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.

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.

Fredag d. 30. november kl. 17:00 – 19:00

Astrid Noacks Atelier er glæde for at invitere til reception sammen med Barly Tshibos, Nanna K. Dahler, Kipanga Typeson & Nanna Katrine Hansen i forbindelse med bog- og manifestudgivelsen:

Staying with the struggle* – looking for decolonial strategies of working together across privileges
– a manifesto in progress

The artist’s words about the project:

We have come together out of the need to think about how we, in the everyday work in our activist group, work against the hierarchies that are not just around us but also between us. Based on notes from a series of workshop in Astrid Noacks Atelier in the summer, we have together written a manifest, which is still in progress.

We are very happy to invite you for the launch of the manifest – where we will say a few words, we can have a drink and the printed version will be possible to get as a donation.

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“We are writing this manifesto based on the need to develop and use decolonial methods to work together across racialization, gender and state privilege such as citizenship in activist groups. In the groups we are working in, we are racialized differently, and because of colonial, racist and patriarchal structures this give us different conditions to live our lives as we want. Colonial and state categorizations such as citizen and non-citizen, not only create borders, but very diverse conditions and everyday realities for us. Some of us experience oppression everyday while others of us are not directly affected, and oppressions work together in complex ways. Colonialism is still present in our social relations, which by default puts whiteness at the center. When we work together in decolonial ways, we have to de-center whiteness and in this process the weight is on those racialized as white.

We have asked ourselves how to work together in ways that breaks white supremacy and patriarchy? How do we do this in a way that does not result in individual guilt but collective action? How do we organize in ways that looks at resources and the distribution of these as a starting point? How do we develop decolonial relations that are caring and honest?”

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Følgende tekst er en del af Christian Elovara Dinesens værk: Astrid Noacks Atelier – Giftshop & Souvenirs

Kender man på forhånd Astrid Noacks Atelier, så ligner den i bund og grund meget godt; den lille miniaturemodel af atelieret, der er bygget op i træ og har fået sat hjul på. Modellen er et værk, der lægger op til diskussion om fremtidens byer, om tilhørsforhold og det historisk forankrede.

Det oprindelige atelier er at finde på matriklen Rådmandsgade 34, Nørrebro, og dér har det ligget gennem mange generationer. Gennem 1940’erne og ind i den første halvdel af 1950’erne var det lille baggårdshus kunstneratelier og bolig for den danske modernistiske skulptør Astrid Noack (1888-1954). Her kreerede hun nogle af sine hovedværker, der senere skulle føre hendes navn og værk ind i den omdiskuterede danske kulturkanon. Siden 2009 har Astrid Noacks Atelier fungeret som en kunstinstitution, der med udgangspunkt i Noacks praksis, arbejder med udvikling af kunstnerisk praksis og forskning.

Et værk om et konkret sted, miljø og liv

Miniaturemodellen af atelieret er et skulpturelt værk med titlen Astrid Noacks Atelier – Giftshop & Souvenirs. Det er skabt i Noacks atelier af den danske kunstner Christian Elovara Dinesen. I værket udnyttes et andet formsprog, end det Noack arbejdede med i sine naturalistiske skulpturer, der alle bar præg af skulptørens forkærlighed for den ægyptiske og græske skulptur. Også motivmæssigt er Astrid Noacks Atelier – Giftshop & Souvenirs langt væk fra Noacks skulpturer af menneskekroppen. På trods af disse afgørende forskelle i tid, form og motiv, så hænger Noacks praksis og miniaturemodellen af atelieret rigtig godt sammen. For Noack valgte af meget bevidste årsager at arbejde præcis i Rådmandsgade 34, da hun i 1932 vendte tilbage til København efter mange år at have studeret og skabt kunst i Paris, som en central skikkelse i miljøet omkring kunstnerskolen Maison Watteau. Noack valgte det lille atelier med det smukke ovenlys på grund af det liv, der udspillede sig omkring det i baggården og ude på gaden. Noack ønskede at skabe sin kunst i samspil med gadens håndværkere og småerhverv; og hun optog de daglige rytmer, stemningerne og stedets særlige sjæl i sin egen produktion. Værket Astrid Noacks Atelier – Giftshop & Souvenirs italesætter netop stedets indflydelse på det, der produceres. Den lille miniaturemodel af atelieret tilsat hjul kan flyttes rundt i byen. Og det er præcis, hvad Christian Elovara Dinesen gør. Han bevæger skulpturen fra sted til sted på Nørrebro, og lader værket danne rammen omkring en diskussion om, hvad vi ønsker med vores byer; hvilke stemninger og fortællinger vi gerne vil fremelske i vores byer, og hvilken rolle gamle historiske bygninger og miljøer skal spille i fremtidens byer. Det er derved interessen for det samme sted, der på tværs af generationer binder Astrid Noacks værker sammen med skulpturen Astrid Noacks Atelier – Giftshop & Souvenirs.

Stedets indflydelse på produktion, tanker og handlinger

Med miniaturemodellen indledes en stedsdiskussion, idet der med den undersøges, hvad der sker med det tilbageværende, når omkringliggende bygninger og arkitektur fjernes. Hvad sker der med stedets ånd og med hverdagslivet? Og hvilken indvirkning har nedrivning for den måde, der produceres på? Spørgsmålet behøver ikke blot hæfte sig til en diskussion omkring en kunstinstitution, det kan ligeledes forstås i lyset af hverdagslivet i et hjem, på en gade og i et miljø udgjort af et sanseligt og et sjæleligt niveau, der har væsentlig – om end til tider på et ubevidst og implicit plan – indflydelse på den måde, man går til sit arbejde på, tænker på, leger på, er sammen med venner og familie på etc.

Identitetshul

Astrid Noacks Atelier – Giftshop & Souvenirs italesætter også specifikt det faktum, at Noacks gamle atelier, der blev smukt renoveret for et par år siden, mister dets naboer i disse måneder. Den gamle arkitektur omkring atelieret fjernes og op skyder syv-etagers boliger i stål og præfabrikerede vægge, der erstatter musikeres lydstudier og øvelokaler, andre kunstneres atelierer og lokales små værksteder og ånderum. Den mobile miniaturemodel undersøger dette skifte. Konkret spørges der med værket, om der opstår en form for identitetshul, når bygninger får kappet deres tætte historiske forbindelse til omkringliggende miljøer og øvrig arkitektur. Der kommer nye naboer til og der etableres nye fortællinger, og det historisk funderede og sjælelige tilhørsforhold til stedet forandres.

Byernes fremtidige udvikling

Miniaturemodellen bærer titlen Giftshop & Souvenirs, hvilket skal forstås helt bogstaveligt, for den fungerer som butik, hvori kunstneren sælger bl.a. T-shirts påtrykt teksten Astrid Noack. Med dette greb tilføjes der i værket endnu en dimension til stedsdiskussionen; for når den historiskfunderede arkitektur fjernes fra et sted, hvad bestemmer da et menneskes forhold til det konkrete sted? Bliver relationen af funktionel karakter? Her sover jeg, her spiser jeg, her er min adresse! Souvenirbutikken er et billede på det masseproducerede, på noget af det løsrevne, kulturindustrien bærer med sig. En souvenir svarer ikke til den kunstneriske, sanselige eller tankemæssige oplevelse, som mødet med et særligt sted, et værk eller en udstilling kan afstedkomme. Som en løsrevet masseproduceret genstand bliver souveniren meget nemt et tomt substitut for det reale sted og den konkrete kunstneriske oplevelse. En oplevelse der i souveniren reduceres til noget let fordøjeligt, som vi forholder os til som forbrug – genstand til salg.

Værket Astrid Noacks Atelier – Giftshop & Souvenirs lægger op til refleksion omkring disse emner, og samtidigt indeholder værket samtalen. For kunstneren er til stede med sit værk, helt bogstaveligt er han inde i værket, og han lægger op til diskussion om byernes udvikling, det historisk forankrede og det stedsspecifikke tilhørsforhold.

Bio: Christian Elovara Dinesen (f. 1982) er uddannet fra Det Fynske Kunstakademi i perioden 2003-2008. I 2002 studerede han på Metafora School of Contemporary Art, Barcelona og Holbæk Kunsthøjskole. I sin praksis betoner Christian dialogen, samarbejdet og socialt inddragende strategier. Han har deltaget i flere udstillinger samt kunstprojekter i det offentlige rum. I 2018 deltog han i Floating Art, Vejle, DK; Public Work, Køge Teaterbygning, DK; Værk Din Verden i samarbejde med Råderum – mobilt kontor for samtidskunst, DK og Wall painting, Dakar, Senegal. Gennem flere år har Christian undervist i kunst og samtidige kunststrategier, senest på Odense Friskole og på Kulturentreprenør, Masterclass, Århus, DK.

www.christianelovara.com / www.ultragroen.dk

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Image: Nanna Katrine Hansen: Staying with the trouble* of working together. 2018

The three Copenhagen-based art organisations, InstantHERLEV Institute, Astrid Noack’s Atelier, and SixtyEight Art Institute have collaboratively curated a screening program that examines whether the current conception of nation state is functioning as a model for contemporary democracy. One of the most prevalent developments of the 21st century is the waning of the nation state and its loss of influence over human circumstances, which has a negative impact, such as apocalyptic nationalism, wall-building and border controls, and growing xenophobia.The screening program reflects on a range of frictions apparent in how we conceptualize the idea of belonging to a specific state. The works screened in the program question ideas of majority-minority relationships, perceptions of the privileged versus underprivileged, aspects of cultural alienation, questions of inclusion and exclusion, and the definition of public and private space.

Read about The Others Art Fair: http://www.theothersfair.com/en/

The screening program is kindly supported by The Danish Art Foundation.

Screening program:

Dor Guez
Watermelon under the bed
Dor Guez’s work raises questions about contemporary art’s role in narrating unwritten stories and re-contextualizing visual and written documents. In Watermelons under the Bed, Guez’ camera dwells on Jacob Monayer in intimate settings. Intermingled with these quotidian moments, Jacob’s son, Samih, recalls his parents’ process of adjusting to life in Israel after the Jewish occupation of Palestine in 1948 and the choices they made for their children. The watermelon carries symbolic significance, linking identity and place within Palestinian culture.

Sergio De La Torre
NEW DRAGON CITY
NEW DRAGON CITY uses an abandoned building in downtown Tijuana as a base for a live performance, which is taped and edited as a video. Glass shop windows transform passersby into witnesses and voyeurs. A group of six Cantonese migrants, not professional actors, lived together for several days, showing their everyday actions and making their legal occupation of the building visible. De la Torre was inspired by the dramatic situation experienced by members of the bourgeoisie in Luis Buñuel’s El ángel exterminador (The Exterminating Angel). The scene also alludes to the artist’s memories of his childhood and adolescence in downtown Tijuana. Since the beginning of the century, the place has become inhabited by Asian communities, mainly from China and Japan, that have remained hidden and silent at the fringes of Mexican culture. The works reflects upon how inclusion and exclusion into foreign nations can be a century-long process, in lieu of integration policies.

Vladimir Tomic & Ana Paulovic
Dreamland
In this piece, the directors explore how identities and subconsciousness are formed by interviewing former refugees and immigrants about their dreams after their arrival in Denmark. The pieces portray an odd contrast between young people dining and partying and their narrated stories of experience of the dissolution of Yugoslavia and traumatic experiences of civil war. The piece opens up for the human and emotional aspect of being between identities and nationhood.

Larissa Sansour
Nation State
In Nation State, national belonging is reduced to swiping your key card with a Palestinian flag across your apartment door and entering a simulation of a ‘could-be’ world. In an ironic and sci-fi-inspired short film, Palestine is transformed into a Nation Estate tower, a gated community, where each Palestinian city has its own floor. Gone are checkpoints and secret dirt road detours. An elevator takes the ‘citizens’ from the ground floor to the sky and every level has its own cultural, political, and historical characteristics and references. The film reflects upon belonging, nationality, and dreams of lost places, countries, and cultural estate.

Nanna Katrine Hansen
Staying with the trouble* of working together
Staying with the trouble* of working together is based on interviews and actions inspired by the Brazilian theatre instructor Augusto Boal and his ‘Theatre of the Oppressed’. The artist creates a frame for working together in groups, consisting of people with very different backgrounds and privileges, only some of whom have Danish citizenship. The people involved are challenged to arrange certain objects in a way so that no object becomes more powerful than others. The video examines the challenges we face, when we work together due to the different roles given by the nation state. Graphical Design for Nanna Katrine Hansen: Anders Gerning.

Bios
Dor Guez (1980 in Jerusalem) lives and works in Tel Aviv-Jaffa. Selected solo shows: 2011: Beursschouwburg Art Centre, Brussels; Tel Aviv Museum of Art, Tel Aviv. 2010: The Centre for Contemporary Art, Tel Aviv; KW Institute for Contemporary Art, Berlin. Selected group shows: 2010: “Untaken Photographs,” Museum of Modern Art, Ljubljana, Slovenia; “The Golden Chain,” Dvir, Jaffa. 2009: “Georgiopolis,” Petach Tikva Museum of Art, Petach Tikva.

Sergio De La Torres works have appeared in the 10th International Istanbul Biennial, Turkey; the Bienal Barro de America, Museo de Bellas Artes Caracas, Venezuela; in the Cleveland Performance Art Festival, Cleveland, Ohio; the Atelier Frankfurt, Germany; the Centro Cultural Tijuana; the Yerba Buena Center for the Arts in San Francisco; the TRIBECA Film Festival, New York; and el Festival Internacional de Cine de Morelia. Sergio De La Torre is an Associate Professor at the University of San Francisco Art and Architecture Department.

Vladimir Tomic (b.1980 in Sarajevo) graduated from The Danish Royal Academy of Fine Arts and is based in Copenhagen. 2017 Anthology Film Archives, New York, USA. 2016 Barbican Arts Centre, London, UK. 2015 BERLINALE – Internationale Filmfestspiele Berlin, Berlin, DER TAGESSPIEGEL READER’S PRIZE and JURY SPECIAL MENTION – Peace Film Prize. 2015 IDFA – International Documentary Film Festival Amsterdam, Amsterdam, NL – BEST OF FESTS.

Ana Pavlovic (b.1977 in Belgrade) graduated from The Danish Royal Academy of Fine Arts and is based in Copenhagen. Selected festivals and exhibitions: 2018: Etats g.n.raux du film documentaire, Lussas, F, 2018 . Pravo Ljudski Film Festival, Sarajevo, BiH, 2018: 2018 Fokus Video Art Festival, Best Art Film Award, Copenhagen, DK. 2017 : Solo show at Inter Arts Center – “Love at Last Sight”, Malmø, SE.

Larissa Sansour (b. 1973 in Jerusalem) is living in London. She works with film, sculpture, installation and photography. Sansour mixes fiction and facts in great utopian and political pieces and she borrows formal elements from science fiction, Westerns, and American sitcoms. She uses her own Palestinian experiences in her critical and dystopian discussions about nationalism, identity, alienation, colonization, and resistance. Larissa represent Denmark at The Venice Biennale 2019.

Nanna Katrine Hansen (1989) is born in Aarhus, Denmark and has been working with film and in different activist contexts. She has studied at Roskilde University and is currently a student at The Royal Danish Academy of Fine Arts, Schools of Visual Art (2014). She is member of Bridge Radio Collective, a radio group producing radio about migrant’s struggles and border politics