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‘Kunstlivets nye infrastrukturer – seminar om nye samarbejder og platforme for kunstnerisk produktion’

Torsdag d. 14. november 2019 kl. 13.00-17.00, Medie Auditoriet, Det Kgl. Danske Kunstakademis Billedkunstskoler i København.

Hvordan kan kunstinstitutioner bedst muligt understøtte kunstnerisk produktion og skabe tværgående samarbejder? Det undersøger en lang række oplægsholdere fra ind- og udland på seminar om nye platforme for kunstnerisk produktion.

I disse år arrangerer mange kunstinstitutioner ikke blot udstillinger og tilbyder publikumsaktiviteter. De udvikler også nye tværinstitutionelle samarbejder og platforme, der understøtter kunstneres forskning, produktion og faglige udveksling. De nye infrastrukturer giver kunstnerne bedre muligheder for at eksperimentere og arbejde med deres kunst, og de udvikles ofte i dialog med lokale, nationale og internationale aktører både i og uden for kunstlivet.

Det er baggrunden for seminaret ‘Kunstlivets nye infrastrukturer – samarbejder og platforme for kunstnerisk produktion’, arrangeret af kunstinstitutionen Astrid Noacks Atelier (ANA) og Billedkunstnernes Forbund (BKF).

Det uafhængige udstillingssted ANA, der har base på Nørrebro i København, og BKF, der er Danmarks faglige organisation for billedkunstnere, håber, at seminaret kan inspirere til faglig nytænkning og udvikling i såvel som udenfor det selvorganiserede kunstliv herhjemme. Mere om oplægsholderne her nedenfor.

Kunsten mellem kranerne
Charlotte Præstegaard Schwartz er moderator på seminaret, der præsenterer en række eksempler på eksperimentelle institutionspraksisser fra ind- og udland. Sammen med billedkunstner Kirsten Dufour repræsenterer hun Astrid Noacks Atelier, der står midt i et aktuelt behov for at udvikle og gentænke sig selv som kunstinstitution.

Atelieret, der både fungerer som udstillingssted, residency for internationale kunstnere og lokal eksperimenterende kunstplatform, er del af et af Ydre Nørrebros ældste baggårdsmiljøer, hvor musikstudier, kunstneratelier, værksteder og små garager hidtil har ligget side om side.

Men sidste år blev forhuset revet ned, og nu renoveres de øvrige huse i baggården omkring atelieret og bliver til dyre lejelejligheder. Det betyder, at området ændres markant – en udvikling, der også påvirker institutionen indadtil.

Foranlediget af denne udvikling præget af kraner, arbejdsfolk og nyt boligbyggeri ønsker Astrid Noacks Atelier sammen med Billedkunstnernes Forbund (BKF) at rejse diskussionen om kunstinstitutionernes udviklingsmuligheder, udfordringer og ansvar. For hvordan kan nytænkende kunstinstitutioner bedst understøtte kunstneres arbejde – og samtidigt fungere som katalysatorer for skabelsen af alternative forestillinger om verden?

Kunstneriske partnerskaber i Paris
Seminarets hovedtaler er Mélanie Bouteloup, leder af Bétonsalon – Center for Art and Research i Paris.

Bouteloup vil fortælle om kunstinstitutionens erfaringer med at etablere samarbejder mellem kunsten og den akademiske verden og om centrets velfungerende kreative partnerskaber med både offentlige kunstmuseer og kommercielle aktører.

Bétonsalon – Center for Art and Research i Paris er et nonprofit-rum, der kombinerer kollektive undersøgelser af kunstneriske og akademiske praksisser med udstillinger, performances, seminarer, workshops og samarbejder med bl.a. Paris Universitet.

Bétonsalon driver desuden Villa Vassilieff i hjertet af bydelen Montparnasse. Det er navngivet efter den russiske kunstner Marie Vassilieff, der levede samtidigt med Astrid Noack og i 1911 åbnede Marie Vassilieff Academy. Det tidligere kunstneratelier er i dag udstillingssted under det franske Kulturministerium og huser Bétonsalons residencyprogram for kunstnere og kuratorer.

Svensk selvorganisering
Konstant accelererende hastighed, mængder af midlertidige projekter og et tilsyneladende umætteligt forbrug af kunstneriske idéer og kulturelle produkter; hvordan organiserer man sit arbejdsliv som kunstner under disse vilkår?

Sådan spurgte en række kunstnere sig selv tilbage i 2013, og svaret blev SKOGEN, et selvorganiseret kunstnerhus i Gøteborg, der voksede ud af kunstnernes egen frustration over kulturlivets infrastrukturelle problemer.

I SKOGEN er kunstnerne gået sammen om at organisere sig, støtte og lære af hinanden, f.eks. i studiegrupper, og at arrangere residency-programmer, seminarer og præsentationer for svenske og internationale kunstnere.

På seminaret i København deltager Johan Forsman, en af hovedkræfterne bag den kunstnerdrevne institution SKOGEN, og fortæller om erfaringerne.

Norske kunstnere samarbejder på tværs
At skabe fokuseret, vedholdende dialog mellem forskellige fagligheder og bygge nye, tværgående fællesskaber er ambitionen for norske PRAKSIS, der har til huse i Oslo.

PRAKSIS er en nonprofit organisation, der tilbyder tematisk fokuserede residency-programmer for norske og internationale praktikere og tænkere indenfor de kreative fag.

Det handler ikke kun om at stimulere faglig udvikling blandt kunstnere og andre kreative, men også om at åbne den kunstneriske proces og gøre den tilgængelig for et bredere publikum: At gøre folk interesserede og engagerede i, hvad kunstnere gør, ikke kun i, hvad de producerer.

På seminaret i København deltager Nicolas John Jones, leder af PRAKSIS. Han vil dele organisationens erfaringer med at skabe udveksling og nye samarbejder på tværs af både landegrænser og fagligheder. Og giver sit bud på, hvordan fremtidens ideelle kunstinstitution kunne se ud.

Engelske erfaringer
Kan små og større udstillingssteder samarbejde om at give kunstnere bedre muligheder? Det har de gode erfaringer med på Wysing Arts Centre i Cambridge, hvor danske Lotte Juul Petersen de seneste ti år har arbejdet med kulturelle programmer for ny kunstproduktion og residencies.

Tidligere i år tiltrådte Lotte Juul Petersen som ny leder for udstillingsstedet Rønnebæksholm i Næstved. På seminaret i København fortæller hun om de engelske erfaringer og om, hvordan de kan bruges i en dansk sammenhæng.

På Wysing Arts Centre har Lotte Juul Petersen bl.a. samarbejdet med TATE Modern og været med til at udvikle det nationale ungeprogram ‘Circuit’.

Danmark: Unge kunstnere får bedre start
Kunstlivet har brug for al den udvikling og fornyelse, unge kunstnere bidrager med. Derfor er det vigtigt, at nyuddannede kunstnere får mulighed for at komme godt i gang med arbejdslivet efter studierne.

Det kunstnerdrevne udstillingssted Sydhavn Station er blandt dem, der har engageret sig i at give unge kunstnere bedre arbejdsvilkår.

I samarbejde med Billedkunstnernes Forbund (BKF) lancerede Sydhavn Station tidligere i år residency-programmet St Residens, der giver to nyuddannede kunstnere et års gratis atelierophold, sparring med erfarne kolleger og udstillingsaftale. Programmet udspringer af et ønske om at bidrage til et mere dynamisk kunstmiljø i Danmark ved at skabe alternative rum for det billedkunstneriske arbejde.

På seminaret fortæller billedkunstnerne Sonja Lillebæk Christensen og Aske Thiberg fra Sydhavn Station om tankerne bag St Residens.

PROGRAM:

Kunstlivets nye infrastrukturer

– et seminar om nye samarbejder og platforme for kunstnerisk produktion

Arrangører: Astrid Noacks Atelier (ANA) og Billedkunstnernes Forbund (BKF)

Tid og sted: Torsdag d. 14. November 2019 kl. 13.00-17.00
Medie Auditoriet, Det Kgl. Danske Kunstakademis Billedkunstskoler
Kgs. Nytorv 1, 1050 KBH K.

Praktisk: Seminaret foregår på engelsk. Deltagelse er gratis, men tilmelding nødvendig senest d. 10. november på: kmfp@bkf.dk

Moderator: Charlotte Præstegaard Schwartz, Astrid Noacks Atelier

kl. 13:00 Velkomst v/Astrid Noacks Atelier og Billedkunstnernes Forbund

kl. 13:15 Mélanie Bouteloup: Om Bétonsalon – Center for Art and Research, Paris

kl. 13:55 Johan Forsman: Om Skogen, Gøteborg

kl. 14:20 Lotte Juul Petersen: Om Wysing Art Centre, Cambridge

kl. 14:45 Performance og præsentation v/billedkunstner Lise Skou: Service Act Manifest, Series 2.

Kaffe og forfriskninger serveres i forbindelse med performancen

kl. 15:20 Nicolas John Jones: Om PRAKSIS, Oslo

kl. 15:45 Sonja Lillebæk Christensen og Aske Thiberg: Om St Residens, København

kl.16:00 Paneldebat og dialog med salen

kl. 17:00 Afslutning og tak for i dag

Foto: Performance ved billedkunstner Lise Skou, Astrid Noacks Atelier 2019: Service Manifest #1: Rubbing and Scrubbing – the appearance of the individual as the body of capitalism. 

Seminaret er støtet af Statens Kunstfond.

Institutional infrastructures – new modes, collaborations and platforms for artistic production

The seminar will be held on Thursday, the 14th of November 2019 from 1.00 pm to 5.00 pm at the Royal Danish Academy of Fine Arts in Copenhagen, Denmark. (See full program for the seminar below.)

How can art institutions support artistic production in the thinkable manner and create cross-institutional collaborations between different disciplines and cultures?

A joint seminar by the independent art institution Astrid Noacks Atelier (DK) and the association of visual artists in Denmark, Billedkunstnernes Forbund, presents domestic and international examples of institutional best practices.

Today, contemporary art institutions are not only organizing exhibitions and offering the public a wide range of educational and social activities. Many art institutions are also creating new collaborations, which support artistic research, artistic production and professional exchanges. These emerging, experimental infrastructures provides visual artists with better opportunities to experiment and to work with their art; and are often developed in dialogue with local, national and international partners in as well as outside the confines of the international art scene.

This is the background for the seminar Institutional infrastructures – new modes, collaborations and platforms for artistic production, presented by the Copenhagen-based, independent art institution Astrid Noacks Atelier (ANA) and the association of Danish visual artists, Billedkunstnernes Forbund (BKF).

With the seminar, Astrid Noacks Atelier and Billedkunstnernes Forbund hopes to inspire and connect artists, art workers and other professionals in as well as outside the self-organized art scene. Read more about the speakers below.

Art between the construction cranes
Charlotte Præstegaard Schwartz will moderate the seminar, that will present a number of examples of experimental institutional practices from Scandinavia, France and England. Together with visual artist Kirsten Dufour, she represents Astrid Noacks Atelier, which currently faces a need to develop and rethink itself as an art institution:

Astrid Noacks Atelier serves both as an exhibition space, a residency for international artists, and a local experimental art platform, and is part of one of Copenhagen’s oldest backyard environments, where music and artist studios, workshops and small garages have so far co-existed side by side.

However during the last years, a front building has been demolished, and the small houses in the backyards around Astrid Noacks Atelier will soon be renovated and turned into expensive rental flats. This means, that the area is undergoing significant changes – a development that also affects the art institution’s working method and how it positions itself.

As a result of this development Astrid Noacks Atelier, together with Billedkunstnernes Forbund, wants to raise questions about art institution’s possibilities, challenges and responsibilities. For how can innovative art institutions best support the work of artists – and, at the same time act as catalysts for the creation of alternative conceptions of the world?

French artistic partnerships
The keynote speaker at the seminar is Mélanie Bouteloup, director of the Bétonsalon – Centre for Art and Research in Paris.

Bouteloup will talk about the art institution’s experiences with establishing new modes of collaboration between the arts and academia and about the thriving creative partnerships with both public art museums and commercial partners.

Bétonsalon – Centre for Art and Research in Paris is a non-profit institution combining collective studies of artistic and academic practices with exhibitions, performances, seminars, workshops and collaborations with many different external partners, i.e. the University of Paris.

Bétonsalon also runs Villa Vassilieff in the heart of the Montparnasse district. It is named after the Russian artist Marie Vassilieff, who was contemporary with Astrid Noack and in 1911 opened Marie Vassilieff Academy. This former academy is today an exhibition facility under the French Ministry of Culture and houses the Bétonsalon’s residency programe for artists and curators.

Swedish artist-run house
Accelerating amounts of temporary projects and a never-ending fast consumption of ideas and products; how to organize your working life as an artist under these conditions?

This was the question, raised by a group of Swedish-based artists back in 2013, and their answer became SKOGEN, an artist-run house in Gothenburg, that presents new ways of coming together as artists and art workers, sharing, examining and developing new modes of artistic processes together.

In SKOGEN, artists organize, support and learn from each other in study groups, residency programes, seminars and collective presentations with artists from and outside Sweden.

At the seminar in Copenhagen, Johan Forsman, one of the main forces behind the artist-run institution, will talk about experiences collected at SKOGEN.

Norwegian cross-institutional collaborations
Creating a focused, sustained dialogue between different disciplines and building new, interconnected communities in and outside of the art world is the ambition at the Norwegian art platform PRAKSIS, based in Oslo.

PRAKSIS is a non-profit organization that offers thematically focused residency programes for Norwegian and international practitioners and thinkers in the creative fields.

It’s not just about stimulating professional development among artists and other creatives, but also opening up the artistic process and making it accessible to a wider audience: engaging people with what artists do, not just with what they produce.

At the seminar in Copenhagen, Nicolas John Jones, head of PRAKSIS, will talk about the organization’s experience with exchanges and new collaborations across both national borders and professional fields. And share his views of what the ideal art institution of the future might look like.

English experiences
Can small and larger art institutions work together to give artists better opportunities? At the Wysing Arts Centre in Cambridge, they have good experiences in doing just that. Here, Danish Lotte Juul Petersen has been working with cultural programes for new art production and artists residencies for a decade.

Earlier this year, Lotte Juul Petersen was appointed new director of the Rønnebæksholm exhibition site in Næstved, Denmark. At the Copenhagen seminar, she talks about the English experiences and gives us her take on how they might be inspirational in a Danish context.

At the Wysing Arts Centre, Lotte Juul Petersen has collaborated with i.e. TATE Modern and helped develop the national youth programme ‘Circuit’.

Denmark: Young artists get a better start
The contemporary art scene needs all the innovative contributions that young artists provide. Therefore, it is crucial that newly graduated artists get the best possible start as they try to establish themselves as professional working artists after having finished their education.

The artist-run exhibition venue Sydhavn Station has recently committed itself to giving young artists better working conditions.

In collaboration with Billedkunstnernes Forbund, Sydhavn Station launched the St Residens residency programme earlier this year.  The residency provide two newly graduated artists with a free studio for one year, guidance by experienced colleagues, and a solo exhibition at the end of the programe. The programe stems from a desire to contribute to a more dynamic art scene in Denmark by creating alternative spaces for visual artists’ work.

At the seminar, visual artists Sonja Lillebæk Christensen and current resident Aske Thiberg from Sydhavn Station will share thoughts and experiences from St Residens.

Institutional infrastructures – new modes, collaborations and platforms for artistic production

A seminar arranged by Astrid Noacks Atelier (ANA) and Billedkunstnernes Forbund (BKF)

Time and place: Thursday the 14th of November 2019 at 1.00 pm to 5.00 pm
Media Auditorium, The Royal Danish Academy of Fine Arts, Schools of Visual Arts
Kgs. Nytorv 1, 1050 KBH K.

The seminar is in English. Participation is free, but registration is required no later than the 10th of November at: kmfp@bkf.dk

Moderator: Charlotte Præstegaard Schwartz, Astrid Noacks Atelier

Seminar program:

1:00 pm Welcome by Astrid Noacks Atelier and Billedkunstnernes Forbund

1:15 pm Mélanie Bouteloup: About Bétonsalon – Centre for Art and Research, Paris

1:55 pm Johan Forsman: About SKOGEN, Gothenburg

2:20 pm Lotte Juul Petersen: About Wysing Art Centre, Cambridge

2:45 pm Performance and presentation by visual artist Lise Skou: Service Act Manifest Series 2.

Coffee and refreshments are served in connection with the performance

3:20 pm Nicholas John Jones: About PRAKSIS, Oslo

3:45 pm Sonja Lillebæk Christensen and Aske Thiberg: About St Residens, Copenhagen

4:00 pm Panel debate and dialogue with audience

5:00 pm End of seminar

Photo at top: Performance by visual artist Lise Skou, Astrid Noacks Atelier 2019: Service Act Manifest Series Section 1: Rubbing and Scrubbing – the appearance of the individual as the body of capitalism. Photo: Astrid Noacks Atelier.

The seminar is supported by The Danish Arts Council.

Astrid Noack’s Atelier is again this year participating in ”The Others” art fair in Torino. This time we are presenting an exhibition with a range of recent works (the so-called ‘tools’) by Hannah Toticki Anbert, which together formulate a critique of modern civilization in both a historical and contemporary perspective. In a society described as liquid modernity, cognitive capitalism or as an acceleration regime we need ‘tools’ to resist the constant feeling of fragmentation caused by the fact that not only our bodies, but our minds, feelings and desires are seized as means of production. Conversations, silences, lines of thoughts are under attack from a constant online presence, a permanent stream of information and an ever-present possibility of being elsewhere.

As the title indicates the ’tools’ in the exhibition act as instruments of a sort that make it possible to use our bodies and senses in ways that doesn’t follow the logics of productivity, effectiveness and growth, which characterize the surrounding capitalist society. As Anbert’s critically playful ‘tools’ point to, neither the planet nor human existence will be able to continue to take part in this regime of endless growth and constant speed in which climate and existential crises fuse into one big crisis; on a macro-political level the planet gives in to fires, floods and storms, while on the micro-political human level we are tormented by exhaustion, stress and depression. We are therefore in need of new ‘tools’ that make it possible to live otherwise.

The ’tools’ in the exhibition are designed for both mental and physical resistance. Some tools are ready-to-use applications to the body while others are more abstract, inviting to different mental exercises. Touch Screen Protection Rings are rings designed in silver and gold which are intended to be placed on the fingertip of the index finger and the thumb. The rings hereby block the small part of the body that normally interacts with digital devises through touch screens. The rings function both as a physical obstacle, and as a symbol of presence: ”I am here with you and not all sorts of other places”. In the exhibition, you also find a work called Smartphone Protection Glasses – a pair of glasses, which, just like the rings, functions as a ‘tool’ by inserting a bodily obstacle. In continuation of the slogan of the American artist Jenny Holzer, “protect me from what I want”, Anbert articulates a critique of the desire created by society for constant online presence.

Another group of ‘tools’ presented in the exhibition resembles instruments for activities we cannot recognise from our present-day society. These ‘tools’, which look like abstract ‘keys’, are invitations for different activities, inspired, conceptually as well as in their appearance, by historical movements such as the German Lebensreform movement (life reform movement) and Kibbo Kift in England, social movements that were active in the beginning of the last century. Both movements were interested in the human/nature relation and promoted, among other things, a back-to-nature lifestyle. They also both formulated a critique of existing societal structures and pointed out different ways to commune with nature.

Even though this group of ’tools’ are more difficult to decode they seem to invite playful exercises, as indicated in their titles: Key for Extended Attention, Key for Undisturbed Play and Thought Vessel. In accordance with the holistic and environmental ideas that were a fundamental part of the Lebensreform movement and Kibbo Kift, Anbert’s ‘tools’ point towards the necessity of re-establishing a connection between the body and mind. Indirectly, they seem to indicate the importance of activating the whole person. The exhibition also includes a print depicting an unknown territory and an unidentifiable human activity. In the three banners that are also presented in the exhibition the ‘keys’ and parts of the motif from the print recur.

The different ‘tools’ that are presented in the exhibition unites an historical as well as a contemporary perspective and re-actualises – through historical social movements – the present environmental challenges we are currently confronted with and articulates the necessity of finding new more sustainable ways to inhabit the world.

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

The exhibition is supported by The Danish Art Foundation.

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.

Udstilling og systue er åben fire lørdage i oktober d. 5.,  d. 12, d. 19. og d. 26. kl. 14:00-17:00, ellers åben efter aftale (tlf. nr. 22308091)

Astrid Noacks Atelier har inviteret billedkunstner og kunstnerisk leder af IHi-Instant HERLEV institute Anja Franke til at arbejde og udstille i oktober måned. Franke skaber et nyt inddragende udstillingsprojekt, der sætter fokus på forandringsprocesser på både et personligt, mikro-politisk niveau og på et globalt makro-politisk plan. Baggrunden for projektet er en 10 dages vandretur i bjergerne i Spanien. Franke bruger vandringen som en mental erkendelsesmetode, hvor hun bevæger sig ud i det uvisse for at kortlægge og afsøge nye ruter og for at åbne op for alternative tankemønstre.

I Astrid Noacks Atelier, der i perioden 1936-50 fungerede som Astrid Noacks beskedne arbejdsrum og private hjem, etablerer Franke en systue, hvor publikum kan omforme gamle medbragte skjorter til en spadseredragt identisk med den Franke bar under sin bjergvandring. Ved at genaktivere rummets oprindelige værkstedfunktion og ’udsmykke’ det med poetiske billedelementer såsom akvareller af palmer, som Franke har memoreret fra sin vandring – palmer der langsomt drænes for blå farve – sammenkobles nutid og fortid, det private og det offentlige, det mentale og det kropslige. Via den kreative omformningsproces, hvor en brugt beklædningsgenstand langsomt transformeres til en ny, peger Franke med en ’nøjsom æstetik’ indirekte på den nødvendige forandring vi alle på kloden må indstille os på, hvis vi og kloden på sigt skal overleve. Ligesom Franke, der drager ud efter svar på spørgsmål, som der ikke findes lette svar på, opfordres publikum til at afprøve nye arbejdsformer og til at overveje og diskutere presserende emner som værdiskabelse, klima, fælles ansvar og alternative løsninger.

I RUNNING OUT OF BLUE spindes Frankes private fortælling og hverdagstanker om kunst, hverdagsliv, klimaforandring og nøjsomhed således sammen med et større globalt perspektiv vedrørende vores fælles fremtid på kloden. Udstillingen skaber samtidig et fælles socialt rum, hvor publikum mobiliseres som aktive medskabere og medfortolkere. Publikum kan på de fire åbningsdage i oktober medbringe egne brugte skjorter, som de efter anvisning fra Franke, kan sy om til deres egen ’bæredygtige’ spadseredragt.

Bio

AnjaFranke er uddannet fotograf i København og New York (1981-85), og billedkunstner og cand. phil. i kunstformidling og teori på Det Kongelige Danske Kunstakademi (1987-94). Anja Franke er til daglig kunstnerisk leder af IHi-InstantHERLEV institute, en udstillingsplatform beliggende i Anja Frankes private hus og have i Herlev. Hun var i perioden 1997-2006 Professor på Det fynske Kunstakademi. Franke har haft soloudstillinger hos bl.a. M&A, i Silver Lake, LA (2007), Nivaagaard Malerisamling, Nivå, DK (2013) og på Overgaden, København, DK (2001) og har deltaget i en lang række gruppeudstillinger i ind- og udland senest på Rønnebæksholm (2019) og Trapholt (2019). Franke arbejder med installation, mixed media og kunstudsmykning i det offentlige rum og fungerer desuden som freelance kurator.

Udstillingen er støttet af Statens Kunstfond.