ASTRID NOACKS ATELIER

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

Current

ANA Local

Arendse Krabbe Invitation to listen: Sound of becoming another kind of being – Living – Dying

20.09.24 - 19.10.24

You are invited to a listening situation in Astrid Noack Atelier. You listen to the room and the room listens to you. Beyond his acoustic performance, Astrid Noacks plaster sculpture Young man planting a tree leads me to today’s urgent need to plant a tree, an oak tree, an olive tree, any tree.

In the listening situation, shifts in time and space also occur when sounds from a past but current event are played through loudspeakers. The sound of a reading will also be present. The text being read is the testimonies of people in Gaza, testimonies whose statements are present in the room as they are read out. It is in these folds of time, place and sound that Pauline Olivero’s words resonate; ‘Our world is a complex matrix of vibrating energy, matter and air, just as we are made of vibrations. Vibration connects us with all beings and connects us to all things interdependently.” 

Perhaps it’s obvious that vibrations connect us.

But how do you listen? How do I listen? How are communities created in relation to how we listen? Pauline Oliveros points out in her manifesto for listening as activism Quantum Listening; how we listen creates our lives”.

A kite and its tail are also present in the space. It was made by a group of artists and cultural workers who demonstrate against the genocide in Gaza. The kite is also made in sympathy for the artists and cultural workers around the world who are censored when they speak critically about the genocide in Gaza. The community, which I am also a part of, has borrowed space at Til Vægs in Lundtoftegade to organise themselves. The kite is inspired by the poem ‘If I must die’ written by poet, writer, university professor and mentor for young people Refaat Alareer. He was born in 1979 – the same year as me. He died in an Israeli airstrike in 2023 along with his brother and sister and her four children. Refaat Alareer left behind his wife and their six children. In April 2024, Refaat Alareer’s daughter Shaima, her husband and their four-month-old son were also killed in an Israeli air strike. The kite’s tail is several metres long and has loops – each loop represents a child killed in Gaza. Over 14,000 children have been killed in Gaza. The kite is present in the room in such a way that it is ready to be taken back to the streets to demonstrate against the genocide in Gaza.

The listening situation you are invited to is made in love and care for you as a listener, Astrid Noack’s Atelier as a listener, the community around the kite and the people suffering distress and loss. 

In the hope of love and with loving vibrations

Arendse Krabbe

The title of the exhibition is a quote from American composer Pauline Olivero’s text ‘The Earth Worm Also Sings’.

Pauline Oliveros (1932 -2016) was a composer, musician, activist and founder and practitioner of Deep Listening.

 

LISTENING SITUATIONS:

Friday 20 September at 5pm.https://billetto.dk/e/invitation-to-listen-sound-of-becoming-another-kind-of-being-living-dying-billetter-1075779?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Thursday 26 September at 5 pm. https://billetto.dk/e/invitation-to-listen-sound-of-becoming-another-kind-of-being-living-dying-billetter-1077057?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Thursday 3 October at 5 pm. https://billetto.dk/e/invitation-to-listen-sound-of-becoming-another-kind-of-being-living-dying-billetter-1077065?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Sunday 13 October at 3pm.https://billetto.dk/e/invitation-to-listen-sound-of-becoming-another-kind-of-being-living-dying-billetter-1077067?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Admission is free, please register via links: 

 

BANNER WORKSHOP FOR THE PALESTINE SQUARE:

Join us for a workshop with visual artist Suada Demirovic on 16 October, 2-5pm in Astrid Noack’s Atelier. We will make a collective banner for the exhibition space Palæstina Plads in Nørrebro. Please bring leftover textiles (like discarded duvet covers), yarn, needle, sewing thread if you have any lying around. Everyone can join in. The workshop is in collaboration with Til Vægs.

 

SOLIDARITY FILMSCREENING FOR PALESTINE #4

by Maia Torp Neergaard and Arendse Krabbe

On saturday the 12th of October at 19 hour Arendse and Maia will open up Astrid Noacks Atelier to show a short film programme in solidarity with Palestine. The evening’s main film will be ”Vibrations from Gaza” by Palestinian artist Rehab Nazzal. A 16 minute glimpse into the lives of children with hearing dissabilities in Gaza. A both beautiful and thought provoking piece. The donations of the evening will be sent to Atfaluna Society for Deaf Children. Rehab writes: Atfaluna was looted, bombed and destroyed by the IOF and now the Deaf community of the Society is working in tents in Deir Albalah.

We will provide some snacks and tea/coffee and hope that you’ll come and send donations to support Palestine.

Everybody is warmly invited

 

BIO:

In her artistic practice, Arendse Krabbe works with what it means to listen. Including how listening requires a fully present body. She is interested in exploring what mutual listening means and how this practice can create new and different communities across species, ethnicity, systems and borders. Arendse Krabbe works process-orientated, often engaging in collective constellations with people, other life forms and dimensions. Her work manifests itself as listening situations, sound, video, text and radio.

The exhibition is supported by The Danish Arts Foundation.

Events

Calendar

ANA Local

Arendse Krabbe Invitation to listen: Sound of becoming another kind of being – Living – Dying

20.09.24 - 19.10.24

You are invited to a listening situation in Astrid Noack Atelier. You listen to the room and the room listens to you. Beyond his acoustic performance, Astrid Noacks plaster sculpture Young man planting a tree leads me to today’s urgent need to plant a tree, an oak tree, an olive tree, any tree.

In the listening situation, shifts in time and space also occur when sounds from a past but current event are played through loudspeakers. The sound of a reading will also be present. The text being read is the testimonies of people in Gaza, testimonies whose statements are present in the room as they are read out. It is in these folds of time, place and sound that Pauline Olivero’s words resonate; ‘Our world is a complex matrix of vibrating energy, matter and air, just as we are made of vibrations. Vibration connects us with all beings and connects us to all things interdependently.” 

Perhaps it’s obvious that vibrations connect us.

But how do you listen? How do I listen? How are communities created in relation to how we listen? Pauline Oliveros points out in her manifesto for listening as activism Quantum Listening; how we listen creates our lives”.

A kite and its tail are also present in the space. It was made by a group of artists and cultural workers who demonstrate against the genocide in Gaza. The kite is also made in sympathy for the artists and cultural workers around the world who are censored when they speak critically about the genocide in Gaza. The community, which I am also a part of, has borrowed space at Til Vægs in Lundtoftegade to organise themselves. The kite is inspired by the poem ‘If I must die’ written by poet, writer, university professor and mentor for young people Refaat Alareer. He was born in 1979 – the same year as me. He died in an Israeli airstrike in 2023 along with his brother and sister and her four children. Refaat Alareer left behind his wife and their six children. In April 2024, Refaat Alareer’s daughter Shaima, her husband and their four-month-old son were also killed in an Israeli air strike. The kite’s tail is several metres long and has loops – each loop represents a child killed in Gaza. Over 14,000 children have been killed in Gaza. The kite is present in the room in such a way that it is ready to be taken back to the streets to demonstrate against the genocide in Gaza.

The listening situation you are invited to is made in love and care for you as a listener, Astrid Noack’s Atelier as a listener, the community around the kite and the people suffering distress and loss. 

In the hope of love and with loving vibrations

Arendse Krabbe

The title of the exhibition is a quote from American composer Pauline Olivero’s text ‘The Earth Worm Also Sings’.

Pauline Oliveros (1932 -2016) was a composer, musician, activist and founder and practitioner of Deep Listening.

 

LISTENING SITUATIONS:

Friday 20 September at 5pm.https://billetto.dk/e/invitation-to-listen-sound-of-becoming-another-kind-of-being-living-dying-billetter-1075779?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Thursday 26 September at 5 pm. https://billetto.dk/e/invitation-to-listen-sound-of-becoming-another-kind-of-being-living-dying-billetter-1077057?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Thursday 3 October at 5 pm. https://billetto.dk/e/invitation-to-listen-sound-of-becoming-another-kind-of-being-living-dying-billetter-1077065?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Sunday 13 October at 3pm.https://billetto.dk/e/invitation-to-listen-sound-of-becoming-another-kind-of-being-living-dying-billetter-1077067?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Admission is free, please register via links: 

 

BANNER WORKSHOP FOR THE PALESTINE SQUARE:

Join us for a workshop with visual artist Suada Demirovic on 16 October, 2-5pm in Astrid Noack’s Atelier. We will make a collective banner for the exhibition space Palæstina Plads in Nørrebro. Please bring leftover textiles (like discarded duvet covers), yarn, needle, sewing thread if you have any lying around. Everyone can join in. The workshop is in collaboration with Til Vægs.

 

SOLIDARITY FILMSCREENING FOR PALESTINE #4

by Maia Torp Neergaard and Arendse Krabbe

On saturday the 12th of October at 19 hour Arendse and Maia will open up Astrid Noacks Atelier to show a short film programme in solidarity with Palestine. The evening’s main film will be ”Vibrations from Gaza” by Palestinian artist Rehab Nazzal. A 16 minute glimpse into the lives of children with hearing dissabilities in Gaza. A both beautiful and thought provoking piece. The donations of the evening will be sent to Atfaluna Society for Deaf Children. Rehab writes: Atfaluna was looted, bombed and destroyed by the IOF and now the Deaf community of the Society is working in tents in Deir Albalah.

We will provide some snacks and tea/coffee and hope that you’ll come and send donations to support Palestine.

Everybody is warmly invited

 

BIO:

In her artistic practice, Arendse Krabbe works with what it means to listen. Including how listening requires a fully present body. She is interested in exploring what mutual listening means and how this practice can create new and different communities across species, ethnicity, systems and borders. Arendse Krabbe works process-orientated, often engaging in collective constellations with people, other life forms and dimensions. Her work manifests itself as listening situations, sound, video, text and radio.

The exhibition is supported by The Danish Arts Foundation.

ANA Local

Jeuno Kim FAQ, Ofte Stillede Spørgsmål, 자주 올라오는 질문

08.11.24 - 22.11.24

The Danish title is taken from Kirsten Hammann’s book by the same name where in the form of a journal entry, she expands on the frequently asked questions she gets as a writer. In the book we get insights into her process as a writer, the challenges of writing, her role as a mother, a partner, a friend, her conversing with other writers, comments on the literary scene, and what is happening in society at the time of her writing.  In this performance exhibition, I took the questions in Hammann’s book and posed them to a fictional Astrid Noack or No Ack, whom I have taken on as a “teacher” in the past year, and created a set of exercises and prompts for working. In the process of researching on Astrid Noack’s practice and works, I wondered about how it would be had she been my teacher at the art academy, and the conversations I would have had about the process of making art, the challenges of surviving as an artist, and how what one is surrounded by gets woven into the work we make as artists.

Some of the prompts “given” by my fictional teacher No Ack have been abstract questions such as “Where is Intuition? – draw a map of its location and how to get there”; “What is Arm’s Length? – draw the anatomy of that policy”, while others have been abstract proposals drawn from experiences in classrooms such as, “Measure The  Growth of Misunderstandings”, or “Can All The Clocks in the World Be Walking Together.” The nonsensical and absurd assignments from the fictional teacher No Ack pushes me to grapple with unsavory conditions and emotions of being an artist such as disappointment of time-not-spent; difficulty of accepting failure; and competing with ghosts from the past.

The performance-exhibition consists of “translation drawings” on paper of varying sizes (A5 – 90 x 150cm) where text and drawn elements are intertwined in landscapes and quotidian tableaux; as well as textual forms made in clay, clothes hanger, and fabric that I consider to be “sculptural” forms that is to be read as texts/book.

PERFORMANCES:

Friday November 8th

Wednesday November 13th
Friday November 15th

Wednesday November 20th
Friday November 22th

All days from 4.30-6pm
Performance duration 20 minutes

BIO:

Born in South Korea, Jeuno Kim is a Swedish artist and educator living in Copenhagen. Currently, she is the study leader of the BFA school at the Royal Danish Academy of Fine Arts. Previously, she was a Professor at the Funen Art Academy, and study leader of the BFA program in Fine Arts at HDK-Valand, Gothenburg University. 

Kim has a background in feminist liberation theology, classical piano, and has previously worked as a radio DJ. Her performance, text, sound and video works explore the nebulousness of memory and its formative role in questions of identity that is mediated through geography, translation, and narratives. Her artistic practice is oriented toward problematics of representation, animated images as knowledge, feminist pedagogies, and issues of living in translation required of many diasporic identities.

Since 2008 Kim has been part of an artist duo with Swedish artist Ewa Einhorn, and since 2009 they have made numerous videos, performances, drawings, and installations. They are the founders of Krabstadt, a feminist transmedia project, which has been shaped through many collaborations and contexts producing animated films, computer games, performances, and an academic journal. 

The exhibition is supported by the Danish Arts Foundation.

 

Past events

ANA Local

Asta Lynge, Jakob Ohrt & Eleanor Ivory Weber Plenty

16.08.24 - 15.09.24

The title Plenty is taken from renowned chef and author Yotam Ottolenghi’s bestselling cookbook. Through sculpture, video and text, the works reinterpret various household items and reflect upon their function and their distribution. Food for thought: aspirational living compels consumers to endlessly trade the old for the new; capitalist individualism results in the reproduction en masse of the same; and cultivation of good conscience consumption is the psychic equivalent of waste management.

Cinnamon

It happened gradually and you started

To detect it

You grew shabbier and shabbier

This shabbiness was not the vain shabbiness of vintage style

Of carefully curated second-hand garments

The roughened nostalgia of temporal oblivion

It was the shabbiness of Thule, Ortlieb and Freitag

Of bicycle courier bags gone mainstream

That is the ultimate shabbiness of utilitarian ethics

Missing the glamour of the public realm

Northern efficiency aesthetics as the minima

Of demonstrable desirability

Everything on your back

Carting the means of production like a privilege

“Your day, your story!”

The day backpack and

The desire to be contained

Inside them all

Things that make the public realm appear

An inconvenience or incidental

For example: laptop, refillable drink bottle, ebooks on cultural theory and self-help, facial wipes, spare pair of underpants, portable battery pack for smartphone, keys to flat and bike, Tupperware container, mask, tissues, sweatshirt, wallet with a few different credit cards, ID from a country you aren’t in, earphones, hard-drive, hand sanitiser, bag of nuts, chargers

All were possessions

Minimal possessions

Used to distinguish you

At least nominally

You are flexible and mobile

Connected, multilingual, worldly

You tried not to fly too much

You still remembered being flattered

To go regularly to the airport

Compare airline experiences

When you flew lowcost you were doing jobs

You got used to distinguish yourself from tourists

Still

Like packhorses you were carting

The means of production

Trollies in streets, markets and airports

Showed that you needed

Your belongings close

For the threat of theft

And that you wouldn’t be yourself without them

“Don’t leave your belongings unattended

At any point during your journey.

Keep your bags zipped and keep your phone

Wallet and purse out of sight and valuables secure.”

Because everything was owned

Everyone was also a thing

The ones who left things outside

Were the ones who lived out there on a limb

The ones who owned nothing

And the ones who could afford to lose everything

Locked it all up in cases cars houses insurance packs stocks

The containers were never enough

One day while waiting

For your righteousness to be confirmed

Hold what you don’t have and get rid of it

—Eleanor Ivory Weber

OPENING: Thursday 15 August from 4pm-8pm with reading by Eleanor Ivory Weber at 7pm.

OPENING HOURS: Fridays and Saturdays from 1pm-5pm, saturday the 7th of september 2pm-6pm, or by appointment (mail@jakobohrt.com eller mail@astalynge.info)

BIOS:
Asta Lynge and Jakob Ohrt are artists who occasionally work together. Their work revolves around the notion of lifestyle often reducing it to its basic spatial, social or material conditions. Their collaborative work has been shown at O–Overgaden, Copenhagen; Cherry Hill, Cologne; Cucina, Copenhagen; Cittipunkt, Berlin; Vermilion Sands, Copenhagen and Stockholm School of Economics (with coyote).

Eleanor Ivory Weber is a writer and artist living in Brussels. In recent years her texts and performance works have been presented at C.C.C. Gallery, Copenhagen (with Philip Poppek); Wiels, Grand Casino Knokke; Woonhuis De Ateliers, Amsterdam; Etablissement d’en face, Brussels; Haus am Waldsee, Berlin; Alma Sarif, Brussels; and Kunstverein München.

The exhibition is supported by The Danish Arts Foundation and the Council for Visual Arts.

ANA Children

Mia Edelgart & Sebastian Hedevang Between the Houses part II

19.08.24 - 13.09.24

Several areas in the Lundtoftegade neighbourhood have undergone multible changes over the past years: Including new playgrounds, plant devices for residents, a permaculture garden, a fancy outdoor restaurant, art on the outside brickwalls, and a container for art and children’s activities have moved to the area.

Both major and minor adjustments are making their way to the common and shared spaces.

The theme of the year at the container of ANA’s Mobile Children’s Studio will be: The city of children, where we can dream together, draw and produce models of what city’s spaces could also look like.

What will the children build if they think wild and freely about what could be between the houses?

In the Children’s Studio, we will work with playgrounds and public spaces in miniature scale and on an imaginary level. Together with the children, we imagine the city’s commons and spaces. What do the children think we might need to meet about in public space? What could you gather about in places that belonged to everyone? What would happen if you built free shelters in the city, what if you built outdoor kitchens or made large groups of hammocks or slides in the trees? Where is it good to play? We will focus on the playground and its history, as a space for critical reflection on the role of children and community in the city.

In the workshop, we will build models and draw, while imagining spaces, and together we can talk about what scenarios could play out in the spaces that have been made. In this way, we explore how architecture and design, influence our behaviour, dreams and ways of life.

From 20 August to 13 September 2024 we will open for drop-in workshops for anyone who wants to come and join us. We also offer dedicated workshops for local school classes, kindergartens and other childcare centres and institutions.

The Children will work with different materials such as self-hardening clay, cardboard, rubbish, wood, paper, fabric and more. We’ve prepared frames and materials for this specific occasion, making the art easy to approach.

Drop in workshop times:

Week: 34

Tuesday 20 Aug. 10am-4pm

Wednesday 21 Aug. 12pm-3.30pm

Thursday 22 Aug. 10am-4pm

Friday 23 Aug. 12pm-5.30pm

Week: 35

Monday 26 Aug. 12pm-4pm

Tuesday 27 Aug. 10am-5pm

Thursday 29 Aug. 10am-3pm

Friday 30 Aug. 12pm-3pm

Saturday 31 Aug. 11pm-3pm

Week: 36

Tuesday 3 Sept. 10am-5pm

Wednesday 4 Sept. 1pm-5pm

Thursday 5 Sept 10am-3pm

Friday 6 Sept. 12pm-5.30pm

Saturday 7 Sept. 11pm-3pm (Art Festival)

Week: 38

Tuesday 10 Sept. 10am-5pm

Wednesday 11 Sept. 12pm-5.30pm

Thursday 12 Sept 10am-3pm

Friday 13 Sept. 12pm-4pm

ANA’s Mobile Childrens Studio is located in a black/pink container across from the utility gardens, next to the staffed playground Bispeengen: Hillerødgade 23B, 2200 Copenhagen N.

The project is supported by the Danish Arts Foundation, Huskunstnerordningen.

ANA Air

Line Skywalker Karlström Cruising in Public Spaces

03.06.24 - 30.06.24

What happens in the gentrification process when the city’s former free spaces are erased and disappear? How does this affect not only the people whose lives are not encompassed by mainstream culture, but also other – non-human – inhabitants of the city? How do we maintain spaces for shared sensual and sexual pleasure, curiosity and exploration without profit interests when the city loses its wilderness, bushes and wastelands? The background for Line Skywalker Karlström’s work at ANA will consist of the extensive research they have been involved in – devoted to the queer community in New York before and during the AIDS crisis – as it also coincided with New York being gentrified and taken over by financial investors. In ANA, they will pursue an interest in cruising in public space as a potentially productive approach to establishing a sense of belonging – outside of ownership and outside of our place in the private home. Based on this, Karlström will develop a series of new works in and for ANA, which will specifically take the form of film, textile works and performance.

Friday 14 June at 5pm, ANA and Line Skywalker Karlström invite you to a performance – walk & talk in the backyard.

During their residency at ANA, Skywalker has conducted research for the project ‘Cruising in Public Spaces’. This has led to reflections on gentrification, urban politics, reclaiming of urban spaces and much more, which will be the starting point for the event.

After Skywalker’s performance, there will be tea/coffee and a roundtable conversation between Kirsten Dufour and Skywalker and the attendees. Finally, we’ll round off with a beer – we look forward to seeing you.

The project is supported by the Danish Arts Foundation.

BIO:

Line Skywalker Karlström is born in 1971 in Karlstad, Sweden. They live and work since 2006 in Berlin. Skywalker”s work takes place in the field between embodiment and the ephemeral. Based on ‘thinking with the body’ and experiences of exclusion/inclusion their work addresses questions pertaining to  space, intimacy and art history utilizing gestures aimed at simultaneously creating representation, displacement and refusal. Line Skywalker’s work is shaped in a continuous conversation – direct and imagined, with queer and feminist practices and experiences in the past and the present, and posit questions about what art is in acts of getting inscribed in and inscribing into materials and urban and institutional space.

ANA Children

Mia Edelgart og Sebastian Hedevang Between the Houses part I

03.06.24 - 30.06.24

What is between the houses? Where can you go? Where can you play? Where are you not allowed to be? What spaces in the city do we share? Why do they look the way they do? What spaces are we missing?

Several areas in the Lundtoftegade neighbourhood, where ANA’s children’s studio is located, are currently undergoing a lot of small changes. New playgrounds are on the way, planters for the residents, a permaculture garden, a fancy outdoor restaurant, art on the walls. Both major and minor adjustments to the common spaces are being made.

This year, the theme of ANA’s children’s studio is the children’s city, where we can dream together and make models of what the city’s spaces could also look like. What would the children build if they were allowed to think wildly and freely about what could be between the houses?

In the children’s studio, we will work with urban design on a miniature scale and on an imaginary level.

Together with the children, we imagine city spaces, city commons and spaces in between, not just for children, but also for adults. What would older people – from the children’s perspective – need to gather around? What places should there be for parents, for the lonely, for babies? What could be gathered around outside, in places that were everyone’s? What would happen if you built shelters in the city, if you built outdoor kitchens or made large groups of hammocks in the trees?

In our workshops, we build small models based on our imaginations of what the city could look like. We’ll build from rubbish, found objects and purchased materials. We will also use the models as scenes for social processes and talk to the children about what scenarios could play out in the spaces they have imagined. In this way, we will explore how architecture and design influence our behaviour and ways of life. At the same time, we take the opportunity to see what’s actually in the area, and at the end of August we will create a small zine that, in addition to material from the workshops, will also contain a kind of record of all the offers and activities that the local area offers. In this way, we point to the collective space of creation that so many forces from below are always engaged in bringing to life. The conversations between us, the children and the neighbourhood actors are transcribed and implemented in the zine, which the local children can also help to create.

Practicalities:

In June, we are working in the studio to develop and plan workshops that will take place in August after the summer holidays. We will both invite local institutions and organise open workshops for anyone who is interested. Everything will be publicised on this page, on the sign at the children’s studio and at the staffed playground in Bispeengen.

* Image: Pädogogiche Aktion, Spielaktivität im Olympichen Dorf, München, 1972

BIO:

Throughout Mia Edelgart’s practice is the attempt to let emotional and bodily registers appear in the work process, to let them be information and productive tensions that (dis)enables and influence aesthetic expressions and formats. Edelgart has worked with subjects such as sleep, community, bees and stupidity. Her method consists of
investigative, collecting and corresponding processes that often come together in video works or sculptural and performative formats. Central to Edelgarts artistic work is the politics of emotions and interrelational contexts, which also forms the basis for a commitment to collective productions that mutually informs and influences Edelgart’s own work production. Edelgart often uses conversation and the interview as form and artistic method. The interview, as a format that can be manipulated, and as a fundamental interest in meeting The Other, and in what and how we can know something together. The interview works as a self-generating process that implicates the artist herself, and injects a tension between the planned and the unplanned into the work process. Mia Edelgart graduated from the Royal Danish Academy of Fine Arts in 2012.

Sebastian Hedevang is a visual artist living in Copenhagen. In recent years, Hedevang’s practice has been nourished by collaborations and self-organized collective processes in various constellations. Learning from The General Past (2023) with H. Heise, A. Rønholt Schmidt, J. Funder and M. Knudsen at La Cucina, Copenhagen, The Chocolate Wagon with Andreas Rønholt Schmidt, among others. with the exhibition Sludge Cake at ANA in 2021, as well as several works and projects with Mia Edelgart where children have been the primary audience Hvad er Penge? (2021). Most recently, Hedevang has curated the exhibition Free Time (2024) with Jens Rønholt Schmidt about artists’ view on, practices and evasions in the modern renovated urban spaces driven by financial capital. The artist holds a MFA from the Royal Danish Academy of Fine Arts 2012-18 and ISP at Maumaus in 2015.

The project is supported by the Danish Arts Foundation’s Huskunstnerordningen.

See full archive

About ANA

ANA is a cross-aesthetic space for artistic experimentation, 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 tool for reflection that can create forms and images making us see and sense, ask questions and think about the world and everyday life in new ways. With and through art ANA focuses on sharing knowledge, testing ideas and presenting alternative imaginary horizons 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 programme has four strands: ANA Local, ANA Air, ANA Children and ANA Forum. These draw 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-aesthetic programme connects 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 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 who have contributed to supporting and developing the space over the years. ANA’s institutional modus operandi is rooted in a principle of repetition and slowness. To allow artists to proceessually 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 emphasise inviting artists on several rounds so that over time they can continue their research and conversations. Our desire is to keep things moving, to prioritise process over outcome and to act as an open, caring and inclusive art space.

In the coming years, we will further emphasise values around slowness, ‘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 to gradually slow down 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.

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

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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 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

ANA – 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
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  • Curator
  • Kathrine Bolt Rasmussen
  • 22 30 80 91
  • kbr@astrid-noack.dk
  • Exhibition coordinator
  • Mie Lund Hansen
  • 27 28 15 29
  • mlh@astrid-noack.dk
  • Chair of the board & artistic director
  • Kirsten Dufour
  • 20 61 31 73
  • saas.dufour.andersen@gmail.com
  • Board member
  • Finn Thybo Andersen
  • 60 81 02 18
  • finnthybo@gmail.com
  • Board member
  • Rikke Diemer
  • 40 38 94 29
  • rikke.diemer@gmail.com
  • Cashier
  • Helle Westergaard
  • 42 46 09 54
  • helle.hik@gmail.com