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,-)
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.
http://museoaaa.org/vzla/
Hammock, dicplaced, canvas+string, 190x170x17 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
Ipomea Cairica, watercolour, A2, 2016
all photos: Dorte Krogh.
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 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.
The exhibition is supported by:
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.
ALLUSIONS ON PLACE at Barbara Davis Gallery.
Revisited, 80x90 cm, 2014
Woodlands II, 170x150 cm, 2015
Green pineapplehouse 190x170 cm, 2015
NOPLACIA show picked as one of the best LA shows of 2014.
The Noplacia exhibition at Samuel Freeman Gallery in Los Angeles was picked as the #2 show in 2014 (just after LACMA) by Molly Enholm from Art Ltc Magazine.
link:
http://www.artltdmag.com
link:
http://www.artltdmag.com
Friday, December 19, 2014
Tuesday, October 21, 2014
NOPLACIA at Samuel Freeman Gallery, Los Angeles
OPENING ON OCT 25
October 25-December 13, 2014
Laundry Mill, 67x75", 2014
Weaving object, 50x90 cm, 2014
Floating Tent, 200x200 cm, 2014
Cut canvas weaved, 40x60 cm, 2014
weaving in the studio in Copenhagen, sept 2014
October 25-December 13, 2014
"NOPLACIA was once my
name,
That is, a place where no
one goes."
Thomas More
Laundry Mill, 67x75", 2014
Weaving object, 50x90 cm, 2014
weaving in the studio in Copenhagen, sept 2014