Vladimir Tomić’s art films belong in the field of contemporary art as well as experimental documentary. Often with an essayist approach, main themes in his productions are inspired by very universal and human tensions, for example between the individual identity and the changing structure of the society. Tomić’s work has been awarded and shown at Berlinale Forum, NY Anthology Film Archives, IDFA and many more. His work is included in the collection of the National Gallery of Denmark. In 2022 Tomić debuted with his first auto fictional novel at publishing house Gyldendal. Tomić is originally from Sarajevo. He graduated from The Danish Royal Academy of Fine Arts, 2009.

ANA Local

Rikke Luther Mud in the Earth System

30.10.23 - 03.12.23

Mud in the Earth System follows up on Rikke Luther’s The New Mud, which was presented in ANA in 2021. In the first part, Luther through a series of research-based works illuminated, how new unpredictable weather caused by climate change – which relates to human activities – creates new unpredictable mud. In the second part, Luther continues her lengthy investigations into the movements of the mud.

The exhibition partly includes new textiles, stills and research material from the on-going work in relation to the art practice-based research project The Ocean-Lands: Mud Within the Earth System. And partly a work from the former project Concrete Aesthetics: From Universal Rights to Financial Post Democracy (2017-2021). The new work which examines the new ‘mud-scapes’ in Iceland, Greenland, Svalbard and the sea-scape from the perspective of Gotland thus focuses on the social and the political, as well on acceleration and the bio-chemical effects of the mud motion in the landscape – in the geosphere and the biosphere.

For millennia, static muds facilitated cultural exchanges across legal boundaries. Warming global temperatures result in their motion. Melting glaciers and inland ice result in mud. Ancient mud-flats and swamps reclaim space as human occupation recedes. Permafrost melts and sinks; land slips; lakes recede, and their beds collapse. Swelling muds slide toward the oceans, helping to facilitate the increasingly garbled circulations of the Earth System.

As part of the larger attempt to build a new ethical and aesthetic public language capable of communicating the crisis within the Earth System the exhibition explores the social-organisational effects of ocean-land muds in motion and the bio-communicative effects of the ocean-land muds in transition.

OPENING:

Friday November 3th at 4pm-7pm.

EVENTS:

Thursday November 23th at 5pm ANA invites you to the conversation ‘Death and life in mud, a split second of 2 million years’ between Rikke Luther and geochemist Karina Krarup Sand. More info will follow.

Rikke Luther’s current work explores the new interrelations created by environmental crisis as they relate to Earth System. Those relation compass themes related to landscape, language, politics, financialisation, law, biology, and economy, that expressed in drawn images, photography and film, which can then be investigated in pedagogical situations. Since the 32nd Bienal de São Paulo in 2016, Luther has been working solo. Prior to that, she worked exclusively in collectives, co-founding Learning Site (active 2004 to 2015) and N55 (active with original members 1996 to 2003). She defended the PhD Concrete Aesthetics: From Universal Rights to Financial Post-Democracy in 2021. It will be published in 2023 with extended texts by Esther Leslie and Jaime Stapleton. Luther is currently working on a postdoctoral, practice-based artistic research with the title The Ocean-Lands: Mud Within the Earth System at the Center for Macroecology, Evolution and Climate (CMEC), Globe Institute, Copenhagen University.

 

Past events

ANA Local

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

11.08.23 - 13.09.23

The exhibition is prolonged until Wednesday September 13th and can be visited by appointment (e-mail: joenvedel@gmail.com)

Peter Petersen (1953-2020) – a mourning play ACT IItakes its point of departure in the grief following my father’s death and everything about him that continues to live. Where ACT I of the mourningplay focused on his collapse and the system that took part in killing him, ACT II focuses on the minutes, hours, days, weeks, and months that have passed since he died. Today, almost 3 years have passed and during that time, I have become a father myself. Therefore, ACT II is not only about the loss, but also about fatherhood and about giving a new form to that which my father left behind.

On a Saturday morning at the end of September 2020, my father fell to the ground at Hvidovre Hospital and died. The last 15-20 years of his life were marked by depression, unemployment, illness, social isolation, severed opioid- and alcohol abuse, a prison sentence, an economy in ruins, and a life on the edge and bottom of Danish society. My father belonged to the 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 disempowerment. The story of my father’s collapse is also the story of a society that damages the weak, the sensitive, the thoughtful, the poor, those who don’t fit in.

In addition to a huge debt and a dilapidated wooden house, my father left behind large amounts of boxes of things that he had found in the trash, objects that no one else saw any value in anymore. He took care of the things, dusted them off, cleaned them and repaired what he could, not to own them, but to give them a new life, another chance. He seemed convinced that the objects found contained a deeper knowledge, that beneath the surface lay something hidden and unique. He collected things because he was searching for something, something that could help him in some way. The objects in his collection gave him a kind of security that he lacked. Collecting things, the way my father did, was a struggle in solidarity with everything overlooked and a practice full of dreams and magic.

The mourning play is a dramatic genre within baroque tragedy, where death and grief are the central figures: here the decay of humans and nature is in focus, language is fragmented, and everything appears fragile and wavering. By leaning into this form, I allow myself to continue to dwell on what still lingers on. Two years after ACT I, I once again invite the audience into my mourning process, in an attempt to de-individualize my mourning. Because the mourning is not only mine, all forms of loss also contain a political dimension. The great taboo that surrounds death, means that mourning gets privatized and made into something that you must get over quickly. But I still don’t need to get over the loss and let his life fade away in silence. By creating an exhibition exclusively with objects from his collection, I want to reflect on what my father has left behind and what I want to pass on.

OPENING:

Friday 11 August from 4pm-7pm

OPENING HOURS:

Saturdays and Sundays from 1pm-5pm or by appointment (e-mail: joenpvedel@gmail.com)

EVENTS:

Saturday 26 August at 3pm: Artist talk and reading with Joen Vedel (in Danish). More info to come.

Thursday 31 August at 7pm: ”I kan ikke slå os ihjel” –  a conversation with my father’s old comrades and collaborators, Poul Panik og John Mülich, on artist collectives, action-theater, and political struggles in Nørrebro during the 1970’s (in Danish). More info to come.

BIO: Joen Vedel is a visual artist, writer and researcher, educated at the Royal Danish Academy of Fine Arts, Whitney Independent Study Program in New York and currently a PhD fellow at the Academy of Fine Arts in Trondheim. Vedel primarily works with video, sound, text, performance and in various forms of collaboration. His practice revolves around the representation of smaller and larger political events and the possibilities of grasping them as they unfold. Vedel has exhibited widely internationally and most recently partcipated in Documenta 15, as well as in various self-organized exhibition venues and temporary institutions. 

The exhibition is supported by the Danish Arts Foundation and OCA – Office for Contemporary Art Norway.

ANA Children

Tina Helen & Misja T. Krenchel Building Blocks

01.05.23 - 30.06.23

Building Blocks is a project by Tina Helen and Misja T. Krenchel in collaboration with ANA’s mobile children’s studio, the Staffed Playground in Bispeengen and children, young people, residents and institutions in and around the neighborhood of Lundtoftegade.

With a starting point in the large public housing blocks in the residential area in Lundtoftegade, Building Blocks will investigate concepts such as home, recognition and belonging, as well as scale and perspective from a child’s view. As a child, things are perceived as bigger than they are and down between the high-rise buildings, you easily lose sight of the overview. In Building Blocks the iconic apartment blocks in Lundtoftegade will be recreated as wooden models and, starting from the body-sized models, an investigative playful game begins with the area’s identity markers, hierarchies, affiliations, forms of organization and storytelling. The children will have the opportunity to investigate the relationship between bodies and buildings in the city and play with imaginations of what the home, the buildings and the area could look like. New connections can arise when the blocks are put together in new ways, processed, arranged and viewed from other angles, thereby unfolding a new space of understanding and opportunity in the experience of a habitat.

Through a series of workshops aimed at children and young people in and around Lundtoftegade, the models are examined, furnished and decorated. Through modelling, castings and drawing the children will produce fixtures and creatures that can inhabit the apartment blocks. Toy animals, action heroes, sand, grass and flowers are included in the construction and the children will have the opportunity to visualize imaginative future scenarios.

The project is supported by the Danish Arts Foundation, Byens Puls and Paint it Forward.

ANA Air

Emma Hedditch & Jamie Chan Studio Visits

29.05.23 - 20.06.23

Emma Hedditch and Jamie Chan are two artists based in Brooklyn who are invited to attend a residency at ANA.

During their time in Copenhagen, they are planning to use the ANA studio space to create a new series of drawings, as an extension of their inquiry into the function of a studio in a city. In addition, they will make studio visits with artists in Copenhagen as a time to learn about their work and about the places where artists work, both in their location in the city, the buildings they are part of, and in their interiority, as a place to practice creative work and reflect and build extensions of ourselves using different materials.

BIO: Jamie Chan (b. 1984, Pittsburgh, U.S.A) is an artist based in Brooklyn. Most recently her paintings have been shown at Latitude Gallery, NYC; Dunes.fyi, Portland, ME; Tif Sigfrids, NYC; and Essex Flowers, NYC, where Chan has also curated shows and other programming. In 2018, Chan coauthored a text about an exhibition of paintings shown inside a Chinatown mall. Her writing has also appeared in the collection This Long Century. She received her BFA from UCLA in 2006 and her MFA in painting from Bard College in 2013. Jamie has experience in arts administration and working together with artists to run a gallery.

BIO: Emma Hedditch (b.1972, U.K) is an artist living in New York. Their video work includes Self-Regulating Systems (2016), A Pattern, (2014), We Are The Signs And The Signal (2008), Visual Pleasure and Narrative Cinema (2007), and Raising A Resister (2000). These videos have been screened at the Oberhausen Film Festival, The Elizabeth Foundation, New York, Goethe Institute, New York, MACBA, Barcelona, Artists Space, New York, Haus der Kunst, Munich. Emma is a director at Cinenova, a feminist film and video distributor in London (1999–present), and Coop Fund an experimental funding cooperative (2018- present). They participated in The Copenhagen Free University (2001 – 2008).

ANA Air

Geir Tore Holm & Søssa Jørgensen Bird Life part II: 2022-23

24.04.23 - 22.05.23

The Danish Art Workshops, April 2022

ANA, April 2023

During their first stay in ANA in the spring of 2022 Søssa Jørgensen og Geir Tore Holm initiated studies of the local environment and the bird life in the area in collaboration with ornithologists and others with an interest in birds in the city. Inspired by the new housing complexes around ANA as well as historic nest boxes, Jørgensen and Holm collected recycled materials on Ydre Nørrebro from which they have built a sculptural nest box, which will be installed on the roof of ANA in April 2023. During the artists’ subsequent stay in May 2023, the nest box will be the location for a new film about how the area’s birds such as swifts, despite the newly constructed buildings and other measures – which are supposed to prevent their free activity – continue to fly around and settle down.

BIO: Geir Tore Holm and Søssa Jørgensen graduated from the Academy of Fine Arts in Trondheim in 1995. Alongside their individual practice, they teach contemporary art. In 1993, they started Balkong, using their apartment as an exhibition space, which raised questions about what art can be. These home-based experiences led to wider activities. In 2003, together with the two Thai artists Kamin Lertchaiprasert and Rirkrit Tiravanija, they started Sørfinnset skole/ the nord land in Gildeskål, Nordland, with a focus on topics such as use og nature and knowledge sharing. From 2010, their focal point and place of work and residence has been the farm Øvre Ringstad in Østfold.

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. 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 is supported by

Overretssagfører L. Zeuthens Mindelegat

page1image47057136 page1image47057344 page1image47055264
page1image47055472 page1image47055680

 

  • 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.

[responsive-slider id=185]

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
  • 27 28 15 29
  • mielun@gmail.com
  • Treasurer
  • Helle Westergaard
  • 42 46 09 54
  • helle.hik@gmail.com