STATE - Exhibition August 2012

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STATE
Kristine Tillge Lund DK
2 August – 1 September 2012

"The thought of destruction is present, when one works with the fragile..."

Skagen Hunters - Photo by Laurits Tuxen

Kristine Tillge Lund
The understanding of clay and ceramics as a phenomenon is the predominant theme, Kristine Lund Tillge works with, - her artistic field of interest.
She makes a critical investigation of the material and its social historical context.
Through this subject she comes across very different areas and visual experiences.

For this exhibition she has, in a personal defined project, explored the ceramic material and its fragility viewed from various angles.
Ceramics is present and frequently used in everyday life. Depending on the context and affiliation of the material, it will provoke different emotions and associations.
She has investigated these various conditions and reactions, and worked in ways of visualizing her research.
Furthermore she has included a balance in value and vulnerability within the hierarchy of the clay types.
Exhibition pieces:
1. Without title – grit construction, porcelain - hight: 2 meters
2. Without title – clay pigeon/clay target, earthenware 'Moler'
Thanks to Tommerup Ceramic Workshop!

Kristine Tillge Lund belongs to a younger Danish elite of contemporary artists, who take part in developing the field of ceramics into a broader perception of contemporary ceramic art.
Photos:
Mikkel Rahr Mortensen

She studied at the Royal College of Art, London 2006-2008 (MA) and The Royal Danish Academy of Art & Design, Bornholm 1998-2001. She has exhibited in Denmark, Sweden, Germany, Italy, France, USA, Belgium, Spain, Holland, Norway and England.
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In a previous project 'Arcade', Kristine worked with prefabricated white tiles, that are seen in both public spaces and the very private places. She combined some of these situations from everyday life and created an installation of autonomous systems, which at once became detached from the usual form and simultaneously kept a clear reference to it.
(Exhibition: Toves Galleri, Vesterbro Contemporary Work Out Space DK 2012)

About Kristine Tillge Lund
Her studio is in Northwest of Copenhagen. She also works at Tommerup Ceramic Workshop on the island of Funen and actively participates in the exhibition group 'Inhabitants', who in the Spring were highly praised by the Danish TV program “Smagsdommerne” for the exhibition 'Orders' at the Gallery 'Copenhagen Ceramics' April/May 2012.
She was the initiator and curator of the large ceramic exhibition 'Across' in Carlsberg Tapping Hall, 2010 and has exhibited in the renowned Danish juried exhibitions: 'Biennial of Crafts and Design' at Koldinghus 2011 and 'The Artist's Autumn Exhibition' 2008 ...

Selected exhibitions:
'Orders' Inhabitants, Copenhagen Ceramics, Copenhagen 2012 - 'Arcade' Tove's Gallery, Vesterbro Contemporary Work Out Space, Copenhagen 2012 -
'Phoenix Landscapes' 77m3, Aarhus 2011 - 'Deep into the Forest - Inhabitants', Designer Zoo in Copenhagen 2011 - Galerie Contour Ålbæk 2011 - 'Window 107' alt_copenhagen, Factory of Art and Design, Copenhagen 2011 - 'Living with Ceramics' Ampersand House, Brussels, Belgium 2011 - 'The Biennial for Crafts and Design' Koldinghus 2011 - 'Happy Christmas Stocking' Heart Gallery, Brussels, Belgium 2010 - 'Across' New tap, Carlsberg City, Copenhagen, 2010 - 'COM' Cypres Gallerie, Leuven , Belgium, 2010 - 'Camard & Associés' Paris, France 2010 - 'Checking in with the inhabitants' Jantzens Hotel, Gudhjem, 2010 - 'Decade 01' School of Design, Bornholm 2010 - 'Window 107' Istedgade, Copenhagen 2010 - 'Kristine Tillge Lund invites ...' Puls Contemporary Ceramics, Brussels, Belgium 2009 - 'A New Beginning' Michael Jackson and Kristine Tillge Lund, 'Artists Autumn Exhibition', Copenhagen 2008.
A New Beginning - Mikael Jackson og Kristine Tillge Lund, Juried Artists Autumn Exhibition 2008. Photo: Rasmus Kjærboe
Quote from article by Rasmus Kjærboe/KunstenNU: "Charred Donald Duck is the exhibition's best feature ... six black characters hanging on the wall who look like tiny charred mummies. They weathered or severely burned ceramic pieces, A New Beginning, by Michael Jackson and Kristine Tillge Lund turns out to be based on the figure of Donald Duck. It's different and original, both in the selection of material, design and references, and consequently distancing itself to the rest of the exhibition, which mostly looks like a reading of 'tendencies'. "
Photos of ART PIECES:
'Arcade' Vesterbro Contemporary Work Out Space Photo: Mikkel R. Mortensen
'Hole' 2010, 45 x 45 x 180 cm. Photo: Mikkel Rahr Mortensen
'Pinocchio' 2010, 10 x 10 x 4 cm. Photo: Mikkel Rahr Mortensen
'Hot Chocolate' 2010, 40 x 40 x 10 cm. Photo: Mikkel R. Mortensen
'STATE' 2012 - Exhibition photos by Ann Linnemann

BEHOLD - Exhibition July 2012

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BEHOLD
Exhibition 5 – 28 July 2012

Lots of containers - in good shape!
The vessel form is admired and defamed – loved and idolized... but also called traditional and dull. - Is it retro or old fashion? - Is it wonderful and mythical?
- Does it contain hidden messages, political statements?
- Is it Craft, Art&Craft, Fine Art?.. What does it contain? - concepts, contexts?

In Danish, the title 'BEHOLD' has various meanings:
- the short form: BEHOLD = keep, retain, hold on to!
- the noun: BEHOLDER = container, vessel; keeper, owner, collector
– the verb: BEHOLDE = to keep, retain, hold, have, remember...
- the Danish sentence: I GOD BEHOLD = in good form, safe and sound :-)

Danish and international artists – who work in clay – show and share their visual ideas of the 'Beholder', - each accompanied with a single sentence statement.
It is a lively exhibition, in which the artists express their personal idea of the 'beholder' - the vessel, jar, container...

Visitors have this great opportunity to behold a large number of ceramic forms, made by more than 30 professional artists.
It is a 'study exhibition', that can be 'read', but also a unique collection of contemporary ceramic art pieces, that the viewer can behold, hold, hold on to, - and buy to hold their own personal vision.

The 'Beholder' is roomy and conveys endless questions and answers.
Does the enrichment entirely appear from aesthetic beauty, form fullness, tactual sensation? - Does it only talk about itself? - Does it hold an artistic expression of our time? - Is it a contemporary art form? - Does it hold up, keep up? - Does it hold water? (Danish pun meaning: is it true/real/honest?) – What does it hold?

Must the 'Beholder' be thrown around, broken, closed, perforated, transformed, - until it makes a 'loud enough noise' – just to wake up somebody?
- Or might it precisely be made so to describe … what must be shouted?
Can the Vessel still come out with a new story, that simply must be told – in its own form and space?

Why do many ceramicists still choose to work from the vessel form, cylinders, containers?
Is the ceramic vessel seen as a present time-typical art form, a roomy art object, a sculpture, - or is it seen as a metaphor with the context of the history of the material, the tradition of the form, the relationship to the human body – as a container of life?

Are ceramicists entirely interested in material, form, decoration, function and tradition?
Have they decided to weigh the function of the form, do they also look at the essential notion of form, or do they primarily consider the materials tactility, the depth of the colours, the story of the form, the meaning of the motives?

Is the vessel always completely innocent, cosy and nice to hold?
Is the vessel a roomy sculptural object, like a dear child, who can evoke memories and echoes for most people all over the world – A worldly cultural gathering point, that has been passed on from hand to hand, as something collectively recognizable? - Is the container an unconscious memory of the wonderful meal – from stone age to present time – nurturing, life reassuring and delightful?

Can we compare 5000-year old jars with the present time vessels and feel our ancestors touch passed on throughout the hurried development of technology and industry?
Can we in the form of the 'beholder' feel the beginning of civilisation, a guide mark of gravity and earthy importance? - Does it portray a basic human need for the rounded and roomy, which we can gather around? – a united remembrance - a fertility symbol?

Why keep this art form alive, when it only has a small and specialized audience?
After the Danish pottery apprenticeship has closed, the Art&Craft schools have become academic design educations, and even the renowned Danish KunstIndustryMuseum is renamed the Danish Design Museum, - is there any foundation for still working out of the roots of a traditional craft? - Is the vessel a sentimental copy of an antiquated life-style? - Is the 'beholder' so invisible and quiet, that it can not keep up with the speed of times, desire for news and publicity value?

- What are we going to do with it? - Does it have value?
- What is it nowadays anyway? - BEHOLD!!

There is not a single-minded answer at this exhibition; but the 'Beholders' will talk..

EXHIBITORS: Anne Fløche, Ann Linnemann, Beate Andersen, Bodil Manz, Charlotte Thorup, Christina Schou Christensen, Esben Klemann, Gerd Hiort Petersen, Gunhild Aaberg, Hans Munck Andersen, Hans Vangsø, Heidi Hentze, Helle Hove, Jakob Stig Isaksen, Jane Reumert, Karen Harsbo, Kim Holm, Lis Ehrenreich, Lisbeth Holst-Jensen, Lone Skov Madsen, Louise Birch, Malene Müllertz, Marianne Krumbach, Marianne Nielsen, Morten Løbner Espersen, Martin Bodilsen Kaldahl, Mette Marie Ørsted, Ninna Gøtzsche, Sten Lykke Madsen, Sandra Davolio, Turi Heisselberg Pedersen... internationale: Akio Takamori/USA-J, Kurt Weiser/USA, Paul Scott/UK, Kirsten Coelho, Prue Venable, Stephen Bowers/AU.