Peach Corner

PREVIOUS EXHIBITIONS

INCANTATION

Linda Sormin (CA) and Karen Kitani Harsbo (DK)

29 September – 5 November 2022



Double, double, toil and trouble / Fire burn, and cauldron bubble.’ 

Weird Sisters in Shakespeare’s Macbeth

Using clay and fire, two ceramic artists, Karen Kitani Harsbo and Linda Sormin, build stories in space – piece by piece, layer by layer – to create sculptural forms and sensations that conjure and reflect their origins, rituals, personal myths, tensions and shadow selves.

Incantation: Spells spoken aloud resonate across time and cultures, giving access to a world in between what we see and know. They make it possible to connect to other powers and energies – forces that enchant and transform the familiar.

Fire: Lay your hands here, in this phoenix material spitting incantations through flame. The divine, forming the first humans in clay, followed its curiosity, blew its high-fire merciless breath through their every chamber. Godly godless dragon scorching razed earth, heat working over time – (what more can we withstand)?

Sensation: Wake side by side in this century, go to ground, claw the dirt for clues. Clay invites touch, smell, sight and even sound, as potters tap unfired walls to discern thickness. This somatic interaction – gathering knowledge through one’s body – is at the core of global ceramic traditions and extends beyond the vessel to clay sculpture, video and mixed-media experience. 

Linda Sormin presents recent glazed ceramic sculptures made with rhythmic touch and loose tangles of clay as well as video works unravelling familial and cultural narratives. Generating from ceramic and digital glitch (including found porcelain shards and fragments from family conversations), Sormin’s works are abstract renderings of diasporic experience. In the video Babel (unscripted), Tatlin’s monument and the Tower of Babel conflate, reimagined and retold as a form turning in a rural stream. 

Karen Kitani Harsbo shows her recent work of portrait busts of two women who might be two different persons or maybe the same person containing different versions of her within. The sculptures also refer to the ancient Roman figure of Janus, the god of beginnings and transitions, who looks both to the past and to the future, which is embodied in these ceramic sculptures, a medium resting on a vast cultural past and made in the novel method of 3D digital printing. Harsbo has experimented with the influence of the material on the digital method, giving the same digital shape different outcomes, depending on the flow and consistency of the clay and thus giving a diversity of artistic expressions and moods to the individual sculptures.

Linda Sormin explores fragility, upheaval, migration, survival and change through sculpture and site-responsive installations. Born in Bangkok, Thailand, Sormin moved to Canada with her family as a child. She studied English literature at Andrews University (BA, 1993) and worked in community development in Thailand and Laos. She graduated from the New York State College of Ceramics at Alfred University (MFA) in 2003. She lives and works in New York City and is associate professor of Studio Art at NYU. Sormin’s work is in private and public collections, including Renwick Gallery at the Smithsonian American Art Museum, Gardiner Museum, Everson Museum of Art and CLAY Museum of Ceramic Art Denmark. She was a participant at European Ceramic Workcentre in 2021, creating new works for Ceramics in the Expanded Field: Sculpture, Performance and the Possibilities of Clay at MASS MoCA, North Adams, MA, USA, Expanded Forms at Messums Wiltshire in the UK and Incantations at Peach Corner Gallery, Copenhagen.

Karen Kitani Harsbo graduated from the Danish Design School 1987 and teaches at the Royal Danish Academy of Fine Arts, Copenhagen, where she is associate professor of Ceramics, 3D Printing and Sculpture. She uses clay to explore the journey of material knowledge handed down through ages and cultures, formation of material on earth and in space, digital technologies and 3D printing and, most recently, the entanglement of nature, human and fungi. She has given workshops and lectured at multiple institutions and been involved in several artistic research projects. She is the recipient of grants from the Danish Arts Foundation, Ellen og Knud Dalhoff Larsens Fond, Anne Marie Telmanyi, født Carl-Nielsens Fond and Danmarks Nationalbank’s Anniversary Foundation of 1968. Harsbo’s work is included in private and public collections, including Vejen Kunstmuseum, Designmuseum Danmark and CLAY Museum of Ceramic Art Denmark. Special thanks to Oskar Koliander for assistance with the exhibition.

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Nymphs of Vingerling 

Esben Kaldahl (DK)

18 August – 24 September


Exhibition curator: Hilda Piazzolla

With the exhibition Nymphs of Vingerling  Peach Corner hosts a solo presentation by Esben Kaldahl, a young talent who is fascinated with the seductive qualities of things: what is it in an object that speaks to us? What is it that draws us closer, makes us want to touch and possess? Through two interconnected series of works Kaldahl examines how we form attachments with the objects we collect and how we imbue things with emotional and personal significance.


Kaldahl describes his sculptures as ‘nymphs’, a reference to the mythological creatures, who exist in the border zone between body and nature: an Oceanid is both human and river, a Dryad is both a tree and a body. Kaldahl’s nymphs appear as alluring objects, organic forms in white stoneware with tactual glaze surfaces that draw us in. Their forms initially appear abstract, but on closer inspection, they reveal elements of a body: an elbow, the back of a knee, a roll of belly fat. Each nymph sculpture has its own name, such as ‘Tir’, ‘Ort’ or ‘Mal’; an onomatopoetical reference to the object’s sound. The notion of sound is also evoked by the sculptures’ openings, which might resemble singing mouths. The onomatopoetical names could be imagined as the sound made by a strange animal, the sound of nature or a symbol in an alphabet, a rune, an invocation. 


Along with the Nymphs, the exhibitions presents a number of reliquaries, each containing a fragment of a nymph. The reliquaries are a study of magical objects, as we know them from religious contexts, where a relic might be a fragment of the body of a holy figure, such as a bone or a mummified body part, or an object that is closely associated with the figure. In extension of each magical artefact hangs a series of ‘souvenirs’ that replicate a part of the original. The relationship between original and replica is a study in the way the magic properties of an original object can reside even in a cheap key fob, a magnet or a lighter. In spite of their obvious lack of monetary value, these objects may hold great emotional and personal significance.


Kaldahl’s relics draw us in with their sensuous scenography and playfully offer an object we can imbue with significance, a vessel for our emotions.

Esben Schakenda Kaldahl (b. 1992) graduated from the Royal Danish Academy – Design in Copenhagen in 2020. His practice revolves around human relationships with objects and their storytelling capacity. In 2021 he received the home interior design magazines’ Design Award as craft maker of the year. In 2021 and 2022 he was awarded the Danish Arts Foundation’s working grant for new craft and design talents. Selected exhibitions: Confessions, group exhibition, Alcova, Milan, 2022; Cup, group exhibition, Art Week, Copenhagen, 2021; Post.Service, group exhibition, Tableau, Copenhagen, 2021; Ukurant (Obsolete), group exhibition, 3daysofdesign, Copenhagen, 2020; Automatons, solo exhibition, Tableau, Copenhagen, 2019; Table Talks, group exhibition, Pillnitz Palace, Dresden, 2019.

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Photo by Ole Akhøj

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CITY & COUNTRY

Paul Scott (UK), Marianne Nielsen, Inger Heebøll and Ann Linnemann (DK)

2 June – 9 July 2022

The exhibition was curated by Ann Linnemann

 

Nature has moved into the city, and the city has moved to the country. Sustainable thoughts and actions are now also focusing on urban environments and green areas – full of weeds and wild plants. Culture and nature live together in harmony or wage war on each other. Our world is facing the challenge of global warming and natural disasters but is also soothed by a dream of simple country living.
In this exhibition, these contemporary forces and ideas are related to the ceramic tradition for craft and industry in ceramic pieces that explore poetic, conceptual or idealistic paths and routes. 

In contributions with political undertones, the four ceramics artists offer insights into the universe that emerges when city and country meet. From their respective vantage points they guide the audience into personal and artistic interpretations of the theme of CITY & COUNTRY – directly and clearly moulded, printed or painted on ceramic objects in naturalistic, idealist, ironic or reflective expressions, depending on temperament. A diverse experience with a wealth of different visions, all revolving around the wonders of nature and the man-made factors that shape our world – for better and worse. 

Ever since Rosseau and the beautiful portrayals of rural or wild nature by the Danish Golden Age painters as well as the fabulous nature morte tradition with naturalistic still lifes of dishes of rotting fruit and impressive displays of hunting game, artists have sought to present nature, life and death in unusual and thought-provoking ways. This aesthetic presentation goes hand in hand with the spooky and unsettling aspects we sometimes forget in our enthusiasm over the beauty of the works. 


British Paul Scott’s landscape pieces continue a new line in his artistic oeuvre: Cumbrian Blue(s), which features painted and printed images. Danish SceneryStigsnæs  is an antique dish decorated with silk-screen prints. In a simple approach, Marianne Nielsen incorporates leaf images into a cultural expression. The leaf remains a leaf but also turns into something new in an interesting contrast between the artificial and the natural. Inger Heebøll’s work series Nye habitater (New habitats) is a series of tableaux in Danish earthenware based on observations and ideas of the impact of human behaviour on our surroundings. What happens when city and country meet, as we continue to encroach on nature, and nature has to find room on human terms? Ann Linnemann examines narratives about the notion of living in the country, being in two places at once, moving between city and country. From the vessel København (Copenhagen), painted with glaze, and a set of wheel-thrown cups with blue prints to found objects from an old fisherman’s cottage.

Paul Scott, UK (b. 1953) earned a PhD from Manchester Institute for Research and Innovation in Art and Design, Manchester Metropolitan University, in 2010. S. Martin’s College, Lancaster, B. Ed. (2.1.Hons) Art and Design 1976–77 and Certificate of Education 1972–75. Paul Scott’s work is represented in public collections all over the world, including the National Museum in Oslo, V&A in London, National Museums in Liverpool and the Smithsonian Institute and the Brooklyn Art Museum in the United States. Has created large works of art in Hanoi, Vietnam and the sculpture garden surrounding the International Ceramic Research Centre Guldagergaard in Skælskør, Denmark. Professor of ceramics at Oslo National Academy of the Arts (KHiO) 2011–18. Scott’s current research project New American Scenery has been made possible by an Alturas Foundation artist award, Ferrin Contemporary and funding from Arts Council England. Over the past 22 years, Scott has repeatedly exhibited in and visited Denmark. www.cumbrianblues.com 

 

Inger Heebøll (b. 1969) graduated from The Danish Design School, glass and ceramics line, in 1998. Selected exhibitions: Atrium. The Living Pot, CLAY Museum of Ceramic Art Denmark, 2018; Danish Biennale for Craft & Design, Carlsbergbyen, 2015; Danish Biennale for Craft & Design, 2013, The Round Tower, Copenhagen. The Hetsch Medal, bronze. The Danish Arts Foundation’s working grant in 2015 and project funding in 2018. Nominated for the Danish Biennale Award, 2013. http://dkod.dk/medlem/?medlem=45

Marianne Nielsen (b. 1971) graduated from Design School Kolding, the line of ceramics and glass, in 1999. Selected exhibitions: Ceramic Momentum – Staging the Object; Nature. Traces & Reflections; Grand Designs – Clever Hands; CLAY Museum of Ceramic Art Denmark; Bend, Bubble and Shine, Hostler Burrows Gallery, New York and Los Angeles; Flower Vases, solo exhibition, Ann Linnemann Galleri, Copenhagen; Danish Biennale for Craft & Design, 2017. Has received numerous grants from the Danish Arts Foundation, Annie og Otto Johs. Detlefs Keramikpris, Danmarks Nationalbank’s Anniversary Foundation of 1968 and Ole Haslunds Kunstnerlegat. www.mariannenielsen.com

Ann Linnemann (b. 1957) graduated from the School of Decorative Art, Copenhagen, in 1989. Trained as a potter at H. A. Kähler 1979–83. Research scholar, Arizona State University, USA, 1993–94. Co-founder of Peach Corner 2021. Owner/curator of Ann Linnemann Galleri 2008–21. Own studio in Denmark since 1996. Represented in several international exhibitions and public collections. Has received numerous grants from the Danish Arts Foundation, the OJD Motivation Award, grants from Danmarks Nationalbank’s Anniversary Foundation of 1968, Ole Haslunds Kunstnerlegat, Helpmann Academy Award (AU) and Banff Arts Centre Residency Award (CA). www.annlinnemann.blogspot.com

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FICTIONS

Carlo Lorenzetti (USA/NL) and Carl Emil Jacobsen (DK)

21 April – 28 May 2022

 

Throughout the history of sculpture, the moving body has been represented as living flesh, emulated and frozen in hard materials. Design, on the other hand, deals with things that are intended to be used by the body: gripped, raised, sat on, snuggled up inside ... The Fictions exhibition juxtaposes objects by Carl Emil Jacobsen and Carlo Lorenzetti that, each in their way, exist in the borderland between art and design. At first glance, the objects seem familiar, like ‘things’ we recognize from our domestic and private environment, but on closer inspection, they are ambiguous and startling. The body’s functions and movements are perceived as a possibility. The distinction between the acting body and the passive thing is blurred, and a soft, organic expression evokes a sense of movement in these otherwise inanimate objects. 

 

Carlo Lorenzetti works with utilitarian ceramics whose purpose remains obscure. Lorenzetti initiates his process by asking simple questions of everyday usage functions. However, the answers are surprisingly transformed into furniture that seems like living creatures. Although the pieces might embody certain everyday rituals and practical needs, they also expand into independent objects that return our gaze. 

 

At first glance, Carl Emil Jacobsen’s sculptures exist strictly on their own terms, as raw, simple forms that appear as abstract studies of material, form and colour. On closer inspection, however, they reveal their nature as ‘things’, suggesting elements our body recognizes as invitations to interact: to grip, raise, fill or empty ... which brings us back to the common context.

Carl Emil Jacobsen (b. 1987 in Denmark) lives and works in Århus. He graduated from Kolding Design School in 2012. Jacobsen’s works are represented in the Danish Arts Foundation’s collection, at Designmuseum Danmark and at the noma restaurant in Copenhagen. In 2020, Jacobsen received a grant under the Danish Arts Foundation’s development programme ‘Den unge kunstneriske elite’ (The Young Art Elite). Selected exhibitions: Comb a Hairy Doughnut Flat, solo exhibition, Overgaden, Copenhagen, Denmark, 2021;  A New Realism, group exhibition, Friedman Benda, New York, USA, 2020; Crafted Matter, Cheongju International Craft Biennale, South Korea, 2019; Weathered, solo exhibition, Mark Kenly Domino Tan Showroom, Copenhagen, Denmark, 2018;  Don’t Know What Shape I’m In, solo exhibition, Patrick Parrish Gallery, New York, USA, 2018;  Terrain, solo exhibition, Galerie Maria Wettergren, Paris, France, 2017.


Carlo Lorenzetti (b. 1990 in the United States) lives and works in the Netherlands. He graduated from the University of Michigan in 2012 and from Design Academy Eindhoven in 2015. Selected exhibitions: Dutch Invertuals,  The Circle, Museum of Applied Arts (MAKK), Cologne, Germany, 2022;  FAR, Alcova, Nilufar Gallery, Milan, Italy, 2021; Officine Saffi Award 4, Milan, Italy,  2021;  Lille e3000 Colors, Lille, France, 2021;  La Manufacture: A Labour of Love, Lidewij Edelkoort & Philip Fimmano, Lille, France, 2020; Kleureyck, Design Museum Gent, Belgium, 2020; Everyday Gallery Opening, Antwerp, Belgium, 2019; The Secret Life of Materials, Pennings Foundation, Eindhoven, Netherlands, 2018; Dutch Invertuals Harvest, London Design Festival, UK, 2017; Wild Things, kurateret af Lidewij Edelkoort og Philip Fimmano, Belgium, 2016. 

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Photo by Ole Akhøj

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STEGREIF

Johannes Nagel (DE) and Carl Richard Söderström (SE) 

3 March – 9 April 2022

The German word Stegreif, chosen as the title for this exhibition, describes the here-and-now moment, liberated from prior planning. Literally, it means ‘without descending from your horse’ and can thus be seen as an apt metaphor for the processual situation of unpremeditated artistic improvisation.  

Improvisation, whether in music or in the visual arts, presupposes great knowledge and skill of which you temporarily let go in order to arrive at new, unpredictable results, states and energy in your work. Maybe provisionally, maybe taken to a finalized expression. For both artists in the exhibition, this tentative approach is an essential aspect of their work.

The specific subject of Johannes Nagel’s work is the improvised and provisional. The objects are finished, in that the porcelain is painted (glazed) and fired. Most objects are somehow vessels or pots. What else are they? An attempt to confuse the connotations that technique and material provoke. At times constructive composing, at times willful destruction, sometimes vases, sometimes fragments or alienated objects. 

Using work techniques such as burrowing into sand to form negative figurations for casting, he successfully performs his work directly and manually, lending the process of searching a tangible presence. The joints and fissures, the blots of colour and unfinished painting appear provisional as they point from the finished object back to the process. It is not the perfection of the ultimate expression that is intended but the verbalization of a concept of the evolution of things. 

Carl Richard Söderström’s work springs from structures and segments of nature – nature which, influenced by humans, later seeks to regain an original form without any other ambition than adapting and living on, liberated from aesthetic and otherwise valued positions. He moves between a purely abstract and a more figurative formal language, always with layer upon layer of forms and structures.

Carl Richard Söderström describes his choice of ceramics as an artistic medium as coincidental. In his striving to express himself freely, he found ceramic practice to be least burdened by artistic models or expectations. His entire artistic practice rests precisely on relating freely to his own creation, rooted in an intuitive making that goes beyond rational systems and theoretical models. The process directs the expression, and coincidences challenge the safe and familiar and thus drive his artistic development forward.

Both artists have exhibited widely in their home countries as well as internationally. This exhibition marks their first presentation in Denmark. 


Johannes Nagel’s works are represented in many public collections, including Victoria and Albert Museum in London, Grassi Museum in Leipzig and Museum Princessehof National Museum of Ceramics in Leeuwarden, the Netherlands. 


Carl Richard Söderström is represented in the collections of the Swedish Arts Council, Musée National de Céramique de Sèvres in Paris and Röhsska Museum in Gothenburg, among others.

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Photo Ole Akhøj

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Everything Flows

Bente Skjøttgaard & Anne Damgaard 

21st January - 26th February 2022

The exhibition Everything Flows (Heraclitus 540–480 BCE) offers a sensuous and dramatic immersive experience of light, sound, flowing garments and undulating forms. 

 

Ceramic artist Bente Skjøttgaard’s and fashion designer Anne Damgaard’s distinctly different artworks are presented in a close interplay, tied together by a shared underwater theme that unfolds in fluid shapes and colours. Skjøttgaard’s large ceramic abstractions on nature contain references to jellyfish and other marine species captured in fluid motion, while Damgaard’s sculptural textile constructions include transparent materials and seaweed as well as experiments with photographic shadow images that produce a shimmering sensation of light under water.

 

The two artists’ collaboration springs from a common artistic approach driven by experimental lightness. They both work with clear formal contrasts, such as gravity versus lightness and taut structure versus the dissolved and diffuse. Each in their way, they also both challenge the relationship between spontaneity and control and allow chance to play a deciding role. Damgaard’s work is based on basic geometric shapes that are cut into gauzy textiles, which are then draped and hung in a varying interplay of lines, while Skjøttgaard hands a measure control to the high temperatures in the kiln during firing, allowing gravity and the flow of the glazes to influence the outcome.

 

About the artists:

Fashion designer Anne Damgaard creates textile constructions and unique dresses disconnected from time and place, fashion or functional purpose. In tulle and gauze and mesmerizing interplays of colour they float freely in their own magical universe. 

 

Anne Damgaard (b. 1968) trained at the Royal Danish Academy, 1992–97. Selected exhibitions: All Solid Melts into Air, duo with Bente Skjøttgaard, Kunstpakhuset, Ikast, 2020; Structured, group show, Site131, Dallas, TX, 2019; Revner og Sprækker (Cracks and Crevices), trio, Gammelgaard, Herlev, 2018; Biennale for Craft & Design, Koldinghus, 2021; Rococo Mania, Designmuseum Danmark, Copenhagen, 2012; BLACK ANGELS 13–7, solo, Øksnehallen, Copenhagen. Awards and grants: awards from the Danish Arts Foundation for the solo exhibitions Constructions With Circles Spirals Light, 2010 and A.D.1997–04, 2004; Nordic Award in Textiles, 2008; Inga og Ejvind Kold Christensens Hæderslegat 2007; the Danish Arts Foundation’s three-year working grant 2007–09. Representations: Designmuseum Danmark; Röhsska Museum, Gothenburg; Textilmuseet, Borås; Abecita Konstmuseum, Borås; 100W Corsicana, TX.

 

Ceramic artist Bente Skjøttgaard challenges the gravity of clay to create organic formations and structures that strive for weightlessness. She balances on the edge of the impossible in explorations that develop into large amorphous nature abstractions with lots of glaze. 


Bente Skjøttgaard (b. 1961) trained at Kolding Design School 1982–86. Selected exhibitions: Tableaux, Galerie Maria Lund, Paris, 2021; Bend Bubble and Shine, Copenhagen Ceramics at Hostler & Burrows, New York, NY, and Los Angeles, CA, 2021; All Solid Melts into Air, Anne Damgaard and Bente Skjøttgaard, Kunstpakhuset, Ikast, 2020; Glowing in the Dark, Jason Jacques Gallery, New York, NY, 2020. Representations: Musée des Arts Décoratifs, Paris; V&A, London; Musée National de Céramique de Sèvres, France; Designmuseum Danmark, Copenhagen. Awards and grants: Inga og Ejvind Kold Christensens pris, Nationalbankens påskønnelseslegat, Danish Arts Foundation’s three-year working grant 2001–03, Annie & Otto Johs. Detlefs’ Keramikpris, Ole Haslunds Kunstnerfond. Founding member of the artist-run exhibition spaces Copenhagen Ceramics and Peach Corner.

Sound: Søren Buhl Lassen 

 

The exhibition is supported by the Danish Arts Foundation, Danmarks Nationalbanks Jubilæumsfond and the Danish Art Workshops.

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Photo Stuart McIntyre

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Material Manifestations

One Man's Treasure

Brick

Common Ground

Annelie Grimwade Olofsson and Jeppe Søndergaard Hansen

11 November – 18 December 2021


In the exhibition Material Manifestations, the two young artists Annelie Grimwade Olofsson (SE) and Jeppe Søndergaard Hansen (DK) direct an expanded focus on materiality through experimental processes that transform recycled materials and ceramic waste into new and surprising expressions. The two ceramicists have a shared interest in materials as carriers of stories about the society they are a part of and a shared ambition of communicating through embodied and sensuous statements and objects that open unsettling and restorative perspectives.

Annelie Grimwade Olofsson collects waste from ceramic production, ash from incineration plants and scrap metal from heavy industry and transforms these materials into objects that challenges our runaway consumption of nature’s resources. Her objects spark immediate sensory fascination, but once their underlying history becomes clear, they also foster an unsettling awareness of the profound impact of the human interference in the planetary circuit. The objects may be regarded as tangible manifestations that tell stories about waste and challenge our notions of the value of materials.

Jeppe Søndergaard’s objects speak mainly through their tactile qualities. The pieces in the exhibition have their origin in excursions around Copenhagen where Søndergaard collects recycled bricks from demolished buildings. To Søndergaard, the bricks represent the building blocks of society’s foundation – a familiar and humble element whose role in contemporary construction is a far cry from what it once was. In Søndergaard’s works, the bricks are transformed and take on a new, aesthetic purpose. He subjects the bricks to an almost violent process: a ceramic ‘overfiring’, where extreme temperatures make the bricks melt and flow out of their given shape and perhaps back to the nature from whence they came.

The exhibition was curated by Jeppe Søndergaard Hansen.


Jeppe Søndergaard Hansen
 (b. 1991) graduated from the Ceramic Design programme at the Royal Danish Academy in Copenhagen in 2020 and holds a bachelor’s degree from the Royal Danish Academy, Bornholm. Selected exhibitions: Studiolo. Solitude. Saint Jerome, Royal Danish Academy of Sciences and Letters (Copenhagen, DK), 2019; Layers & Growths, Pillnitz Palace (Dresden, DE), 2018; Systematic Chaos, travelling exhibition shown at CLAY Museum of Ceramic Art Denmark (Middelfart, DK), Politikens Hus (Copenhagen) and Bornholms Kunstmuseum (Rø, DK) 2018.


Annelie Grimwade Olofsson (b. 1991) holds a bachelor’s degree from the Crafts programme at the Royal Danish Academy, Bornholm, from 2019. In 2021 she participates as an Artist-in-Residence in 5 x Designers Detroit (USA), curated by the Danish Arts Foundation and College for Creative Studies. Selected exhibition: Wasteland Object, Officine Saffi (Milan, IT) 2021; Soil Matters, Helsinki Design Museum (Helsinki, FI), 2020; Wasteland, Charlottenborg Spring Exhibition (Copenhagen, DK), 2020.

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Vase? by MBADV / Maria Bruun and Anne Dorthe Vester

Vase? by MBADV / Maria Bruun and Anne Dorthe Vester

Permeability test no.1 by Anne Tophøj

Permeability test no.1 by Anne Tophøj

Jug from the Anthropocene by Søren Thygesen

Jug from the Anthropocene by Søren Thygesen

FINN kitchen sink caddy by Mona Vander

FINN kitchen sink caddy by Mona Vander

LOOP by Louise Gaarmann and Alex Soza

LOOP by Louise Gaarmann and Alex Soza

Conch, conch, conch by Petra Dalström

Conch, conch, conch by Petra Dalström

Upside down jug step stool by Sisse Lee

Upside down jug step stool by Sisse Lee

Potato by Rasmus B. Fex

Potato by Rasmus B. Fex

Myx-skin by Jonas Edvard

Myx-skin by Jonas Edvard

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    Vase? by MBADV / Maria Bruun and Anne Dorthe Vester

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    Permeability test no.1 by Anne Tophøj

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    Jug from the Anthropocene by Søren Thygesen

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    FINN kitchen sink caddy by Mona Vander

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    LOOP by Louise Gaarmann and Alex Soza

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    Conch, conch, conch by Petra Dalström

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    Upside down jug step stool by Sisse Lee

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    Potato by Rasmus B. Fex

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    Myx-skin by Jonas Edvard

NEWS VALUE

30 September – 6 November 2021

Petra Dalström, Jonas Edvard, Rasmus B. Fex, Louise Gaarmann, Sisse Lee, MBADV/Maria Bruun & Anne Dorthe Vester, Søren Thygesen, Anne Tophøj and Mona Vander

Bringing something new into the world is difficult. On the other hand, it also seems a shame to dismiss the possibility and the dream of creating something new. What might something new be? 

Perhaps it could be a function that has never been properly addressed as form. It could be materials and techniques that give rise to surprising new functions and expressions. Or it could be a familiar and commonplace form that is treated and examined, so that it emerges as a new, intriguing object. Perhaps it might even be geological excavations and archaeological finds with news value.

Peach Corner has asked a seasoned old designer, Ole Jensen, to invite 10 kindred spirits, some of them young and crisp, others older and experienced. Ole picked them because they have all demonstrated an open and undogmatic approach to the objects we surround ourselves with that has repeatedly resulted in artworks that hold significant new values. Each of the artists presents one new piece in the exhibition. 

The exhibition was curated by Ole Jensen. 

About the artists:

Petra Dalström (b. 1987) explores phenomena such as time, gravity, light and movement. Her working process involves observing material qualities and physical phenomena and transforming them into kinetic installations, fragile systems and narratives. Petra Dalström presents konkylie, konkylie, konkylie (conch, conch, conch). 

Jonas Edvard (b. 1982) follows the edict of ‘Form follows materials’. He grows mushrooms and hemp into unique and unusual furniture. He boils seaweed and mixes in limestone from the Danish underground to create brand-new lamp types. Jonas Edvard is a pioneer in the gentle use of locally sourced raw materials and the development of sustainable materials. Jonas Edvard presents the plant and fungal textile Myx-skin. 

Rasmus B. Fex (b. 1981) has a distinctly conceptual approach to design and is an revitalizing enfant terrible in Danish furniture design. He likes to turn things upside down and inside out and makes furniture with crooked angles. Unbound by conventions, he approaches furniture as functional sculptures. Rasmus B. Fex presents Potato – a plywood furniture piece with a wax finish. 

Louise Gaarmann (b. 1975) has her workshop and home, nature, sky and sea close around her. With a liberating diversity of expression, her works range from cups and small sculptures to ceramic rainbows. Spontaneous ideas, the cycles of nature and life’s ups and downs all play a role in her direct and personal communicating with the audience. In a collaboration with the designer Alex Soza, Louise Gaarmann presents a ceramic ball track.

Sisse Lee (b. 1987) takes a thematic and critical approach to everything from sequence dating of ancient ceramics to propaganda porcelain and pop culture in an expression of form where language and objects interact clearly and directly. She focuses on the objects we surround ourselves with and their significance, drawing equally on clay and language as her materials. Sisse Lee presents Upside down jug step stool.

MBADV, Maria Bruun (b. 1984) & Anne Dorthe Vester (b. 1984). With heavy extruded ceramic objects in radical and oversized clashes of form and materials, MBADV has created installations and hybrid pieces that expand the aesthetic boundaries of craft, design and architecture. Is it a piece of furniture? Is it an object? Or is actually a large laboratory for refined materiality? They ask these questions by turning thought into action with steely determination and commitment, creating wild things and sending them into the world. In this exhibition, MBADV presents an archetypal body of revolution in leaps of scale, titled Vase?

Søren Thygesen (b. 1961) has a wide-ranging craft-based and technical approach to ceramics, and his projects always start afresh, entirely from scratch, with no concern for creating a smoothly consistent portfolio. His work is always guided entirely by the underlying idea and principles of the individual project. Søren Thygesen presents Kande fra den Antropocæne tidsalder (Jug from the Anthropocene).

Anne Tophøj (b. 1960) takes a thorough, in-depth approach to ceramic processes and techniques. With no regard for stylistic restrictions she experiments and investigates what ceramics can do and what it might also be used for. Sometimes, her experiments are expressed in a single object, sometimes in series of endless possibilities. In this exhibition, Anne Tophøj presents an extraordinarily porous ceramic piece, Permeabilitets-test nr. 1 (Permeability test no. 1).

Mona Vander (b. 1970) is a skilled wheel thrower. Her work is guided by practical considerations, and she usually has a plan for how the thrown pieces are going to function and for their assembly. However, once she starts, the process often takes over, and her hands do most of the ‘thinking’. The result is cups, plates and other ceramic kitchenware that contains an intuitive lightness. Mona Vander presents the FINN kitchen sink caddy.

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INFRASTRUCTURE

Lea Mi Engholm, Stine Jespersen and Mikael Jackson

19 August – 25 September 2021

Repetition, rhythm and reiteration, modules, gaps, sequences and directions, connections between parts and wholes … Organic and sometimes wild and rambling structures grow out of the stringently planned and monotonous, developing into systems and complex networks that ultimately form the sum of all the interconnected elements. This approach is a common characteristic of Stine Jespersen’s, Lea Mi Engholm’s og Mikael Jackson’s work and is reflected in their joint exhibition Infrastructure.

Lea Mi Engholm uses simple and basic methods, the soft clay rolling and twisting in a direct extension of the movements of her hands. The repetitive process results in ‘supercoils’, as the clay begins to twist around itself, and the resulting ceramic pieces appear as complex imploded knots and build-ups. 

Stine Jespersen draws out unique forms in an almost monotonous and meditative reiteration of complex elements and modules. In this process, the space between the modules – the gaps or negative space – becomes such an essential part of the whole that the result resembles a playful game with one constant and one variable with tiny variations.

Mikael Jackson employs fragile porcelain components that derive their strength from being incorporated into complex architectural abstractions. In some of his constructions, the finished objects have so many ramifications that they appear chaotic, while others are so systematic that recognizable forms and structures seem to emerge despite the fundamental abstract approach.

The three artists’ works invite associations that cover a wide span: from deep inside the chemistry of the human body to high above the city’s network of streets and buildings – order and chaos, fragility and strength, uniformity and dynamics.

About the artists:

Lea Mi Engholm (b. 1977). Trained at Design School Kolding, 2001–2006, and at HDK-Valand - Academy of Art and Design, Gothenburg University, 2004. Selected exhibitions: Earth, Ann Linnemann Galleri, Copenhagen, 2020; TALISMAN – Magical Objects, VERSUS, Clay Museum of Ceramic Art Denmark, Middelfart. 2017; Magic Langauge/Game of Whispers, NNCA, Grand Palais, Paris, 2015. Selected awards: Danish Arts Foundation, exhibition award for TALISMAN – Magical Objects, 2017; Annie & Otto Johs. Detlefs’ Ceramics Award 2016, given to the artists group VERSUS, 2016; Danish Arts Foundation, exhibition award for Meditations on a Hobby Horse, 2012. Has received grants from, among others, the Danish Arts Foundation, Danmarks Nationalbank’s Anniversary Foundation of 1968, Ellen og Knud Dalhoff Larsens Fond and Grosserer L. F. Foghts Fond. 

Stine Jespersen (b. 1976). Trained at the Royal College of Art, London, 2003-2005, and at Central Saint Martins, University of the Arts London, 2002-2003. Selected exhibitions: Material Matters, Den Frie Centre of Contemporary Art, Copenhagen, 2020; Mellem Rum, mellemrum, Janusbygningen, Vestjyllands Kunstmuseum, 2019; The whims of the eyelid, OK Corral, Copenhagen, 2018; Gold-Smidt Assembly, WRB Studios, London, 2016; From Denmark With Love, Puls Contemporary Ceramics, Brussels, 2012. Has received grants from, among others, the Danish Arts Foundation, Danmarks Nationalbank’s Anniversary Foundation of 1968, Gerda Hennings Mindelegat, Crafts Council (UK), the Oticon Foundation, Knud Højgaards Fond. 

Mikael Jackson (b. 1972). Trained at Royal College of Art, London, 2006-2008, Konstfack University of Arts, Crafts and Design, Stockholm, 2005-2006, and Design School Kolding, 2001-2005. Technology instructor at the Royal Danish Academy since 2014; a consultant at the Danish Art Workshops, Ceramics and Clay Workshop, since 2014. Selected exhibitions: Wunderkammer, Peach Corner, Frederiksberg, 2021; Homeliness, Copenhagen, 2015; For miles … & tanton, Copenhagen Ceramics, Frederiksberg, 2014; Lyst, Galleri R2, Svaneke, 2014; Architectones, Ann Linnemann Galleri, 2013; Biennale Internationale de Vallauris, France, 2012; Puls Contemporary Ceramics, Brussels, 2012. Has received grants from, among others, the Danish Arts Foundation, travel grant, 2012; Ole Haslund Travel Grant, 2017; Danish Arts Foundation, award, 2013. 

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3 x 3 Eyes 

Klara Lilja, Albin Werle and Martin Brandt Hansen

3 June – 3 July 2021

‘Earth and water merge to make clay. We gather and manipulate that clay, shape it and harden it with fire. By shaping it we invite a will to reside within it, a ghost inside the clay. It becomes a wilful thing. The wilful thing is not alive, but it is not entirely dead. It cannot think or move, but it has the ability to move the bodies and thoughts of humans. When we look at it, we can sense its will entering our minds, making our heads turn and our bodies move. With or without knowing it, we fulfil its purpose, whatever it might be, and the wilful thing comes to life through our voices, gestures and thoughts. And while each human must fall and lie on the earth and moulder sweetly into the roots of violets, the wilful thing keeps on existing, perpetually reborn in each human encounter.’

– Albin Werle


About the three artists:

Klara Lilja. Born 1989. Lives and works in Copenhagen. Graduated from the Royal Danish Academy of Fine Arts in 2021. Has held solo exhibitions V1 gallery, Gallery Oaji in Tokyo and Politikens Forhal, among other places. Has also exhibited at Nikolaj Kunsthal, Gammel Holtegaard and Sophie Tappeiner in Austria. Klara Lilja’s ceramic sculptures grow out of a universe that draws on diverse references ranging from hermetic philosophy from the 17th century, manga novels and testing all Artiga’s 1,079 glaze recipes. 

Albin Werle. Born in Stockholm 1987, has lived and worked in Copenhagen since 2012. Educated at the Royal Danish Academy of Fine Arts, Schools of Visual Arts, in 2018. Has held solo exhibitions at Til Vægs, Arcway Nightlands Connector and Destiny’s Atelier, among other places, and has also exhibited at Moderna Museet Malmö and Museum of Contemporary Art. Albin Werle’s primary focus as a visual artist is to create games: interactive artworks that exist in a space between tools and talismans, spells and lullabies.

Martin Brandt Hansen. Born in Nuuk, Greenland, in 1990 and is currently an MFA student at the Royal Danish Academy of Fine Arts. Has exhibited at Nuuk Art Museum, Christiansborg and Nordatlantens Brygge in Copenhagen, among other places. Martin Brandt Hansen’s ceramic sculptures draw on inspiration from modern Greenlandic metal rock and also have roots in Inuit mythology. The colours in his glazes are inspired by elements from the raw Greenlandic nature, from climate and rocks.

The exhibition was curated by Karen Kitani Harsbo.

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Alma Bangsgaard & Hilda Nilsson:  
Loop Works

29. april 2021 - 29. maj 2021

Our collaboration sprang from a desire to engage in a series of experiments in an attempt to combine, share and develop our individual fields of in-depth knowledge based on years of experience with ceramics in combination with the technology of 3D printing.

With the purpose of generating new ways of using this technology, where material properties and digital methods fuse into one, we have undertaken this joint project to demonstrate new opportunities for creating unique forms and textures based on digital production methods.

The natural movement and plasticity of porcelain clay and the programming of mathematical algorithms result in pieces with properties resembling knitting. The pieces demonstrate the combination of the digital realm and a living material.

 

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