On Wednesday morning, we took the train from Kobenhavn to Humlebaek, where Louisiana museum was located. It took roughly half an hour, and about a 10 min walk to the museum.
I have never seen such a pleasant interior within a museum, and I think anyone would love the tall glass windows, the framing, the corridors because it fits so well with the landscape it is in. The intention of the architects after all, was to link the building to it’s natural surroundings.
Here, Jean Nouvel shares his enthusiasm for the museum, and the atmosphere it creates which is like no other museum. Louisiana is a product of architecture, nature and art combined, and “each thing is directly felt, and everything is at home”. This is why I felt very comfortable in the gallery, perhaps due to it’s intimate scenery outside.
What I love most about William Kentridge’s installations is how powerful it is. In this piece called More Sweetly Play, men and women dance as a brass band merrily plays. There are peasants, workers, refugees, prisoners, etc. They carry various props in this procession, like books, bathtubs, cages, saints’ heads and more. The objects represent small biographical clues to who they are, their loves, their hopes and nightmares. I like that they are shadows, because despite not seeing them clearly, we are immediately encountered with who they are, and Kentridge explores this with indirect vision.
I was most intrigued in the mechanism of this theatrical piece, which was also by Kentridge. There is a screen, and two canvases in front of it which moves and flips sideways in accordance with the story it is playing. It provides the viewer with the same feeling of watching a live show up close, because the stage is just so active in sounds and movement.
My favourite room was Wang Shu’s display of his sustainable building materials.
Here there is bamboo weaving, concrete imprints, tiles and jars etc. I am drawn to how highly textural they are, and I was even able to create rubbings from a few pieces, because I needed to record how solid, and rigid these structures were. Shu collaborated with Amateur Architecture and re-used materials from the buildings being torn down during China’s urbanisation. It’s incredible how high quality these materials are, and how good this is for our environment.
On Thursday, I spent the whole day in the Design museum. On the way there, I established my theme of ropes and cords, and here are a few of the best photos:
I guess I was more attentive with lines and cords due to my current project on Maps and Contours, which inspired me to produce this series.
This was the room that convinced me to create an installation of textural objects for FMP. It is one step for me to decide what I want to now focus on in terms of techniques, and with a broad range of choices like a garment, accessories, interiors, objects etc, I am definitely interested in making objects to represent whatever my concept will be. I imagine it to be an interactive installation too- one which surrounds the person, and there will be pieces hanging down from ceilings too.
These artworks are an epitome of sculptural possibilities in form, mass and surface designs. It reflects a sculptural trend that emerged in the 1970s, with artists seeking a free expression and rejected rationality and function in glass within industry.
The Danish chairs was a section which is undoubtedly, outstanding for everyone. The display as well, was well executed because there is just so many, and one of my favourite chairs was this one by Anders Hermansen’s sculptural chair. This chair is an example of an interesting shift in 1980s in design. The comfort and functionality of furniture was no longer the primary goal, instead, it was the aesthetics, the deconstruction of it into a rather, raw state. The tangles and the knots also visually appeal to me, due to my study of tangled wires for the maps project.
On Friday, we took the last few photographs of the city for our series, and visited a sustainable fashion and accessories shop called Rogue Artisans, recommended by Lucy. They sold clothes, cloths, household accessories, jewellery, illustrated cards, origami books, all very special items.
I purchased a card of feathers, because I really like her use of the greys and purples, they seem quite calming, and her drawing style is beautiful. The way she captures organic structures with her mark-making is also inspiring to me, as it is not overly done or too minimal, and the same applies to her colour palettes. In addition, I enjoyed her inventive jewellery pieces, where she uses computer hardware and toy puzzle pieces, so clever!
Overall, Copenhagen was an extremely successful trip for me, I learnt not only more about Scandinavian culture and the art, but I took a lot of it in for myself as a textile designer, what I am interested in, and what I learnt beforehand such as sustainability and seeing it happen in a shop itself is so exciting. After returning from this trip, I have a fresher mind of ideas and new ways of drawing/ observing my surroundings firsthand, and I am ready to incorporate a few aspects of this knowledge into my final major project now.