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They are present but can never be translated into anyWhat contrasts and parallels are there betweenview of life has a number of features in commona game and thereby creating new patterns. In thisof the ruling discourses in social and cultural space.Friedrich’s landscape pictures and the contributionswith their own, even if he visualises this view of lifeart, technological artefacts enter like participatingOf all the “postmodern French philosophers,”made by the painters of the Golden Age in Denmarkin a different way. For already in Friedrich’s land-performers in a social game which creates the hu-Jean-François Lyotard is the one who was most in-to this genre? The Golden Age is the Danish Roman-scape art we encounter a world where multiplicityman subjects. It is exactly this ínterference of aes-volved with the visual arts. Widely inspired by visualticism.rules, and where there is no harmonisation. But anthetic´ that has become Hotel Pro Forma´s patentartists, he, in turn, influenced their view of art, asThere is no doubt that a number of the paintersopen world of this kind also affords a new point ofof nobility. This aesthetic idiom based on fluctuatingwell as their artistic activities, in a multitude of ways.of the Danish Golden Age, for example Christoffervantage and possibilities of uncovering new andpatterns has appeared in all the performances byQuite forcefully, he emancipated visual art fromWilhelm Eckersberg, Christen Købke and Johan Tho-unknown perspectives.Hotel Pro Forma.all ideological ties, clearly bringing out its creativemas Lundbye, knew Friedrich’s art and were inspiredand experimental aspects. Consequently, visual artby it. Some of them visited him in Dresden and hadLiteraturehas enjoyed better opportunities for crossing pre-the opportunity of seeing his work there.Else Marie Bukdahl: Caspar David Friedrich’s Studyestablished boundaries, opening up new frontiers,revealing the unexpected and – in new ways, and onits own terms – inspiring ethical and social thought.In the second half of the 19th century his artreceived relatively little attention. But after the Norwegianart historian Andreas Aubert rediscoveredYears at the Royal Danish Academy of Fine Arts andhis Importance for Danish Art, particularly for thepainters of the Golden Age and of the present Day,Abstract for The National Gallery of Art,Copenhagen. Past, present and futurehis landscape art in 1920, he has been the objectThe Royal Danish Academy of Fine Arts, Copenha-Lecture by its Director Karsten Ohrt.Bibliographyof an ever-increasing interest. And since the begin-gen, 2005.Jean-François Lyotard, The Postmodern Condition: Aning of the 1970s he has been designated as theThe National Gallery of Denmark, Statens MuseumReport on Knowledge (La Condition Postmoderne,most central German Romantic artist. Especiallyfor Kunst, is situated in a building designed by Vilh.1979), Oxford, Manchester University Press, 2005.in the 1980s he was also defined as an artist whoDahlerup, who also built the New Carlsberg Glyp-Jean-François Lyotard, “The secession of gesture inFlora Danica” and Carsten Juhl, “The Aesthetics of theFormat” in the catalogue for the exhibition Flora Danicachallenges modernity and gives inspiration to the“heftige Malerei” of that decade and the subsequentnew departures in painting. His art is also involvedAbstract for Performance Art in Public Spaces.Interference of Aesthetictothek in1897. In 1989 an extension was added tothe museum by the architect Anna Maria Indrio.The collections at Statens Museum for Kunst– The Event, The Strife, The Heterogeneity. An installa-in the discussion of “the activity of the sublime”,Lecture by Kirsten Dehlholm, Hotel Pro Forma.comprise three main collections: The Royal Collectiontion of 205 Paintings by Stig Brøgger, Statens Museumwhich resurfaced in the 1980s. The topical relevanceof Paintings and Sculpture, The Department of Printsfor Kunst, Copenhagen, March 3 – April 15, 1990.of Casper David Friedrich’s art occupied a centralArtistic director Kirsten Dehlholm presents works byand Drawings and the Royal Cast Collection. The mu-Jean-François Lyotard, The Inhuman (L’Inhumain.place in the discussion of modernity and of theHotel Pro Forma and talks about working with publicseum contains thus 700 years of European art.Causeries sur le temps 1988), translated by G. Ben-post-modern that has taken place at the Royal Dan-spaces. The method of working with ínterference ofDuring the 20 th century many National Galleriesnington and Rachel Bowlby, Oxford, 1991. Includesish Academy of Fine Arts over the past 25 years andaesthetic´. Hotel Pro Forma is a production com-of Art divided their collections into two sections: athe essays, “Newman: The Instant,” “The Sublimeis still continuing.pany for performance and exhibition. Every produc-national gallery and a museum for modern art. Inand the Avant-Garde” and “After the Sublime, theAs a young man Casper David Friedrich was inspiredtion is a new experiment and contains a doubleCopenhagen the past and present are kept together.State of Aesthetics.”by the Danish landscape art he met when studyingstaging: contents and space. The architecture andKarsten Ohrt started the job as new director onat the Royal Academy, but he later left this tradi-the traditions of the venue are part of the perform-the 15th August 2007 and he will tell about thetion in favour of a Romantic, strongly symbolic formance as co-players. Perception, perspective andchallenges of a national gallery today.Abstract for German Romanticism and Danish Artof landscape painting that influenced the DanishGolden Age painters in the first half of the 19ththemes from the world today intertwine with eachother in a conceptual, visual work of art.The aesthet-Lecture by Else Marie Bukdahlcentury. In the last 25 years or so his landscapesic project is no longer something retro- and intro-have stimulated a number of young Danish artists,spective, but rather something about how new formsCasper David Friedrich, who studied at the Royalfor example Dorte Dahlin, to find new solutions togenerate one another. Today we have left behind aDanish Academy of Fine Arts in the period fromthe problems that painting raises today − especially´beauty of aesthetic´ in favour of the ínterference1794 to 1798, inspired the landscape painters,as regards the structuring of space. But it has alsoof aesthetic´. Beauty is not created in defiance ofGerman, Danish and Norwegian, of his day.been a source of inspiration for them that Friedrich’sworld banality, but rather by putting banalities into56 57
Andriette AhrenkielBorn 1963, Aarhus, DenmarkArchitect, PhD, Associate ProfessorAarhus School of Architecture, Denmarkandriette.ahrenkiel@aarch.dkEducation1992-97 PhD, Aarhus School of Architecture1987-92 Cand. Arch. Aarhus School of ArchitectureExhibitions1999 Exhibition of architectural installation, Charlottenborgexhibition building.1990 - Exhibitions of projects at institutions and galleriesin DenmarkResearch profilePrimarily oriented towards contemporary architecture,architectural theory and the relation to art and philosophy.PhD project focused on a comparison, and looked for signsof concordance, between conceptual, theoretical thinkingand practical design work. The project was a discussion ofthe possibilities of achieving knowledge through practice,doing research by design.Current research is directed towards architectural educationand the implementation of a design methodology thatis more aware of the premises of adaptability and use oftactics that are the basis of the architectural professionalwork. Current research is titled Agile Architecture.Awards1999 Scholarship, the Danish State Art Foundation1993 Prize of honour, Dreyer’s FondStig BrøggerBorn 1941, Slagelse, DenmarkAppointments1981 Professor at the Royal Danish Academy of FineArts1964 The Experimental Art College, Copenhagen1960-67 Political Science at University of CopenhagenGroup exhibitions(selected)2003 Carnegie International, Stockholm2001 Sharjah Biennale, Sharjah, the United Arab Emirates2000 Overlaps, Sharjah Art museum, the United ArabEmirates1997 Louisiana Exhibition, Louisiana, Humlebæk, Denmark1989 Das Spiel des Unsagbaren, Wiener Secession,Wien and Palais des Beau Bruxelles1978 Biennale in Venice1973 Danish Art 1945‐73, Paris1972 Henie‐Onstad Museum, Oslo1972 Projection, Louisiana, Humlebæk1971 VII Youth Biennale, Paris1970 Information, Museum of Modern Art, New York1968 Nordic Youth Biennale, Helsingfors1967 Anonymities, Lunds Konsthall, SverigeSolo exhibitions (selected)2002 Who’s Afraid of a Monster, Randers Art Museum,Randers, Denmark1999 DCA-Gallery, New York1997 Plainthings, Maison du Danemark, Paris1991 Galleri Susanne Ottesen, Copenhagen1990 Flora Danica (1988), National Museum of Art,Cph1986 Some Works (retrospective), Sophienholm, Lyngby,Denmark1967-72 Jysk Kunstgalleri, CopenhagenBooks and catalogues2002 Who’s Afraid of a Monster, Randers, 1968. LadyVictoria Welby, novel, 500 copies. Forlaget Kerberos,Stockholm.1997 Flora Danica – La sécession du geste dans lapeinture de Stig Brøgger, Jean-François Lyotard,Éd. Galilée, Paris.1990 Flora Danica – The Event, The Strife, The Heterogeneity(1988). The National Gallery of Art,Copenhagen.1986 Some Works, Sophienholm, Lyngby.1978 Photography as art, art as photography, Sophienholm,Lyngby.1978 Scale Art, 2. ed., 1200 copies. (1. ed.1973),Copenhagen and Printed Matter, New York (withHein Heinsen).1970 21 marts, 1970 (2. ed.), 500 copies, Jysk Kunstgalleri,Copenhagen.Works in museumsHenie‐Onstad Museum, OsloMalmø Art Museum, MalmøModerna Museum, StockholmSharjah Art Museum, The United Arab EmiratesMuseum of Modern Art, New YorkThe National Gallery of Art, CopenhagenAwards1998 Thorvaldsen medal1991 Eckersberg medalElse Marie BukdahlD. phil., Former rector of The Royal Danish Academy of FineArts’ Schools of Visual ArtsEducation & appointments1964 MA (Literary history), University of Aarhus1964-65 Studies in art history at the universities ofLund and Uppsala, Sweden, and in Rome1965-66 Research fellow, University of Aarhus1966-70 Assistant professor, ibid1970-72 Acting professor, ibid1972-75 Senior research fellow, ibid1976-82 Instructor, University of Copenhagen1980 Doctor of Philosophy (Art History), ibid1980–1906 Associate Professor, Royal Danish Academyof Fine Arts’ Schools of Visual Arts1984– Co-editor of Les Oeuvres complètes deDiderot, Paris1985–2005 Rector, Royal Danish Academy of Fine Arts’Schools of Visual ArtsHonorary offices1982–2006 Director, New Carlsberg Foundation1982–2006 Committee member, Ny Carlsberg Glyptotek1984– Member of Société internationale d’étude dudix-huitième siècle1985– Member of the Royal Danish Academy ofScience and Letters1991-2001 Member of the board of directors, DanishNational Research Foundation2005 Honoured member of International Who’sWho2005 Selected as one of the “IBC’s LeadingEducators of the World”2005 Nominated by “The American BiographicalInstitute as one of the great women of the21st Century.”2006 Member of the Royal Norwegian Society ofSciences and Letters.Selected Research-projects and books in foreign languagesContributor to Les Oeuvres complètes de Diderot (1980and to Dictionnaire européen des Lumières, Michel Delon(ed.), Paris, 1997.Select bibliography in foreign languages”Diderot interprète de Winckelmann et de Falconet” inRoma Triumphans, Rome, 2008.”Delacroix, les peintres de l’âge romantique et la fascinationde d’Italie” in L’Italie dans l’imaginaire romantique,red. Hans Peter Lund, Copenhague 2008.”Diderot critique d’art et l’essor de l’amour-passion” inHommage à Svein-Eirik Fauskevåg, Oslo, Paris, 2007.The Golden Islamic Age in Spain. Art, Architecture andScience in Cordoba and Granada, Copenhagen, 2006(with texts in English and Arabic).“Art and Science” in Art and Science. Architecture’s andArt’s Site-Specific Projects, Copenhagen, 2006 (withtexts in English and Arabic).Caspar David Friedrich’s Study Years at the Royal DanishAcademy of Fine Arts and his Importance for DanishArt, Particularly for the Painters of the Golden Age andof the Present Day, Copenhagen, 2005(Co-author) The Roots of Neo-classicism. Wiedewelt,Thorvaldsen and Danish Sculpture of our Time, Copenhagen,2004.”The Garden Artist’s Interpretation of the Enclosed Spaceof Power and the Open Universe of Freedom”, in TemporaryUtopias, ed. Siri Meyer, Oslo, 2003.The Baroque. A Recurrent Inspiration, Copenhagen, 1998.Johannes Wiedewelt. From Winckelmann’s Vision of Antiquityto Sculptural Concepts of the 1980s, Copenhagen,1993.“Diderot’s Conception of Classical Art and its TheoreticalFoundation” in The French Academy. Classicism and itsAntagonists, ed. June Hargrove, London, 1990.” Les Symboles visuels” et “la force de l’unité”, in LeRegard et l’objet. Diderot critique d’art, éd. par MichelDelon et Wolfgang Drost, Heidelberg 1989.Article about Stig Brøgger “Limits of the Unpredictable” inthe exhibition catalogue, Some Works, Sophienholm 25.10 1986 – 8.3 1987.” Diderot, critique d’art – une approche nouvelle”,Kunstchronik, 37. Jahr, Heft 12, december 1984.Diderot, critique d’art. I. Théorie et pratique dans lesSalons de Diderot. (Thesis). II. Diderot. Les salonniers etles esthéticiens de son temps, Copenhagen, 1980-82.”Le dictionnaire des peintres de Diderot”, in Hafnia, no 7,1980.”Portraits d’artistes de Diderot et ses attaques contre lesdogmatiques de l’Academie des Beaux-Art”, Hafnia, no6, 1979.Awards (selected)1987 Officier des Palmes Académiques, France.1990 Knight of the first degree of the Order of theDannebrog, Denmark.1998 Chevalier de l’Ordre des Arts et des Lettres,France.58 59
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