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


I dagens Information er et lille billede med tekst:

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.


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.

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

 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

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:

Thursday, July 9, 2015

Commission for Sticks´n´Sushi at Canary Wharf in London.

 In april and may I went to London to get on the lift and make a 20 m long wall-commission for the restaurant Sticks´n´Sushi.

Construction-site at Canary Wharf. first part.

After the opening. part 2.far left is the flying city. Connected to the house on stilts by a ladder going behind the curtain. The ship I painted post opening, while people eating around,-)

Very beginning. 

 Ship part. Part 2.


 Flying City, far left.

 After the opening: painting the ship part.

 Ship done.

Far right a small house.

Bye bye (and addicted to Sushi Sticks style).

ALLUSIONS ON PLACE at Barbara Davis Gallery.

 Flying Enclave, 150x170 cm, 2015

 Blue Ship, 120x130 cm, Acrylic on Canvas 2015

 Growing Theatre, 243x213 cm, 96x90 inches, 2015

Inhabited Theatre II, 170 x190 cm, 2015

Purplebaloonship, 50x50 cm, 2015

Revisited, 80x90 cm, 2014

Rowing boat with pineapples, 170x190 cm, 2015

Woodlands II, 170x150 cm, 2015

Green pineapplehouse 190x170 cm, 2015

Woodlands, 220x195 cm, 2015