Seminar: CUT THE GAP

The international symposium CUT THE GAP encourages a dialogue focused on feminist practices across the artworld.

The title points to the historical and structural GAP, as well as a problem of gender- and diversity that runs throughout the field of the arts - all the while we CUT the question differently by praising the forces that insist on continually being idiosyncratic to ruling structures of power and strategically force institutions - the classroom, the history of art, the studio and the commercial galleries - into a more complex and solidary form.

The seminar took place Friday 17 November 2017 at SMK.

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DREAM knowledge-sharing seminar

Together with the Allard Pierson Museum and the National Gallery of Denmark, DREAM hosts an open knowledge-sharing seminar in order to exchange Dutch and Danish experiences of the triangulation of museums, creative industries and research. Dutch and Danish speakers from all three fields will make presentations.

As cultural research is increasingly conducted across the academy, public and private stakeholders, the aim of the seminar is to take stock of these processes. Specifically, the aim is to exchange research and practice-based insights and experiences with fellow professionals from Denmark and the Netherlands in order to share findings and best practices, discuss differences, and challenges ahead.

The seminar took place Wednesday 26 November 2014 at De Waag, Amsterdam.

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Likewise, in 2015 SMK participated in the organisation of the conference Museum Communication: Practices and perspectives.

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An international Symposium on the future of Museum Climate seen in the context of Global Climate Change was held at the National Gallery of Denmark on March 1, 2010

How can we create exhibitions and expose our common cultural heritage in a sustainable way which is also acceptable for future generations? How can museums be run in a more CO2 neutral way while simultaneously guaranteeing an adequate indoor climate? These, and other crucial questions and issues, were discussed and scrutinized during this one day symposium on March 1, 2010.

The symposium offered information and food for thought to stakeholders from ministries of culture, heritage organisations and partners within the European museum organisations, and aimed at informing those who are in the process of creating new museum buildings or rebuilding old ones – how do we accommodate current demands and future expectations in the building process?

CO2 neutral museum
The National Gallery of Denmark will present an inspiring case-history of how regulating their seasonal indoor climate resulted in considerable energy savings as well as minimising their CO2 footprint – with the aim of becoming totally neutral within the near future. On top of this the dangers to art works caused by increasing levels of ozone, nitrogen oxides, and other malign gaseous emissions within the museum climate will be touched upon.

Lending activity and European standards
Another main topic of the symposium was how to make the right decisions about attaining a realistic up-keep and presentation of our cultural heritage without compromising its physical fragility. European standards for museums and transport as well as political desires for a larger international lending activity were also addressed.

New challenges
Unilateral changes that effect institutional requirements for museum climate (RH, temperature and light) may also effect international loan procedures for temporary exhibitions. The symposium was addressing some of the questions which are inherent to these new challenges: Can we gather the museum field nationally and/or internationally around new acceptable climate requirements for exhibition galleries and storage? Can we envision Green Museums as role-models for society? And lastly, how does a global movement such as Cradle-to-Cradle see the function of the museum as keepers of the past and torches for the future?

The symposium took place on Monday March 1, 2010 at the National Gallery of Denmark. Simultaneous with the temporary exhibitions ‘Nature Strikes Back’ and ‘RETHINK’, both offering the public tantalizing food for thought.

The symposium was organised by the National Gallery of Denmark in collaboration with The Association of Danish Museums (ODM) and made possible thanks to support from the Heritage Agency of Denmark (KUAS)

Permanence in Contemporary Art – Checking Reality

A seminar was held November 3 and 4, 2008, arranged by the National Gallery of Denmark in collaboration with The Royal Danish Academy of Fine Arts, Copenhagen, Denmark and supported by the International Network for the Conservation of Contemporary Art - INCCA.

Martin Falle Andersen, Uden titel (work in progress), 2008 © Martin Falle Andersen

© Martin Falle Andersen, Uden titel (work in progress), 2008 © Martin Falle Andersen

Day 1 - Program and presentations

Day 2 - Program and presentations

The Conservation and Curatorial Department at the National Gallery of Denmark and the Royal Danish Academy of Fine Arts, Schools of Visual Arts, was organisers of an international seminar Permanence in Contemporary Art - Checking Reality addressing various critical issues surrounding the preservation and exhibition of contemporary artworks in November 2008.

The seminar, which encouraged interdisciplinary exchange between museum professionals including conservators, art historians, artists and others, and took place in conjunction with "Reality Check", a exhibition at the National Gallery of Denmark. "Reality Check" acted as a thematic springboard for the seminar, addressing issues related to content, material, time, exhibition and context exemplified by works in the exhibition. The seminar encouraged participation and dialogue by curators, artists and conservators alike.

The seminar aimed to contribute to the growing international professionalism and awareness associated with the preservation, installation, documentation and exhibition of contemporary artworks. The meeting provided a forum for discussing crucial questions regarding authenticity, permanence/impermanence, artistic intent, reproducibility, and longevity of artworks – issues which illustrate the paradox into which contemporary art is situated, where the idea of preserving the ‘authentic’ original material is perhaps in distinct opposition to the original concept of the artwork. Or where conversely a literal acceptance of ideas of flux and instability inherent in certain works may compromise the existence of the original material object.

Also the conservation and curatorial concerns relating to time based works and installations, which are especially challenging, were addressed.

The international seminar: Around Surrealism

On the occasion of the spring exhibitions of "Max Ernst - Dream and Revolution" at Louisiana Museum of Modern Art and "Wilhelm Freddie. Stick the Fork in Your Eye!" at the National Gallery of Denmark, the two museums arranged an international seminar in which researchers, museum staff and the public could find a forum for discussions of surrealism.

Recent research on surrealist art
The purpose of the seminar was to introduce recent research on surrealist art, and elaborate on central themes concerned with surrealism. The introductory speakers were acclaimed Danish and international researchers who have contributed significantly to recent research within this field.

Four theme sessions
The seminar was divided thematically into four sessions: Surrealism and Painting, The Revolutionary Project, Mass Culture and the Commercial Field, Desire and Eroticism.

The thematic structure allowed speakers to adopt both an international and a regional perspective on surrealism as well as to address later developments in 20th Century art.

Statens Museum for Kunst has produced 8 films from the seminar. The films are produced by Mathilde Schytz Juul, filmed and edited by Mads Damsbo. Watch films from the seminar.

Max Ernst og Dorothea Tanning med Capricorne, Sedona, Arizona, 1946. Foto: John Kasnetzis Wilhelm Freddie, Zola og Jeanne Rozérot, 1938. Museum Sønderjylland, Kunstmuseet i Tønder.

© Max Ernst og Dorothea Tanning med Capricorne, Sedona, Arizona, 1946. Foto: John Kasnetzis
Wilhelm Freddie, Zola og Jeanne Rozérot, 1938. Museum Sønderjylland, Kunstmuseet i Tønder.

About the seminar: Around Surrealism
The seminar was held at Louisiana and the National Gallery of Denmark, 12-13 May 2009.

Tuesday 12 May 2009
Louisiana Museum of Modern Art: Surrealism and Painting. The Revolutionary Project.

Surrealism and Painting
Max Ernst and Wilhelm Freddie were both painters who maintained a critical and experimental approach to painting as a medium. The question of medium was a hotly debated issue even in the early phase of surrealism around 1924. Many of the surrealists were critical of painting, considering it to be too static and too much of a consciously controlled, intellectual construction, incapable of capturing the technological aspect of modern life. Other visual media, such as collage and object art, were perceived as far more suitable for the surrealist project. The open and experimental approach to media in surrealism points towards later generations’ artistic practices.

Surrealism and Art: Beyond painting? (Surrealisme og Kunst: Hinsides maleriet?)
Elza Adamowicz, Professor i fransk, Queen Mary University of London

Surrealist legacies. From surrealist collage to Young British Artists (Den surrealistiske arv. Fra surrealistisk collage til Young British Artists)

Camilla Skovbjerg Paldam, Adjunkt i kunsthistorie, Aarhus Universitet

The Revolutionary Project
To André Breton, surrealism was first and foremost a revolutionary movement that had social transformation as its goal. Several of the surrealists sympathized with the political left wing, but had difficulties adjusting to a political party. The main concern was to liberate the individual from the oppressing mechanisms of society and pave the way for a more open and liberate society. This view was presented with increasing poignancy in Breton’s texts towards the end of the 1920s and the beginning of the 1930s and acquired a new perspective during and after World War II.

The Surrealist Revolution 1935-36 (Den surrealistiske revolution 1935-36)

Nikolaj Lübecker, lektor i fransk og film, University of Aberdeen

The Need for a New Myth’ and the Revolutionary Project in Wartime and Postwar Surrealism ('Behovet for en Ny Myte' and det revolutionære projekt i krigstidens og efterkrigstidens surrealisme)
Steven Harris, lektor i kunst og design, University of Alberta

The Revolution of Desire versus the Desire of Revolution. Surrealism and Mass Culture in The Age of pop. (Begærets revolution versus begæret efter revolution. Surrealisme og massekultur i pop'ens tidsalder)
Roger Behrens, Lecturer at the Leuphana University and University of Hamburg

Wednesday 13 May 2009
The National Gallery of Denmark: Mass Culture and the Commercial Field. Desire and Eroticism.

Mass Culture and the Commercial Field
The fascination of commercial culture is both a striking and controversial aspect of surrealism. The commercial industry in all its aspects offered a wealth of new forms of expressions, which again meant that a delimitation of the field of art could be effected and a connection with actual social reality could be established. However, engagement in the commercial culture was also a highly debated issue in the surrealist movement and was perceived by many surrealist artists as irreconcilable with the revolutionary ambition of surrealism.

Surrealism between Art and Advertising
Georges Roque, researcher at CNRS (Centre national de la recherche scientifique), Paris.

Surrealism and Photography - Two of a Kind: Photography in the Work of Wilhelm Freddie

Mette Kia Krabbe Meyer, Director and curator of modern history, Museet Færgegården, Frederikssund

Desire and Eroticism

Central to surrealism is the aim of liberating human nature. Inspired by psychoanalysis, the surrealists were especially interested in erotic desire as a means of access to the subconscious areas of the human psyche. The interpretation of desire as it is expressed in surrealist art also shed light on surrealists’ concepts of gender and sexuality - including constructions of the feminine and the masculine identity. The ambition of liberating sexuality had political and social consequences reaching far beyond the cultural field.

Surrealism’s Érotisme Noir
Alyce Mahon, Senior Lecturer in the History of Art, Fellow of Trinity College, University of Cambridge

Anxiety, sexuality, photography and film: Rethinking surrealist technologies

Amy Lyford, Associate Professor of Art History & Visual Arts, Occidental College, Los Angeles, CA.

Art and the Sexual Revolution: Wilhelm Freddie's work discussed in relation to sexuality, politics and aesthetics in Denmark from the 1930s to the 1960s
Rune Gade, Associate Professor of Art History, University of Copenhagen

About the exhibition "Wilhelm Freddie. Stick the Fork in Your Eye!"

The seminar was supported by The Heritage Agency of Denmark

Logo. Kulturarvsstyrelsen


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