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Free of the Canvas:Concerning two sound works by Richard Winther and Gunnar Aagaard Andersen in the SMK sound archive
No full textRichard Winther og Gunnar Aagaard Andersen udførte i 1948 og 1949 sammen med flere af de øvrige kunstnerne fra kunstnersammenslutningen Linien II en serie eksperimenterende værker, der flyttede deres kunstneriske eksperimenter med den såkaldte konkretkunst, som ellers primært foregik i maleri eller skulptur, over i lyd. Dels som “støjmalerier”1, som Richard Winther senere omtalte dem, optaget på lakplader, og dels som et koncertværk tiltænkt opførelse af klassiske musikere fra et grafisk partitur. Tilsammen udgør værkerne de formentligt tidligste eksempler på lydværker af danske billedkunstnere og kan være med til både at belyse, hvordan lyd træder ind i billedkunsten i Danmark, og hvordan kunstværker i lyd både former sig efter og udfordrer kunstkonventioner og institutionslogikker.In 1948 and 1949, several artists from the Danish artist group Linien II created a series of experimental works in which they transferred concrete art methodologies from painting to sound.This article examines how these early examples of sound works by Danish visual artists both conform to and challenge artistic conventions and institutional logics
Free of the Canvas:Concerning two sound works by Richard Winther and Gunnar Aagaard Andersen in the SMK sound archive
No full textIn 1948 and 1949, several artists from the Danish artist group Linien II created a series of experimental works in which they transferred concrete art methodologies from painting to sound. This article examines how these early examples of sound works by Danish visual artists both conform to and challenge artistic conventions and institutional logics.In 1948 and 1949, several artists from the Danish artist group Linien II created a series of experimental works in which they transferred concrete art methodologies from painting to sound. This article examines how these early examples of sound works by Danish visual artists both conform to and challenge artistic conventions and institutional logics
The Art of Caring for Plants
No full textHe who wants flowering plants in his living room must l o v e them into bloom.’ So wrote the gardener Stephan Nyeland in 1890, calling for ‘love, care and consideration’ in one’s dealings with houseplants. Houseplants became widespread in the nineteenth century, and the care Nyeland advocated can be seen echoed in many artists’ depictions of them, not least in the works of Christen Købke, Johan Th. Lundbye, Hans Smidth and Anna Ancher. The chapter explores their portrayals of two of the era’s most popular houseplants – ivy and pelargonium/geraniums – in order to examine the multivalent care for plants that infused the period’s art and botany
Archive der Grenzregion – ein Leitfaden für Forschende
No full textDas Minderheitenmodell in der deutsch-dänischen Grenzregion gilt als vorbildlich für ein friedliches Zusammenleben in Europa. Die drei anerkannten Minderheiten sind in die jeweilige Gesellschaft integriert und tragen dazu bei, dass die Grenze nicht mehr eine trennende Linie, sondern einen verbindenden Raum darstellt. Aus dem Gegeneinander ist im 20. Jahrhundert erst ein Mit- und schließlich ein Füreinander geworden. Die Beiträger*innen widmen sich dieser Entwicklung aus einer interdisziplinären Perspektive. Das regionale Fallbeispiel macht unterschiedliche Narrative sichtbar und hilft dabei, die Relevanz von Minderheiten für unsere aktuelle Gesellschaft zu verstehen – weit über die deutsch-dänische Grenzregion hinaus