Jens Haaning er kendt for sine interventioner i det offentlige rum med fokus på ‘det fremmede’, på relokation og kulturforskelle. ‘Grænser’ er et tilbagevendende motiv i værkerne, der ofte bryder med sociale normer. Grænsemotivet omfatter bl.a. undersøgelsen af de mange problematikker,immigranter står overfor. Dette ses i projektet ‘Albanian Pigeons’ fra 2009. Her frisatte Haaning 30 duer fra Albanien på en central plads i græske Thessaloniki.

Jens Haaning is known for his interventions in the public space with a focus on “the foreign”, on re-location and on cultural differences. “Boundaries” is a recurring motif in his works, which often break with social norms. The boundary motif includes, among other things, the examination of the vast complex of problems that immigrants are compelled to deal with. This can be seen in the “Albanian Pigeons” project from 2009. Here, Haaning liberated 30 pigeons from Albania at a central plaza in the Greek city of Thessaloniki.

Anders Bonnesen er optaget af billedkunstens paradoksale forhold til sproget, og ligesom han gerne hiver sproget fra hinanden for at sætte det sammen på uventede måder, således sætter han også gerne velkendte elementer ind i nye, tankevækkende sammenhænge. F eks i hans bearbejdninger af trafikskilte/advarselstavler, hvis betydning ender med at ligge et sted mellem tegn, fysik og sprog.

Anders Bonnesen is interested in visual art’s paradoxical relation to language. Just as he willingly pulls language apart in order to put it back together in unexpected ways, he is also inclined toward setting familiar elements into new and thought-provoking contexts: for example, in his readaptations of traffic signs/warning signs, the meaning of which winds up lying somewhere between sign, physics and language.

På udstillingen ‘Hun og Hende’kortlægger Elisabeth Toubro og Karin Westerlunds forskellige verdensopfattelser i ét fælles organisk fletværk. Det er værker,der kredser om kønnenes ståsted og stemme i samfundet samt deres indvundne rettigheder. Og publikum får på udstillingen mulighed for at stille Westerlund spørgsmål om alt mellem himmel og jord, herunder hendes egne værker.

At the exhibition, “Hun og Hende”, Elisabeth Toubro’s and Karin Westerlund’s respective views of the world are mapped out in one common organicinterlacing pattern. The works revolve around the genders’ standpoint and voice in society as well as around their newly gained rights. At the exhibition the visiting public gets a chance to ask Westerlund questions about everything under the sun, including questions about her own works.

Proceskarakteren betyder, at man tydeligt kan se, hvordan Veo Friis Jespersens nye skulpturer er lavet, hvordan materialerne er føjet sammen. Skulpturerne er sammensætninger af simple materialer, åbne processer og fysiske handlinger. Bevægelser, der medfører nye erfaringer af rummet, lyset og tyngdekraften.

The processual character of Veo Friis Jespersen’s new sculptures entails that you can clearly see how the sculptures have been made. The sculptures are montages of different “poor” materials, processes and physical actions that shift the fundamentals of architecture around and rephrase basic physical questions like: What is gravity? What is light? What is carrying and what is being carried?

45 billedhuggere fra mindst fire forskellige generationer har indtaget hver deres 80×80 cm store kvadrat i SKULPTURI’s lokale og har dermed etableret en situation, hvor skulpturen opleves som et felt af sideordnede processer, tegn og handlinger i stedet for et isoleret objekt. Materiale- og formgivningsvalg spænder vidt, men de mange brudflader og modsætninger fortættes i den overordnede kategori ‘ting’.

Forty-five sculptors from at least four different generations have each taken up their own 80×80 centimeter large squares inside SKULPTURI’s exhibition room and have thereby established a situation where the sculpture is experienced as a field of coordinated processes, signs and actions instead of as an isolated object. The material- and designchoices vary greatly but the many fractured surfaces and contradictions have been concentrated into the overall category of “things”.

Karin Lorentzen har fyldt blomster med gips og herefter trukket støvdragere og kronblade af. Blomstens indre, dens ‘natur’, er med dette greb foreviget i gips, og den skulpturelle form er herefter fastgjort til SKULPTURI’s loft med åbningen opad som en omvendt stuk eller stalaktit-dannelse. På gulvet ligger blomsterrester og nedfalden gips — spor efter arbejdsprocessen.

Karin Lorentzen has filled flowers with plaster and has subsequently pulled off the stamens and the petals. The flower’s interior, its “nature”, has been immortalized in plaster and the sculptural form has hereafter been fastened to the ceiling with the opening facing upwards, in the manner of upside-down stucco or a stalactite formation. On the floor, remnants of flowers and fallen flakes of plaster are lying about — trails left behind in the wake of the working process.

Udstillingens titel ‘Lock’ henviser til et af skulpturgenrens mest basale aspekter: evnen til at fiksere en situation — en gestus — i tid og rum. Dette forhold gør sig i Monika Brandmeiers (D) nye værker gældende i et udvidet skulpturfelt, der går i tæt dialog med SKULPTURI’s lokale. Brandmeiers objekter har en enkel, reduceret fremtræden, der kan ses i forlængelse af den industrielle produktions anonymitet og høje grad af finish.

The exhibition’s title, “Lock”, refers to one of the sculpture genre’s most fundamental proclivities: the capacity to fixate a situation — a gesture — in time and space. With Monika Brandmeier’s (D) new pieces, this particular aspect of sculpture manifests itself in an expanded sculptural field that moves into close dialogue with SKULPTURI’s exhibition space.

Tomtens rum — stedet mellem tomrum og frirum — danner udgangspunkt for udstillingen. Tina Maria Nielsen tager afsæt i en række fundne, lavmælte og ikkeautoritære ting ved at overføre dem til nye materialer som bronze, cement, voks og gummi. Fra et transparent ‘handlingsrum’, placeres de nu i en ladet betydningssfære, hvor deres rå, skrabede udtryk udfordres af en særlig intimitet og legemlighed. I stedet for at se igennem dem, ser vi nu på dem og på deres utilpassede materialitet, deres historie og sprog.

The site’s space – the place between void and the possibility of unfolding oneself – fashions the starting point of this exhibition. Tina Maria Nielsen takes her mark in a number of “found”, subdued and non-authoritarian things and transforms them into weighty matters by transposing them into new materials like bronze, concrete, wax and rubber. Drawn out from a transparent “actionspace” — and placed into a charged sphere of meaning. Instead of looking through them, we now see them and look at their indisposed materiality, their history and their language.

Antonia Low (GB) har arbejdet med planter og grene, og hun har brugt i en række omstruktureringer og eksperimenter. Hun har undersøgt, hvordan en stuebirk kan forvandles til en skulptur uden at miste sit liv som plante. Manuel Gorkiewicz (A) tager udgangspunkt i de materielle tildækninger, man finder i forladte butikkers ruder. Begge kunstnere ’indrammer’ og fremhæver oversete kunstneriske elementer i hverdagen. Den hvide kube bliver via deres indgriben porøs og opløser sig selv indefra.

Antonia Low’s (GB) work consists in re‐structuring organic things in a variety of botanical experiments. She examines how a living room birch tree can be transformed into a sculpture without losing its life as a plant. Manuel Gorkiewicz (A) is taking his point of departure in the material coverings that can be found on the windows of abandoned shops. Both artists are “framing” and accordingly highlighting overlooked artistic elements in everyday life.Through their interventions, the white cube becomes porous and dissolves itself from within.

Stella Geppert, Thea Timm og Bernd Trasberger (D) har skabt det, de kalder et ‘almennyttigt rum’. I dette kontorlandskab - et sted mellem installation og situation - har Timm udspændt en vimpelkæde, Trasberger har placeret en ‘opslagstavle’ over moderne utopier rundt om galleriets bærende søjle og Geppert placeret en kost, hvis skaft er ligeså høj som lokalet og derfor aftegner et 'handlingsdiagram' i loftet, når den benyttes.

Stella Geppert, Thea Timm and Bernd Trasberger (D) has created what they call a “non-profit space”. Inside this office landscape—some place between installation and situation—Timm has stretched out a chain of pennants,Trasberger has placed a “bulletin board” around the center pole showing modern utopias and Geppert’s broom delineates an 'action diagram' in the ceiling when it is put to use.

Udstillingen er til minde om Ib Braase, der døde 85 år gammel i 2009. Den præsenterer et udvalg af kunstnerens værker, hvoraf mange ikke har været vist siden 1970’erne. Braase er en enestående figur i dansk kunstliv og en vigtig forudsætning for og indgang til samtidsskulpturen. Udstillingens titel er hentet fra et interview med Braase, hvori han siger følgende om sin praksis: "Jeg søger mere og mere at indkredse skulpturen som et sted. Ikke som en statue, men som et sted. Et sted man åndeligt kan være i." 

The exhibition has been set up in memory of Ib Braase, who died at the age of 85 in 2009. It presents a selection of the artist’s works, many of which have not been shown since the 1970s. Braase has no parallel in Danish art life; he was a vitally important preliminary figure that pointed the way for other sculptors’ courses into contemporary sculpture. The exhibition’s title was taken from an interview with Braase,where in the artist had this to say about his practice: “I am trying more and more to isolate sculpture as a place. Not as a statue but as a place. A place that you, spiritually, can be inside of.”

Med udgangspunkt i kalejdoskopets evigt foranderlige mønstre har Elle Klarskov Jørgensen skabt et hypervisuelt rum, hvor skalaer er flydende og centrum flytter sig med beskueren. Rummets elementer kan med få greb pilles fra hinanden og ændres. Udstillingen fungerer som en rum-model for mindre permanente og mere fleksible strukturer, flere kropslige fokuspunkter og udvidet plads til forandring, kreativitet og sanselighed.

Taking her jumping-off point in the kaleidoscope’s ever-changing patterns, Elle Klarskov Jørgensen has created a hyper-visual space, where scales are fluid and where the center moves in synch with the viewer. The room’s elements, with a few sweeping motions, can be torn apart and altered. The exhibition functions as a space-model for less permanent and more flexible structures, for several bodily focus points and for more room for change, creativity and sensuousness.