Thursday, December 15, 2016

JP Morgan Chase Art Collection purchases large scale painting.

I am happy to be a a part of the JP Morgan Chase Art Collection, who recently purchased the painting: Ship, Feathers,Mountain, 2016


Ship, Feathers, Mountains, 190x170 cm, 2016
Courtesy Barbara Davis Gallery/Mie Olise Kjærgaard

Untitled Miami, Nov 29- Dec 4 2016 - Y Galley/NYC

 Babylon, 210x300 cm, 2016
 
Lions on piedestals, 220x195 cm, 2016


 

Y Gallery at Crossroads London, Oct 6-9 2016

http://crossroadsart.net


I am showing with Y Gallery New York at Crossroads Art Fair.


We Run Things at Y Gallery New York City

Summer Wheat, Manuela Viera-Gallo and Mie Olise Kjærgaard at Y Gallery August 6- Sept 6 2016

 



 Talk: Female perspectives in Contemporary Painting, September 6 2016


DECEITFUL STRATEGIES at Himmerlands Kunstmuseum.

sept 10 - nov 10  2016

press text below.

photo credit: Henriette Klausen.


















 



 





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Deceitful Strategies
Mie Olise Kjærgaard
Himmerland Art Museum
September 10 to November 10 2016
A constructivist expressionist
Within the past years, Mie Olise Kjærgaard has made herself noticed on the hectic and fast-growing scene of contemporary art as an expressionistic painter with an original iconography. She operates with painting in an expanded field that the audience has been able to witness on several of her exhibitions in Denmark as well as abroad, where she has created installational constructions that engage with the painted motives on the surfaces.
She is inspired by ships and buildings, particularly abandoned, free-floating houses and huts that have lost their original function and are now left as partial ruins. When she paints she sort of acts like an architect that has permitted herself to experiment with utopian types of buildings. Either the constructions close to collapse or new improvised ones are arising.
Like only few other female artists, Mie Olise Kjærgaard does not hesitate to bring up monumental formats. Over and over again she aims really high, but whether the expresses herself in the huge scale or in the smaller one, her work is always thorough. Her unmistakable signature is a characteristic, broken palette - meaning that she mixes grey, white and black in a way that makes them appear somewhat dry and muted. She has a love for pinkish, light blue and brown nuances - and occasionally a very potent blue.
Compositionally the motives loom upwards and create new, wild structures. In these oftentimes civilization critical works chaos rules. In her three dimensional art - the installations in particular - she uses building materials directly and create pieces in the exhibition rooms, as demonstrated with her impressive show ‘The Silent Station’ in Nikolaj Kunsthal in 2012.

In may 2015 Mie Olise Kjærgaard cleared her calendar and gave herself permission to experiment with her art and plunged into deep waters in order to develop her painting. There she remained until the new year of 15/16. In her recent work she distances herself from the architectural motives and zooms in on smaller details with a pictogram-like imagery. Here she plays through a range of previous motives - pineapples, anchors, oars, palm trees, boats, coconuts and so on - to combine them for different meanings and associations to emerge. This new ‘dictionary’ is partially inspired by a visit to Venezuela prior to her solo exhibition there in 2016. Here she witnessed hammocks and laundry and notable houses built in layers. In Venezuela the ruins are brand new. For instance, banks and shopping malls that have never been completed. They’re made of glass, steel and concrete but only the skeleton of the buildings stand alongside facades of the lower floors. Because of the huge amount of homeless people in the poor country, they move into these unfinished domiciles and build upon the skeletons with bricks, wood and fabrics on the following floors. Hereby, an utterly different and bricolage-like architectural aesthetics appears. At the very top laundry is flapping in the wind. This architecture is a sign of a regime that has gone bankrupt and left its citizens hanging. The architecture of the buildings, that reflect the divided society, have wandered straight into Mie Olise Kjærgaard’s new works.
When Mie Olise Kjærgaard war studying architecture she was taught, that a construction has to be honest, meaning aesthetically consistent all the way through. In Venezuela the buildings are dishonest all the way through.  Therefore, Mie Olise finds them to be very special and deeply interesting, visually and as sociological objects of study, partially because of these layered structures with horizontal dividing lines, that she’s worked into her paintings. Furthermore, compositionally her new work can be compared to exquisite corpse drawings or folded drawings, that are also built in layers. Her new pieces are more ‘dirty’ than previously. Visually they are stimulating - filled with ‘noise’ and playful, pictogram-like figurations, that are rhythmically embedded in the surface.
Mie Olise Kjærgaard has had some pretty busy years exhibition wise, as well as tremendous sales - all paintings were snatched away on the exhibition opening in her American gallery, Barbara Davis in Houston. On commending a line of new shows, Mie first thought that she could reuse her paintings, but her vanity quickly kept her from that. However, new ideas kept emerging just like the exhibition architecture is utterly different from the Politiken Vestibule, the Morsoe Art Union, Museo de Arte Acarigua in Venezuela and now the Himmerland Art Museum in Aars. Therefore she’s had to make new paintings for every exhibition. Each room has individual possibilities that can foster fabulous solutions, if you seize it the right way, she thinks. 80 percent of the works in the Himmerland Art Museum are consequently brand new.
The large room is available for Mie Olise Kjærgaard in this significant museum building, drawn by Per Kirkeby in collaboration with the architect Jens Bertelsen. She has invited the painters Ditte Ejlerskov and Johan Furåker to exhibit in the smaller room right next door. Mie Olise’s exhibition consists of a series of very large paintings and a series of very small ones, all hanging across each other on each their long wall. On the two end walls she has chosen two oblong paintings that are installed on furniture-like constructions. Hereby she sustains the installational approach that turns the paintings into object of the room.
Lisbeth Bonde, art critic, MA and chairman of AICA Denmark.
August 2016

Mie Olise Kjærgaard is raised on Mors. She was born in 1974. After having trained as an architect in 2001 on the Aarhus School of Architecture she took and MFA on Central St. Martin School of Art in London in 2007. For many years she has resided in New York, but now lives and works in Copenhagen.



Sunday, June 5, 2016

Debate about Art in Public Places at Land-Shape Festival, Denmark

At Land-Shape Festival, june 2 at 4-5.30pm, I was in the panel discussing Public Art together with three bosses of cultural politics. The debate was a pre-event for this years Culture-Meeting at Mors in August.

From left: Mie Olise Kjærgaard, Artist; Bertel Haarder, Culture minister of DK, Søren Taaning, Skovsnogen and head of Danish Art Council; Orla Hav, head of the Parlaments committee of culture; and moderator Christian Have.

Friday, April 29, 2016

KUNSTPAUSEN: KONSTRUKTIONEN i Information.

I dagens Information er et lille billede med tekst:

 https://www.information.dk/kultur/2016/04/kunstpausen-konstruktionen



Mie Olise Kjærgaard arbejder hovedsageligt i maleri og installation og altid ud fra temaet den arkitektoniske konstruktion. Kjærgaard er interesseret i selve konstruktionens natur, og hvordan en konstruktion fortæller om det samfund, den er en del af.
Med udgangspunkt i sydamerikanske feltstudier, er Kjærgaard p.t. optaget af, hvordan moderne ruiner forlades og bebos på ny. Det er blevet til soloudstillingen Discontinued Monuments, som åbnede på Museo de Arte Acarigua-Araure i Venezuela 16. april.
Kjærgaard har tidligere opsøgt forskellige steder i forfald, bl.a.en forladte russiske mineby ’Pyramiden’ ved den arktiske cirkel – og Newfoundland i fodsporet på Aksel Sandemoses søheltefigur, Espen Arnakke, der dannede grundlag for hendes soloudstilling på Nikolaj Kunsthal i 2012.

Mie Olise Kjærgaard er uddannet med en MA i Fine Arts fra Central St Martins i London 2008. Kjærgaard har boet og arbejdet i New York i fem år og er for nyligt flyttet tilbage til København. Hun har bl.a. udstillet på Museum of Contemporary Art i Utah, Museum of Fine Art Houston, Barbara Davis Gallery i Texas, Samuel Freeman Gallery i Los Angeles.

I maj åbner Mie Olise Kjærgaard en udstilling i Politikens Hus.

Tuesday, April 26, 2016

"Stratum - on top of eachother" at Politikens Galleri in Copenhagen

Politiken Galleri may 12 - july 4 2016

Installation view, Politikens Galleri, may 2016

 
  Pineapple´n´coconut hanging totem, dimensions variable, 2016


Ships, pineapples, rainbow, 200x200 cm, acryl på lærrede. 2016


Upsidedown ship, feathers, pineapples, 243x250 cm, acryl på lærrede. 2016 

 







Saturday, March 26, 2016

DISHONEST CONSTRUCTIONS solo exhibition at Vesthimmerlands Kunstmuseum, Denmark

Sept 10 - Nov 10 2016



The exhibitionspaces are designed by the infamuos danish artist, Per Kirkeby.


My show is supported by: The Beckett Foundation.

Monday, March 14, 2016

The Artist as Maverick Architect, talk @The Royal Academy, London. March 21.

I am excited to take part in the talk: The Artist as Maverick Architect at The Royal Academy in London together with:

Pablo Bronstein – artist, selected for the 2016 Duveen Commission at Tate Britain
Tamsin Dillion – Curator, Kings Cross Development
Sean Griffiths – artist and architect; former director, FAT; Professor of Architecture, University of Westminster (chair)
Mie Olise Kjærgaard – artist, working in Denmark and USA
Maria Lisogorskaya – architect, Assemble; Turner Prize winner 2015


Sean Griffiths, co-founder of FAT, one of the architects featured in Mavericks, chairs this discussion exploring the different perspectives artists can bring to the making of architecture.
Architecture is no longer solely the domain of architects, but of artists too. Recent years have seen the work of a number of different artists cross into what we usually class as architecture, in some instances as far as whole buildings. Whether working on their own or in collaboration with architects, as is also increasingly common, artists bring a very different way of thinking about both the meaning and function of buildings and space.
In this event, we explore what artists and an artistic sensibility bring to the both the conception and production of architecture. How do artists and architects differ in their approach to an architectural project? Does the experience of working without the functional constraints imposed by architecture allow artists to approach a problem in a more open and flexible way? As the role of the architect is marginalised, are artists, in fact, the new maverick architects?

Friday, February 12, 2016

New Litographies at Edition Copenhagen.

video




first week at Edition Copenhagen turned out in these two litographies, 12 colours and a LOT of rehearsal zig-zagging :-D  The process is the most fascinating, and at this place, your are in the BEST´EST hands,-)


Discontinued Monuments at Museo de Arte Acarigua, Venezuela.

DISCONTINUED MONUMENTS
April 16 - October 18    2016
Mie Olise Kjærgaard
Museo de Arte Acarigua-Araure, Venezuela.

http://museoaaa.org/vzla/


 250x300 cm, 2016


Installation at Museo de Arte Acarigua.



  weaving, in 3 layers, fabric, string, 2016



 170x190 cm, 2016



Installation at Museo de Arte Acarigua.



Hammock, dicplaced, canvas+string, 190x170x17 cm, 2016






 170x190 cm, 2016



Installation at Museo de Arte Acarigua.



Weaving 2 layers of fabric weaved + paint, 130x90x7 cm, 2016



 200x200 cm, 2016




Hammock, dicplaced, canvas+string, 190x170x17 cm, 2016




 100x100 cm, 2016



 weaving, tablecloth, cut and weaved back together, 2016



 
Installation, canvas filtered through different waters, stick, plant collected from ruin, 250x180x80 cm, 2016




Boat with floor, pineapple and mountains. Acrylic on canvas, metal tubes. Dimensions variable, 2016




Pineapple on stool. painting, wood, chair stones.  Dimensions variable. 2016 




Installation of painting at the Museo. Dimensions variable. Painting, bricks, chair, 2016






 Ipomea Cairica, watercolour, A2, 2016

all photos: Dorte Krogh.



model of installation to be built on-site, wood, bricks, plant from museum garden, 2016


DISCONTINUED MONUMENTS.
Based on my research for the show in South America, where I experienced multiple abandoned structures, as well as on my long time interest in abandoned constructions, I wanted to work with the new ruins, newly built but abandoned constructions in VZLA, that gets occupied again and finished by a complete different set of rules than initiated.

In architecture there is a term, ”Dishonest Construction”, which means when a structure is not consistent in it´s structural idea; when this happens because of political change and people takes over an incomplete building to finish it in their own means – the architecture becomes an image of the poltitical situation. 
The change of strategies in layers, becomes an architecturally visual symbol of a system that does not work.

The Torre de David in Caragas is a famous example of this, but it happens everywhere. A construction that starts with one set of rules (architectural logic) and in layers changes its rules (logic) along the way, according to the present. 

When discussing the rules of honest and dishonest constructions as architecture, it´s refers to the fact if a building shows its true construction. For example:  Does it show if the construction is based on pillars, concrete or bricks? And can one build in brick on top of a pillar-construction? Or make a facade of wood or brick, if it was meant to be glass? 

In my project I have used this logic as a new way to operate after.

I became interested in the "lighter" architectural materials, such as fabric, found bricks and the plants that will grow on top of the new ruins, which finishes them. Weavings, fabric and plants -has entered my work, and the image of the window, which I saw finished in so many ways, with fabric, towels, bardboard, and bricks - other than the missing glassframes, has inspired the installations.




(changing strategies in layers) Found folding drawing / the internet.


The exhibition is supported by: