Alice Godwin
Alice Godwin is an arts writer, editor and researcher based in Copenhagen.
Isa Genzken began to toy with mannequins in the 2010s, dressing dummies in garments and accessories regularly swiped from her own wardrobe.
Elegant women in high heels and lipstick, butterflies and dragons, life-sized dolls, and fantastical vistas all feature in the extraordinary world of Ovartaci. The self-taught artist, who spent over fifty years in a psychiatric hospital in Denmark before she died in 1985, used her art as means of transformation and escape.
Simon Dybbroe Møller is an artist driven by the back-and-forth between objects and images, ideas and the way they are represented.
What do two mechanical bulls, a pair of size 56 sneakers, and the world’s largest seed pod have in common? They are all the materials of Danish artist Nina Beier, who has a reputation as something of a hoarder. At the press view of her solo show Parts at Kiasma in Helsinki—her largest in the Nordics to date—Beier confessed she doesn’t really have the collector instinct.
For Danish viewers familiar with Raben Davidsen’s dreamlike paintings, the somber mood of this exhibition will feel unexpected. It is the most comprehensive exhibition of Raben Davidsen’s career to date and the first time she has shown a number of early works that were previously hidden in a studio drawer.
The book is anchored by the homes, landscapes, and countries that defined Carrington, richly illustrated with her paintings and archival material. Moorhead’s writing is at its most gorgeously sensorial when she visits these locations for herself.
There is a chill in the air of a disused nightclub in Roskilde, about thirty kilometers outside of Copenhagen. The floors are sticky, as if the dance floor has only just been vacated. For the American artist Jacolby Satterwhite, the club is “a strange cave, where intellectuals come together when they are the most unintellectual, but [also] the most beautiful and kindred.”
Henie Onstad reveals the marvelous entirety of Saint Phalle’s career, beyond the exuberant surface to the dark and twisted edges of the avant-garde.
Ehlers’s exhibition gives voice to those who historically lacked such a stake and whose stories continue to be little heard in Denmark. But Ehlers does not exert influence on the stories they tell.
