Norden, Reframed
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Hallo Norden Årsrapport 2017 Hallo Norden Årsrapport 2017 – Bilag
BILAG HALLO NORDEN ÅRSRAPPORT 2017 HALLO NORDEN ÅRSRAPPORT 2017 – BILAG © Nordisk Ministerråd 2018 Layout: Hallo Norden Omslagsfoto: Unsplash Nordisk Ministerråd Nordens Hus Ved Stranden 18 DK-1061 København K www.norden.org Indhold Besøg på Hallo Nordens websider ................................................................................................................................................ 4 Henvendelser til Hallo Norden ...................................................................................................................................................... 8 Hallå Nordens nätverk ................................................................................................................................................................ 13 Hallå Nordens informationsaktiviteter ....................................................................................................................................... 18 Besøg på Hallo Nordens websider Statistikken er baseret på tal fra Google Analytics. Tabel 1: Besøg på Hallo Nordens websider Besøg fra: 2016 2017 Ændring Danmark 214 795 192 629 -10% Finland 162 724 143 082 -12% Færøerne 4 482 4 835 +8% Grønland 2 891 2 137 -26% Island 26 392 25 091 -5% Norge 239 877 228 790 -5% Sverige 324 887 323 723 -0% Åland 3 314 3 446 +4% Ikke-nordiske lande 95 460 76 565 -7% I alt 1 074 822 1 000 298 -7% Tabel 2: Sidevisninger Antal sidevisninger i: 2016 2017 Ændring Danmark 440 737 365 893 -17% Finland 351 868 273 776 -22% Færøerne 11 672 9 430 -19% Grønland 7 154 5 705 -
Bart Pushaw for Display in Paris at the World’S Fair That Same Year
Sámi, Indigeneity, and In 1900, the Swedish artist Karl Nordström painted a connection with the natural world, citing the declaration colossal landscape of a place he had never been.1 Unlike of Swedish poet Verner von Heidenstam that “it is the many of his other landscape paintings, this new work was primitive that we city dwellers seek in the rural areas during the Boundaries of Nordic not supposed to be a “landscape of the soul.” Instead, the summer, the primitive and its peace.”3 Large tracts of Nordström was working under the commission of the wilderness and a historically low population density in the National Romanticism Luossavaara-Kiirunavaara Aktiebolag (LKAB), a mining Nordic countries had long fostered an intimate connection company founded in 1890 to extract iron ore from between humankind and the natural world. Only in the northernmost Sweden. His task was to paint a panoramic late nineteenth century did Nordic urbanites consider this view over the pristine, steppe-like landscape of Kiirunavaara relationship under threat from rapid industrialization. Bart Pushaw for display in Paris at the World’s Fair that same year. At the display, Nordström’s painting was encircled by a wooden Nordic peoples and artists sought to reclaim this connection frame bearing the names of the sites of the company’s new with nature by tracing the roots of their character, chiselled mining ventures: Gällivare, Luossavaara, and Kiirunavaara by their resilience in a harsh climate, specifically to their (fig. 1). Below the painting were geological samples of native land. Art historians have routinely argued that while local iron and other minerals found in the region. -
Signs and Symbols Represented in Germanic, Particularly Early Scandinavian, Iconography Between the Migration Period and the End of the Viking Age
Signs and symbols represented in Germanic, particularly early Scandinavian, iconography between the Migration Period and the end of the Viking Age Peter R. Hupfauf Thesis submitted for the degree of Doctor of Philosophy, University of Sydney, 2003 Preface After the Middle Ages, artists in European cultures concentrated predominantly on real- istic interpretations of events and issues and on documentation of the world. From the Renaissance onwards, artists developed techniques of illusion (e.g. perspective) and high levels of sophistication to embed messages within decorative elaborations. This develop- ment reached its peak in nineteenth century Classicism and Realism. A Fine Art interest in ‘Nordic Antiquity’, which emerged during the Romantic movement, was usually expressed in a Renaissance manner, representing heroic attitudes by copying Classical Antiquity. A group of nineteenth-century artists, including Dante Gabriel Rossetti, Holman Hunt and Everett Millais founded the Pre-Raphaelite Brotherhood. John Ruskin, who taught aesthetic theory at Oxford, became an associate and public defender of the group. The members of this group appreciated the symbolism and iconography of the Gothic period. Rossetti worked together with Edward Burne-Jones and William Morris. Morris was a great admirer of early Scandinavian cultures, and his ideas were extremely influential for the development of the English Craft Movement, which originated from Pre-Raphaelite ideology. Abstraction, which developed during the early twentieth century, attempted to communicate more directly with emotion rather then with the intellect. Many of the early abstract artists (Picasso is probably the best known) found inspiration in tribal artefacts. However, according to Rubin (1984), some nineteenth-century primitivist painters appreciated pre-Renaissance European styles for their simplicity and sincerity – they saw value in the absence of complex devices of illusio-nist lighting and perspective. -
Reading Sample
Katharina Alsen | Annika Landmann NORDIC PAINTING THE RISE OF MODERNITY PRESTEL Munich . London . New York CONTENTS I. ART-GEOGRAPHICAL NORTH 12 P. S. Krøyer in a Prefabricated Concrete-Slab Building: New Contexts 18 The Peripheral Gaze: on the Margins of Representation 23 Constructions: the North, Scandinavia, and the Arctic II. SpACES, BORDERS, IDENTITIES 28 Transgressions: the German-Danish Border Region 32 Þingvellir in the Focal Point: the Birth of the Visual Arts in Iceland 39 Nordic and National Identities: the Faroes and Denmark 45 Identity Formation in Finland: Distorted Ideologies 51 Inner and Outer Perspectives: the Painting and Graphic Arts of the Sámi 59 Postcolonial Dispositifs: Visual Art in Greenland 64 A View of the “Foreign”: Exotic Perspectives III. THE SENSE OF SIGHT 78 Portrait and Artist Subject: between Absence and Presence 86 Studio Scenes: Staged Creativity 94 (Obscured) Visions: the Blind Eye and Introspection IV. BODY ImAGES 106 Open-Air Vitalism and Body Culture 115 Dandyism: Alternative Role Conceptions 118 Intimate Glimpses: Sensuality and Desire 124 Body Politics: Sexuality and Maternity 130 Melancholy and Mourning: the Morbid Body V. TOPOGRAPHIES 136 The Atmospheric Landscape and Romantic Nationalism 151 Artists’ Colonies from Skagen to Önningeby 163 Sublime Nature and Symbolism 166 Skyline and Cityscape: Urban Landscapes VI. InnER SpACES 173 Ideals of Dwelling: the Spatialization of an Idea of Life 179 Formations: Person and Interior 184 Faceless Space, Uncanny Emptying 190 Worlds of Things: Absence and Materiality 194 The Head in Space: Inner Life without Boundaries VII. FORM AND FORMLESSNESS 202 In Dialogue with the Avant-garde: Abstractions 215 Invisible Powers: Spirituality and Psychology in Conflict 222 Experiments with Material and Surface VIII. -
Peter Nicolai Arbo and Artistic Hybridity in the Nineteenth-Century
THE WILD HUNT FOR NORWAY: PETER NICOLAI ARBO AND ARTISTIC HYBRIDITY IN THE NINETEENTH-CENTURY by Dani Kathleen Barrett Huvaere A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art in Art History MONTANA STATE UNIVERSITY Bozeman, Montana April 2018 ©COPYRIGHT by Dani Kathleen Barrett Huvaere 2018 All Rights Reserved ii DEDICATION To Josh and Nick. Be well in Valhalla, old friends. iii ACKNOWLEDGEMENTS I would like to thank all those who helped and encouraged me throughout my research. Thank you to the National Museum’s Old Masters and Modern Arts Director Nils Ohlsen for accommodating my last-minute request. Thank you to the library team at the National Museum Library in Oslo, Curator Anita Kongssung and Special Librarian Hildegunn Gullåsen, your help and kindness was invaluable. Thank you to Martin Raddum, the Storage Supervisor for the National Museum, you made my dream come true. Thank you to Charis Gullickson for your advice and help. I would also like to give a heartfelt thank you to my committee, Dr. Todd Larkin, Dr. Regina Gee, and Dr. Melissa Ragain, for supporting me throughout my graduate education. Thank you to School of Art Director Vaughan Judge for funding my research in Norway. Finally, I would like to thank my family and friends, and thank you to my husband, Chris, who has been nothing but supportive. iv TABLE OF CONTENTS 1. GINNUNGAGAP: INTRODUCTION ............................................................................1 2. NORTHMAN: ARBO IN RELATION TO NINETEENTH- CENTURY NORWAY ....................................................................................................4 3. GOTH AND GAUL: ARTISTIC PRECEDENCE IN DÜSSELDORF AND PARIS ..................................................................................................................16 Düsseldorf Kunstakademie ............................................................................................16 In the Shadow of the École des Beaux-Arts ..................................................................24 4. -
The Nationalmuseum's First Exhibition, on the Scandinavian Art
The Nationalmuseum’s First Exhibition: On the Scandinavian Art Exposition in 1866 Eva-Lena Bergström MA, PhD student in Museology, Umeå University Director of Archives and Library Art Bulletin of Nationalmuseum Stockholm Volume 22 Art Bulletin of Nationalmuseum, Stockholm, © Stockholms Auktionsverk, Stockholm Graphic Design is published with generous support from (Fig. 5, p. 35) BIGG the Friends of the Nationalmuseum. © Royal Library of Belgium, Brussels (Fig. 2, p. 38) Layout Nationalmuseum collaborates with © Teylers Museum, Haarlem (Fig. 3, p. 39) Agneta Bervokk Svenska Dagbladet and Grand Hôtel Stockholm. © Biblioteca Apostolica Vaticana, Shelfmark: We would also like to thank FCB Fältman & Riserva.S.81(int.2) (Fig. 2, p. 42) Translation and Language Editing Malmén. © Galerie Tarantino, Paris (Figs. 3–4, p. 43) Gabriella Berggren, Erika Milburn and © Wikimedia Commons/Public Domain Martin Naylor Cover Illustration (Figs. 3–4, pp. 46–47) Anne Vallayer (1744–1818), Portrait of a Violinist, © National Library of Sweden, Stockholm Publishing 1773. Oil on canvas, 116 x 96 cm. Purchase: (Figs. 5–6, pp. 48–49) Janna Herder (Editor) and Ingrid Lindell The Wiros Fund. Nationalmuseum, NM 7297. © Uppsala Auktionskammare, Uppsala (Publications Manager) (Fig. 1, p. 51) Publisher © Landsarkivet, Gothenburg/Johan Pihlgren Art Bulletin of Nationalmuseum is published Berndt Arell, Director General (Fig. 3, p. 55) annually and contains articles on the history and © Västergötlands museum, Skara (Fig. 4, p. 55) theory of art relating to the collections of the Editor © Svensk Form Design Archive/Centre for Nationalmuseum. Janna Herder Business History (Fig. 2, p. 58) © Svenskt Tenn Archive and Collection, Nationalmuseum Editorial Committee Stockholm (Fig. -
Crazy About Japan: Japonisme in Nordic Art and Design on Display
Gunhild Borggreen Crazy about Japan Japonisme in Nordic Art and Design on Display Keywords: Japonisme, Nordic, art, design The large-scale art exhibition entitled Japanomania in the North 1875- 1918: The Influence of Japan on Nordic Art and Design is touring three Nordic countries during 2016 and 2017.1 The exhibition focuses on Nordic Japonisme, that is, how Nordic art and design was influenced by Japanese art. The title indicates that the Nordic countries were under the spell of a craze about things Japanese in the last part of the 19th century and the first decades of the 20th century. Acknowledging the multiple artistic influences from a number of various sources in this period, the exhibition curators nevertheless argue that no other revivalist style or outside influence has contributed to the formation of European visual arts in the nineteenth century as much as the impact of Japonisme. The American expert in Japonisme Gabriel P. Weisberg is credited as the Chief Curator for the exhibition, and the show is curated by the Ateneum Art Museum, Finnish National Gallery in Helsinki, the National Museum of Art, Architecture and Design in Oslo in collabo- ration with the Statens Museum for Kunst (National Gallery of Den- mark) in Copenhagen. I visited the Japanomania exhibition in Oslo on 1 The term ‘Nordic’ usually refers to Sweden, Norway, Finland, DenmarK, and Iceland as well as the associated territories of Greenland, the Faroe Islands, and the Aaland Islands. There are no artists from Iceland or the associated territories included in the exhibition or catalogue. 171 September 14, 2016 with two colleagues. -
Best Practices Cross Border Relations In
BEST PRACTICES CROSS BORDER ORGANISATIONS IN DENMARK 1. GRÆNSEFORENINGEN (THE BORDER-ORGANISATION 2. KULTURBRO – KULTUR BRüCKE 3. FORENINGEN NORDEN (THE NORDIC ORGANISATION) 1. Grænseforeningen (The Border association) Aim: Through public education Grænseforeningen want to maintain support for the cultural work of the Danish minority in South Schleswig. The Danish minority in Germany comprises about 50,000 people, organized in a rich social life. There are approx. 50 schools, as many kindergartens, also churches, libraries, widespread associations, clubs, a Danish newspaper (Flensburg Avis) and a Danish minded political party, the SSW. The Danish minority receives an annual state subsidy from Denmark of around 520 million. DKK (70 mio €) for the operation of its cultural institutions, etc. Grænseforeningen is the civil support behind this grant. Started after the 1st World War when the Danish minortiy was recognized Activities carried out Since 1919, hundreds of South Schleswig schoolchildren each year have been on a holiday in Denmark. Today the task is of a pedagogical nature: the German children learn about Danish conditions, culture and language. It is now seen as a cultural exchange based on the assumption that both the German and the Danish children benefit greatly from getting to know each other. The program is runned by volunteers. Lobbying activities – Protesting against increased border control etc. 2. Kulturbro (Cultural Bridge) The objective of Kulturbro-Kulturbrücke is to promote cross- border cultural cooperation in the broad sense. The project provides a common fund for innovative cross-border micro- projects. It gives project organizers the motivation to think about their projects "across the border”. -
The Case of the Nordic Councils
The Case of the Nordic Councils MAPPING MULTILATERALISM IN TRANSITION NO. 1 TOBIAS ETZOLD DECEMBER 2013 The global architecture of multilat - Nordic multilateral cooperation represents one of the oldest and most eral diplomacy is in transition and a traditional forms of regional cooperation in Europe. It comprises the five comprehensive understanding of Nordic countries (often referred to as “Norden”)—Denmark, Finland, the new dynamics, players, and Iceland, Norway, and Sweden as well as their autonomous regions, the Faroe capacities is needed. The Mapping Islands (Denmark), Greenland (Denmark), and the Åland Islands (Finland). Nordic cooperation has deep roots in history, but started to become more Multilateralism in Transition series institutionalized and formalized only after the end of the Second World War. features short briefing papers on Nordic cooperation builds primarily on consultation and coordination established but evolving regional without affecting the countries’ sovereignty. 1 Four factors were decisive for the organizations and select cross- emerging Nordic multilateral structures after World War II: first, the regional organizations. The papers countries share common historical and cultural traditions, and their closely aim to: (1) identify the key role and related languages enable transnational contacts on all societal levels; second, features of the organizations; (2) the division of labor within their joint institutions bears several advantages; third, the unequal power dynamics of several Nordic countries bordering assess their current dynamics; and major European military, economic, and cultural powers led to the solidifica - (3) analyze their significance for the tion of a Nordic identity and a strengthening of Nordic cooperation; and overall regional and global geopolit - finally, mutual support for a Nordic commitment to act independently in ical context. -
Darkness & Light: Contemporary Nordic Photography
Darkness & Light: Contemporary Nordic Photography Essay by Anna Tellgren, Moderna Museet, Sweden 1 Denmark, Finland, Iceland, Norway and Sweden have an active and challenging photography scene. The exhibition Darkness & Light at Scandinavia House in New York in spring 2014 is a contemporary showcase featuring ten photographers who represent Nordic photographic art. We meet Tonje Bøe Birkeland (NO), who often plays the part of fictive historical characters in her enacted photographic narratives, to challenge and give new perspectives on the times we are living in. The boundary between fact and fiction is blurred also in Thora Dolven Balke’s (NO) new work, in which she continues to use various kinds of photographic mediums, such as polaroids, albums or films. JH Engström (SE) presents photographs from a series describing a life far from Stockholm, far from the big city. Joakim Eskildsen (DK) is featured with a morose picture story, American Realities, in which he portrays people and environments he came across on his travels around New York, California, Louisiana, South Dakota, and Georgia. Ulla Jokisalo (FI) often uses a cut-out technique to produce mostly one-offs, based on photography. She will present a sequence of works exploring relations, longing, and her own personal history. Bára Kristinsdóttir (IS) shows examples from her exotic series Hot Spots, which portrays the culture surrounding Iceland’s geothermally-heated greenhouses. In her film The Big Scene, Tova Mozard (SE) enacts a therapeutic talk between her mother, her grandmother, and herself, about feelings, memories, her family and the relationship to her father. Nelli Palomäki (FI) participates with a few of her monumental, incisive, and fascinating black-and-white portraits. -
Scandinavian Review Nordic Impressions Spring—2019
Nordic Impressions Contemporary Art from Åland, Denmark, Finland, Greenland, Iceland, Norway and Sweden This installation shot of the ASF exhibition shows (center) 2014 wood-and-threads work by Outi Pieski entitled Crossing Paths and measuring 94½ x 94½ x 94½ in. as well as (left) part of Per Kirkeby’s 1992 oil-on-canvas Inferno V. At the far right is the By Klaus Ottman left end of the three-wall work Untitled in enamel on masonite by Poul Gernes. PHOTO: LEE STALSWORTH 12 SCANDINAVIAN REVIEW SPRING 2019 SPRING 2019 SCANDINAVIAN REVIEW 13 ORDIC IMPRESSIONS: Contemporary Art from Åland, Denmark,N Finland, Greenland, Iceland, Norway and Sweden, which is on view at Scandinavia House through June 6, is the third iteration of a survey of Nordic art that had its origin in an initia- tive formed on the heels of the highly successful Nordic Cool festival held in 2013 at the Kennedy Center in Washington, D.C. The objective of the four-year collaboration between The Phillips Collection and the five Nordic Embassies in Washington has been to promote Nordic artistic talent and organize this first comprehensive survey of Nordic art in Washington. In its most comprehensive iteration, the exhibition, organized by The Phillips Collection in Washington spans almost two hundred years, reflecting a diverse range of stylistic movements, and, notably, the work of many women artists crowns this important project. Its first iteration,Northern Exposure: Contemporary Nordic Arts Revealed, was shown from May 5 through September 16, 2018, as part of the inaugura- Extension is tion of the new Nordic Museum in the heart of the working waterfront of a C-print from Seattle’s Ballard neighborhood. -
Publications of Interest to the Marine Mammals Committee 1993
International Council for the C.M. 1994/N:3 Exploration of the Sea Publications of interest to the Marine Mammals Committee 1993 compiled by Arne Bjßrge DENlVlARK Amos, B., Bloch, D., Desportes, G., Majerus, T.M.O., Bancroft, D., Barrett, J., and Dover, G.A. 1993. A review of molecular evidence relating to social organisation and breeding system in the long-finned pilot whale. Rep. int. Whal. Commn (special issue 14): 209-218. Paper WP 20 presented to the ICES Study Group on Pilot Whales, Copenhagen, Denmark, August September 1993. Andersen, D., Kinze, C.C. and Skov, J. 1992. The use of pelvic bones in the harbour porpoise PllOcoella pllOcoella as an indication of sexual maturity. Lutra 35: 105-112. Andersen, L.\V. 1993. Further studies on the population structure ofthe 10ng-finned pilot whale, Globicephala melas, off the Faroe Islands. Rep. int. Whal. Commn. (special issue 14): 219 232. Paper WP-23 presented to the ICES Study Group on Pilot Whales, Copenhagen, Denmark, August-September 1993. Andersen, L.\V. 1993. The population structure of the harbour porpoise, PllOcoella pllOcoella, in Danish waters and part of the North Atlantic. Marine Biology 116: 1-7. Andersen, L.\V. 1993. The genetical population structure of the Western and Eastern North Atlantic 10ng-finned pilot whale, Globicephala me/as, analyzed by electrophoretie markers. Paper WP-29 presented to the ICES Study Group on Pilot Whales, Copenhagen, Denmark, • August-September 1993. Bloch, D. 1993. Frerpbankens hvaler. In: Gaard, E. und Poulsen, M. (Eds.). Frerpbanke Projektet. Fiskiranns6knarstovan, Heilsufrpiiliga Starvstovan, Natturuvfsindadeildin, Natturugripasavn, Biofar: 135-138. Bloch, D.