Exhibitions

Jørgen Haugen Sørensen, Et selvforskyldt mirakel venter på et nyt, 2007

According to Haugen Sørensen this enormous fat pig is a picture of the time we are living in. Just like the pig, we have soiled ourselves, and like it, we are lying in our own shit. We ourselves have created the dreadful situation we are in now. And we are constantly waiting for a miracle to happen. On the other hand, pigs are one of the most innocent creatures, which is underlined by the white colour of the glaze. In this caricature of man - full of contrasts and humour - the pig appears both pitiful and complacent, and you don not know whether to laugh or cry.

Jørgen Haugen Sørensen, The Lowest Heaven, or Like Keeping back the Sea with a Broomstick, 2002

The relief is a depiction of the fall of man and his brutality. The lower part describes a weltering sea of contorted bodies. Desperate, fearful and suffering people in flight are thrown to the ground by a golden rain of fire from the sky. Most bend over, protecting their faces with their hands and awaiting their fate, which is as inexorable as the incoming sea which cannot be held back with a broomstick. An apocalyptic vision of human existence.

Jørgen Haugen Sørensen, I Think I See, 1998

Contorted human bodies, heads and limbs are laid out in a row on cold iron rails, as if they were in a morgue waiting for the flames of the crematorium’s furnace. Their shattered bodies and blurred faces testify to a cruel death and spread terror around them. The square hole in the bodies is inspired by Muslim burial grounds in Turkey, where the coffin lid is pierced with a hole so that rain can seep down into the heart of the deceased.

Jørgen Haugen Sørensen, Thats why they call them dogs, 2002-2004

This chaotic dog-scape reveals a world of fighting and copulation, basic urges and aggression. It all culminates in a merciless dog fight. The twisted canine bodies have been depicted with a powerful psychological insight that gives each its own expression. Some are strong, some are hurt and weak, some are kept out, some are killed, while others copulate – each and every one influenced by being present in the group. Just like people, each dog has its own role to play in the tough game of life.

Jørgen Haugen Sørensen, While We Wait, 2007

In While We Wait the fat, naked man is dancing cheek to cheek with Death. With a strong foot stretched out and a bony hand firmly clutching the fat man's buttock Death is leading a grotesque tangolike dance. Haugen Sørensen himself says that he started on the last period of his life in a never-ending race with time and with Death as his partner. In the middle of the seriousness black humour pops up. The well-fed figure and carefree behaviour of the naked man add a touch of clumsiness and naïveté.

Jørgen Haugen Sørensen, Before and Soon after, 2005

Freedom of speech is the theme of this relief, which depicts damned humanity in all its horror. Lost and sketchy human figures stand about waiting, pushing, blindly following each other over the edge of the precipice. Some are seated while others lie, hands tied behind their backs. All of them have swathed and smashed faces, which blood streams from. They are captives on their way to or from torture, or to the liberation of their execution. They are people whom we see daily in the media which document the battlefields and refugee camps of this world. They are free people who have spoken out against the powers that be and are silenced forever.

Jørgen Haugen Sørensen, Heads like Flowers, 2006

The work Heads like Flowers is shown on one of the walls in the Sculpture Street. The work consists of 28 abstract clay figures, all painted in clear colours on the underside.

The poetic and asymmetrical ‘climbing wall’ is a fine contrast to the pure style of the museum architecture. On closer inspection it turns out that the clay figures are not ‘flowers’, but heads distorted by pain, as if they had just been torn from the human body dripping with blood in a veritable symphony of colour. Suddenly, the title and the work acquire a totally new dimension. Instead of being poetic and beautiful, the work is filled with macabre spine-chilling significance.

This clash between opposing feelings is typical of Haugen Sørensen. To him the work should not only have an esthetical function, but point to society and confront contemporary problems and wars.

Jørgen Haugen Sørensen,The Mother of Stupidity, 2006

The Mother of Stupidity is a humorous caricature of man’s ability to make the same mistakes and stupidities again and again. The organic and amorphous sculpture is one big pregnant, flesh-coloured stomach about to give birth to one more stupidity. The title and the sculpture are both comical. Maybe you smile inside and think of all the times you yourself have been a member of the club of stupidity. When thinking of this title it is difficult to imagine that children should be born stupid or evil. From the start children must be innocent individuals.

Therefore the sculpture may be a comment on the fact that adults carry a great responsibility for having a positive influence on their children, not to speak of the importance of learning from one’s errors.

Jørgen Haugen Sørensen, A Perfect Hero, 2001

Haugen Sørensen has created a number of painted sculptures challenging classical sculpture with their humour and horror. A Perfect Hero belongs to this genre. The sculpture is an amusing figure in the exhibition, with its torso painted blue with red dots, the withered tree growing out of the face, and the red ball hanging from the tree.

Like many other Haugen Sørensen sculptures A Perfect Hero combines opposing features both in the title and in the work. The torso is virile and potent. The sculpture is a hero and, like a classical torso, it has neither arms nor legs. It has even been bereft of the ability to see and speak. The only way the torso can communicate is through the lust of the flesh. The sculpture is quirky, but also thought-provoking. What is a hero? What is the meaning of the red dots? Why does a withered tree grow out from his face? What does the red glass ball on the withered tree symbolise?

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