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

Thomas Bo Østergaard Odd weeks

19.02.24 - 31.03.24

For me wage work, children, and exhibitions have a tendency to coincide. Everything at once or nothing. In the meanwhile, I can sit for hours staring into space. I imagine it as a kind of meditation, a useful emptiness. In reality, it’s the diametrically opposite. Myriads of images at a high pace penetrating my mind. Only the wagon-wheel effect allows me to note a figure or a pattern in brief glimpses. The days I am with my daughter appear as asymmetric ornamentations in my calendar. There is nothing else in it. No narrative. Only discrepancy. As if she is the only person, I have a relation to. Part of me has deserted, I´m defeated on all levels, without precisely knowing by what and whom. Despite that, I sense that I am perceived as a danger, a threat to something. As if my naked presence, my year-end account statement, my struggle against absolute time, my staring into space, is read as something contagious, a premonition of an impending revolt.

OPENING:

Thursday March 14th from 4-9pm.

CONVERSATION:

Thursday March 21th at 7pm conversation about artistic practice between Thomas Bo Østergaard and Henriette Heise.

OPENING HOURS:

Fridays and Saturdays from 12pm-4pm.

BIO:

Thomas Bo Østergaard (b. 1981) is an artist based in Copenhagen. He works across multiple mediums such as drawing, text, and sculpture. With his post-minimalist aesthetic, which deliberately cracks open to subtle poetic shifts of meaning, he often critically portrays the uncanny familiarity of urban landscapes. Østergaard’s artistic material is the tropes of modernist architecture and their afterlives in the spaces that define contemporary society: the home, the city, the artist’s studio, the white cube, and those of the individual and collective consciousness. He has exhibited at Den Frie, Nikolaj Kunsthal, Overgaden, Kunsthal Aarhus, Ringsted galleriet, Galleri C.C.C, Kristiansand Kunsthal, Inter.Pblc and Simian. He has also taken part in several seminars and been giving lectures at University of Southern Denmark and the Royal Danish Academy of Fine Arts in Copenhagen where he is also educated.

The exhibition is supported by the Danish Arts Foundation and The Municipality of Copenhagen – Council for Visual Arts.

Events

Calendar

ANA Local

Thomas Bo Østergaard Odd weeks

19.02.24 - 31.03.24

For me wage work, children, and exhibitions have a tendency to coincide. Everything at once or nothing. In the meanwhile, I can sit for hours staring into space. I imagine it as a kind of meditation, a useful emptiness. In reality, it’s the diametrically opposite. Myriads of images at a high pace penetrating my mind. Only the wagon-wheel effect allows me to note a figure or a pattern in brief glimpses. The days I am with my daughter appear as asymmetric ornamentations in my calendar. There is nothing else in it. No narrative. Only discrepancy. As if she is the only person, I have a relation to. Part of me has deserted, I´m defeated on all levels, without precisely knowing by what and whom. Despite that, I sense that I am perceived as a danger, a threat to something. As if my naked presence, my year-end account statement, my struggle against absolute time, my staring into space, is read as something contagious, a premonition of an impending revolt.

OPENING:

Thursday March 14th from 4-9pm.

CONVERSATION:

Thursday March 21th at 7pm conversation about artistic practice between Thomas Bo Østergaard and Henriette Heise.

OPENING HOURS:

Fridays and Saturdays from 12pm-4pm.

BIO:

Thomas Bo Østergaard (b. 1981) is an artist based in Copenhagen. He works across multiple mediums such as drawing, text, and sculpture. With his post-minimalist aesthetic, which deliberately cracks open to subtle poetic shifts of meaning, he often critically portrays the uncanny familiarity of urban landscapes. Østergaard’s artistic material is the tropes of modernist architecture and their afterlives in the spaces that define contemporary society: the home, the city, the artist’s studio, the white cube, and those of the individual and collective consciousness. He has exhibited at Den Frie, Nikolaj Kunsthal, Overgaden, Kunsthal Aarhus, Ringsted galleriet, Galleri C.C.C, Kristiansand Kunsthal, Inter.Pblc and Simian. He has also taken part in several seminars and been giving lectures at University of Southern Denmark and the Royal Danish Academy of Fine Arts in Copenhagen where he is also educated.

The exhibition is supported by the Danish Arts Foundation and The Municipality of Copenhagen – Council for Visual Arts.

ANA Local

Niels Christensen Body Bona Fide #1

19.04.24 - 18.05.24

I’m writing from Tallinn, where I’ve travelled to film the headquarters of the European data agency eu-LISA, which manages the EU’s digital infrastructure for security and control.

For months, I’ve been circling the building on Google Maps. It’s somewhat like a diamond – transparent yet hard and inaccessible. The building’s automatic climate system can roll down aluminium shutters, giving it the appearance of one large block of shiny metal. That’s primarily how I’ve seen it, but now during winter, the facade consists mainly of large square windows in bulletproof glass. There are cameras everywhere and signs indicating that it is prohibited to take photos. Yet, I walk to the building every day and attempt filming it from a distance. Perhaps I had imagined the building would somehow speak to me. But if it could speak, it most likely would say it has nothing to say.

Although the building’s internal workings are hidden, I’ve gradually formed some understanding of what eu-LISA does and how it’s connected to other agencies like Frontex and Europol. My interest in the headquarters began when I wanted to know more about what happens to rejected asylum seekers who have been deported. It became clear that there’s almost no knowledge available about this in the EU. Committees and councils in various member states assign status and assess requests for protection, but seem almost demonstratively uninterested in the fate of those assessed, in case of rejection and deportation.

At EU level, precautions have been taken against re-entry through the Eurodac database, which stores profiles of asylum seekers’ biometric data and personal information for ten years. Eurodac is administered along with other personal registries of non-EU citizens from the diamond building. From the end of 2024, biometric information will be registered for all arriving non-EU citizens under the EES (Entry/Exit System).

The other day, I met with the architects who designed the building. They described it as the tip of an iceberg. The servers are elsewhere, the backup is stored inside a secret mountain.

Today, I’ve rented a car to observe the building somewhat covertly. It’s minus ten degrees, and at the same time, I’ve become a bit paranoid, perhaps because Tallinn is close to Russia. I wouldn’t want to be suspected of being a spy. From the car, I can see what goes in and out of the secure doors. I switch sporadically between filming the building from the backseat and reading reports from the agency’s website on my phone. I often come across the term “bona fide,” which means acting in good faith or having good intentions. Biometrics make it possible to inscribe the “border” on specific bodies and automate who is granted access. “Bona fides” are the included and welcomed ones. Those for whom registration will only make the journey “more seamless”. In total, 300,000 to 400,000 people are instructed to leave annually from Europe. There is no publicly available figure on how many of them are asylum seekers.

The databases serve the purpose of regulating movement. But perhaps this inaccessible archive of individuals and bodies – which for good reasons cannot be made public – holds a different potential than just control. The database also constitutes a kind of memory about the banned, a document of the historical, ongoing, and intensified European practice of deportation and making people invisible.

Yesterday, I visited the Memorial for the Victims of Communism, located at the other side of Tallinn from the headquarters. Two black walls form a long corridor, open at each end. On the walls are the names of the approximately 20,000 people who were deported to distant regions of the Soviet Union and never returned.

OPENING:

Friday, April 19, from 4-6 pm.

BIO: Niels Christensen (b. 1988) is an artist based in Copenhagen. He is concerned with the state’s promise of maintaining life and “security” and the simultaneous delimitation of which lives this promise applies to. His practice could also be described as a critical study of image making in relation to structural organisations of violence and care. Christensen works discursively and in different mediums, but often photography is a central element. Methodically, he borrows from disciplines such as journalism, investigation, law, art history, critical theory, and philosophy. Part of his work takes place in the collaboration Evening School – an open ID with various participants, often including the writer Aske Viuff. Evening Schools’ latest work on the deportation camp Ellebæk has been shown, among other places, in Lund’s Konsthal. Niels Christensen is a graduate of the Maumaus Independent Study Program and the Royal Danish Academy of Fine Arts, where he is currently a teaching assistant at the School for Contextual and Conceptual Practices. Additionally, he has a background as a photojournalist from the Danish Media and Journalism School.

The exhibition is supported by the Danish Arts Foundation.

ANA Air

Line Skywalker Karlström Cruising in Public Spaces

03.06.24 - 30.06.24

 

Past events

ANA Local

Nanna Lysholt Hansen Mother Mould part II

08.12.23 - 17.12.23

Dear Astrid,

Excavation, the underground goddesses. They are many, but one was here. I place its chthonic young one by your young man who plants a tree, because just as anything can sprout, there are internal organs that can grow and grow. Put down roots and sprout up. Break through concrete. They thought they could take us down but they didn’t know we were seeds. The young man who plants a tree still inhabits your studio. Here you have lived, here you have worked, here lives the young man who plants a tree. Along with the underground. The young man who plants a tree here has been surrounded by many artists and works of art over time. I grant here, for a time, attendants to your young man planting a tree. It is korai, young women. your daughters, Ειμαι η κορι σου, Kore Dear Astrid we are archaic we are your women your mothers your children. I take in. I become your kore your daughter my body your mother mother mold for a while. While I mother your rooms. and temporally and for a while anachronistically I am resurrected. like the technology that also has a body. The mother capsule, a matrix, is erected. Dear Astrid, there is a sculpture buried in your backyard. A pulse, an erectile body in concrete, it’s for you. Yours forever. Your chthonic. Kore.

OPENING:

Friday December 8th from 4pm-7pm, performance (Kore, Standing woman) at 5pm.

FINISSAGE AND PRESENTATION WITH BASTARD PRESS:

Saturday December 16th from 2pm-3pm,

Script, text, writing and performance: Nanna Lysholt Hansen in conversation with Lise Margrethe Jørgensen editor at bastard Press, and editor of Nanna Lysholt Hansen’s recent publication the camera body & OBSTETRICAL DEPARTMENT / birth / pregnant.

OPEN BY APPOINTMENT:

Contact Nanna Lysholt Hansen (60329184 & nannalysholthansen@gmail.com)

Mother Mould part II is supported by the Danish Arts Foundation, The Council for Visual Art Copenhagen Municipality and BKF.

ANA Forum

Performance art on geopolitics and climate justice. Fundraiser for Gaza/Palestine

09.12.23

We invite you to a collaboratively curated day of performance art in Astrid Noacks Atelier.

A group of artists will present performances throughout the day, jointly manifesting how the struggle against the occupation and invasion in Palestine and Gaza can be connected to the struggle for climate justice and against[1] [2]  geopolitical structures of oppression.

We find that the Danish media’s representation of the violence in Palestine and Gaza is unjust, silencing, and de-sensitizing. With this performance day, we want to contribute to a re-sensitizing and understanding of how we in this place and this now are connected to the struggle in Palestine.

Program:

3pm/

Nanna Lysholt

Xiri Tara Noir

Victor Valqui Vidal

Charlotte Bergmann Johansen

Joshua Ezekiel Sales

Maria Nørholm Ramouk and Karen Nhea Nielsen

Peter Vadim, Dorte Bjerre, and Jonathan Aardestrup

Stephen McEvoy

Linh Le

Signe Vad

Louisa Aisin

6pm/

Performative Soup

Kirsten Dufour and Finn Thybo

Morten Bencke

7pm/

Toshie Takeuchi

Sarah Buchner

Maria Lepisto and Tanya Rydell Montan

Ben Rodney

Sall Lam Toro

Ran Suh

Juniper

Paolo de Venecia Gile

David Sebastian Lopez

The overall message is that of solidarity with Palestinian civilians losing their lives and livelihoods. A Fundraiser through a pay-what-you-can entrance by the door will be sent to The Danish House in Palestine.

There will be food (vegetable soups and cakes) and a bar throughout the day.

CONTACT: If you are interested in contributing to this event, 

–       as a helping hand 

–       by showing your performance-work 

–       by donations

please write us at performancedecember2023@gmail.com.

Organized by David Sebastian Lopez Restrepo, Ran Suh and Sara Hamming.

Thanks to:

All the participating artists,
Klejner & Gløgg (Jesper Aabille)
Food donators (Yong Sun Gullach),
Flyer designer (Bora Kim @deer studio in)

ANA Local

Rikke Luther Mud in the Earth System

03.11.23 - 01.12.23

Image from GROFS1-expedition (GLOBE Institute, Section for Geobiology), Kangerlussuaq, Greenland, 2023

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.

The exhibition is supported by the Danish Arts Foundation, the Novo Nordic Foundation, Baltic Art Center and Art Hub Copenhagen (NAARCA).

OPENING:

Friday November 3th at 6pm-8pm.

EVENTS:

Thursday November 9th 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. The conversation will, among other things, revolve around the processes between what we define as organic and non-organic; between organic molecules and mineral surfaces as well as the significance for life in muddy environments with fragmented 2 million year old e-DNA everywhere. What happens when the ocean carves out new landscapes with land and river erosion, and when oceans of material are transformed and moved from melted areas?

Monday November 27th at 5pm: artist talk with Rikke Luther who will talk about the comprehensive issues she tries to map and turn into film in relation to the work Ocean-Lands: Mud Within the Earth System.

OPEN:

Fridays from 3pm-5pm or by appointment (rikke.luther@sund.ku.dk) The exhibition is also open in connection with the conversation on Thursday November 9th and the artist talk Tuesday November 28th from 3pm-5pm.

BIO: Rikke 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.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. She defended the PhD Concrete Aesthetics: From Universal Rights to Financial Post-Democracy in 2021. It will be published with extended texts by Esther Leslie and Jaime Stapleton.

ANA Forum

Ursula Andkjær Olsen, Kaspar Kaum Bonnén & Claus Handberg Reading between Fall and Winter Version II

22.10.23

Sunday October 22th at 3pm ANA invites you to a reading. The three authors Ursula Andkjær Olsen, Kaspar Kaum Bonnén and Claus Handberg are from the same generation but have very different approaches to the personal. Ursula Andkjær Olsen will read from her identity- and economy critical Mit Smykkeskrin, Kasper Bonnén from his blunt and conciliatory Bag Om Min Far, and Claus Handberg from his upcoming poetry essay Genitor – en meditation over faderfiguren.

The reading is in Danish.

The reading is supported by the Danish Arts Foundation.

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

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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.

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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

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

  • Daglig leder & kurator
  • Kathrine Bolt Rasmussen
  • 22 30 80 91
  • kbr@astrid-noack.dk
  • Udstillingskoordinator
  • Mie Lund Hansen
  • 27 28 15 29
  • mlh@astrid-noack.dk
  • Bestyrelsesformand
  • Finn Thybo Andersen
  • 60 81 02 18
  • finnthybo@gmail.com
  • Bestyrelsesmedlem & kunstnerisk leder
  • Kirsten Dufour
  • 20 61 31 73
  • saas.dufour.andersen@gmail.com
  • Bestyrelsesmedlem
  • Rikke Diemer
  • 40 38 94 29
  • rikke.diemer@gmail.com
  • Kasser
  • Helle Westergaard
  • 42 46 09 54
  • helle.hik@gmail.com