Hypothetical Picnic
Hypothetical Picnic
Daydream # 18, 19 (Kynnefjäll), digitalt prints.
Hypotetisk picknick
Daydream # 18 (Kynnefjäll), digitalt print on barytapapir mounted on dibond, 130 x 86 cm, 2021.
Hypotetisk picknick
Daydream # 19 (Kynnefjäll), digitalt print on barytapapir mounted on dibond, 130 x 86 cm, 2021.
Hypothetical Picnic
The Zone, embroidery, linen/cotton, 170 x 150 cm, 2024, further down Barsebäck I, photo banner, 390 cm x 260 cm, 2022.
Hypothetical Picnic
Barsebäck II, III, photo banner 390 x 260 cm, 2022. Hypothetical Picnic, HD-video, 10 min., 2023.
Hypothetical Picnic
Hypothetical Picnic I – V, pencildrawings on paper, 29,7 x 42 cm, 2023.
Hypothetical Picnic
Barsebäck calender 2020, 12 pencildrawings on paper 29,7 x 42 cm, 2023 – 2024.
Hypothetical Picnic
Eclipsed (Lena), pencildrawing on paper, 50 x 65 cm, 2023.
Hypothetical Picnic
Eclipsed (Maria), pencildrawing on paper, 50 x 65 cm, 2023.
Hypothetical Picnic
Eclipsed (Lotta), pencildrawing on paper, 50 x 65 cm, 2023.
Hypothetical Picnic
Hypothetical Picnic I, watercolour, 30 x 40 cm, 2023.
Hypothetical Picnic
Hypothetical Picnic II, watercolour, 30 x 40 cm, 2023.
Hypothetical Picnic
Hypothetical Picnic III, watercolour, 30 x 40 cm, 2023.
Misreadings
Misreadings, Bergkvara konsthall, Sweden, 2023. A series of interpretations of textile patterns by Viola Gråsten.
Misreadings
Törnrosa, embroidery linen/cotton, 150 x 173 cm, 2022.
Careless Nature 2017-2022
Careless Nature
Det blæste, og hun kunne godt lide at høre, birkebladenes raslen.
It was windy, and she liked to listen to the rattle of the birch leaves.
Når hun strakte ud efter brombæren sad skjorten fast i tornene som lavede en stor revne.
As she reached for the blackberries, her shirt caught on the brambles, which tore a big hole.
Hun plukkede blomster og opdagede ikke brændnælden men kunne mærke da det brændte til.
She was picking flowers and did not notice the stinging nettle, but she felt it when it stung.
Bottom: The Beauvais Lot 2022
Drengen løb væk fra de andre for at finde et gemmested.
The boy ran away from the others to find a hiding place.
Ilden var gået ud, og han undrede sig over, hvor de andre var henne.
The fire had burned out, and he wondered where the others were.
I et hjørne lå nogle gryder brugt til et måltid en gang.
In a corner lay some pots that had once been used for a meal.
Careless Nature
Hon stannade upp när hon upptäckte hur många fjärilar blommorna drog till sig.
She paused when she discovered how many butterflies the flowers attracted.
En svärm små flugor följde efter henne så hon var tvungen att öka takten.
A swarm of little flies followed her, so she had to increase her pace.
Några brända böcker fick honom till att spekulera över vad som hade hänt där.
Some burnt books made him wonder what might have happened there.
Bottom: The Ellstorp Lot 2022
Framför henne stannade kaninen, för att sedan rusa iväg.
The rabbit stopped in front of her, then raced away.
Träden var inpackade som reliker värda att bevaras.
The trees were wrapped up like precious relics to be protected.
Hen hade gjort ett hål för att få tillgång till området.
They had made a hole to gain access to the area.
Careless Nature
50 x 65 cm, 2023
Careless Nature
50 x 65 cm, 2023
Careless Nature
50 x 65 cm, 2023
Daydream, Den Frie
Daydream
Daydream
Daydream
Daydream
Daydream
The Danish Pavillon in Griffenfeldsgade, LOKALE
Unfinished
Unfinished
Texts from the collection Unfinished, about time, fiction and memory.
Pist Protta # 91
Tower to Tower
Tower to Tower
Tower to Tower
Unfinished # 20, 29 x 42 cm, 2018.
Tower to Tower
Grid – landscape pattern
Kivik Art Centre 5.5.2020
In Kivik Art Centre’s unique environment, visual artist Maria Finn and landscape architect Jacob Kamp established the work Grid in a wheat field, in the summer 2020. Grid had previously been established in Amorparken in central Copenhagen in 2019, where a grid pattern was transferred on the lawns. In the squares, the grass was allowed to grow high while the passages were cut so that visitors could move through the work and thus get a different experience of the park. The work Grid was reestablished at Kivik Art Centre, where the part of the wheat field that leads to Snöhetta’s sculpture Viewfinder was cut in the same geometric pattern. The corridors made it possible for the visitor to move through the field to reach to Viewfinder, which made the landscape accessible in a completely new way. By moving through the wheat field the visitor experienced it up close, and not from a distance, offering an intimate experience of fields we usually only pass by.
Grid – landscape pattern
Kivik Art Centre 21.6.2020
Grid – landscape pattern
Kivik Art Centre 21.6.2020
Grid – landscape pattern
Kivik Art Centre 21.6.2020
Periskop # 24
Writingplace # 4
Careless Nature
Tower to Tower – Gigantism in Architecture and Digital Culture
Careless Nature
Forgetful Nature
Careless Nature
Careless Nature
Careless Nature
Careless Nature
Careless Nature
Careless Nature
From left: Grey # 15, Grey # 14, Grey # 16, Grey # 17, 2019.
Grey # 17
Grey # 17, pencil on paper, 50 x 65 cm, 2019.
Grey # 16
Grey # 16, pencil on paper, 50 x 65 cm, 2019.
Careless Nature
From left: Grey # 12, 2018, Grey # 10, 2017.
Grey # 15
Grey # 15, pencil on paper, 50 x 65 cm, 2019.
Grey # 14
Grey # 14, pencil on paper, 50 x 65 cm, 2019.
Grey # 13
Grey # 13, pencil on paper, 50 x 65 cm, 2018.
Grey # 10
Grey # 10, pencil on paper, 50 x 65 cm, 2017.
Grid – patterns in grass
In May Maria Finn and landscape architect Jacob Kamp installed a temporary artwork in grass, Grid, in the Amorpark in Copenhagen. The work used the existing lawns that were cut in a grid, where the squares in the pattern were allowed to grow high, while the stripes were cut down and created paths where you could walk. To enforce the biodiversity in the city, the grass are allowed to grow high several places in the city’s parks and this was utilized in Grid to create a spatial element that offers a new experience of the park.
Grid – patterns in grass
Grid – patterns in grass
Grid – Patterns in Grass
Grid – patterns in grass
Drawing Attention
Everything Represents, Nothing is – Ingmar Bergman and the Arts
Det største i det mindste, det mindste i det største
Free Art, Free Children
Transforming Patterns
“Transforming Patterns”, embroidery, linen/cotton, 175 x 150 cm, 2018.
Patterns in Memory
Patterns in Memory
“Patterns in Memory”, pencil drawing, 29 x 42 cm, 2015.
Patterns in Memory
“Patterns in Memory”, pencil drawing, 29 x 42 cm, 2015.
Patterns in Memory
“Patterns in Memory”, pencil drawing, 29 x 42 cm, 2015.
I Never Promised You a Rose Garden
Patterns of Behaviour
“Patterns of Behaviour”, digital print, 18 x 27 cm, 2014.
30 Insignificant Minutes
Architecture and Control
The Ellstorp Lot –an Undefined Urban Landscape; Maria Finn, published in Architecture and Control, ed. Henriette Steiner, Annie Ring, Kristin Weel, Brill-Rodopi, Leiden, 2017.
Pist Protta # 80
About Work, Danske Grafiker
From left: “Telegram (US Tree after Josef Frank)”, “Telegram (Catleya after Josef Frank)”, walldrawing “US Tree after Josef Frank”.
Mirakel (after Josef Frank)
Maria Finn and Jacob Kamp, landscape architect, have together created a work in grass for Olseröd’s Konsthall. The work is titled “Mirakel (after Josef Frank)”, and is based on Josef Frank’s textile pattern with the same title. Frank’s title suggests that it is a miracle that a large pattern can take shape out of a few parts that are repeated. Finn and Kamp uses a part of the pattern for a grass work where a simplified drawing is transferred to grass that is allowed to grow high over the summer. Frank created textiles for the home, and when patterns from them are transferred to a landscape, they also enlarge the intimate space where they usually occur. The frames of the home are expanded and connected to their surroundings.
Mirakel (after Josef Frank)
“Mirakel (after Josef Frank)”, Maria Finn & Jacob Kamp, Olseröds Konsthall, Olseröd, 2017.
Mirakel (efter Josef Frank)
“Mirakel (after Josef Frank)”, Maria Finn & Jacob Kamp, Olseröds Konsthall, Olseröd, 2017.
Mirakel (after Josef Frank)
“Mirakel (after Josef Frank)”, pencil drawing on paper, 29 x 42 cm, 2017.
About Losing
“About Losing”, DVD, 3:13 min., 2015. “The Free Exhibition”, Den Frie – Centre for Contemporay Art, Copenhagen, 2017.
Four Telegrams and a Short Story
Four Telegrams and a Short Story
Catleya I (after Josef Frank)
Catleya II (after Josef Frank)
“Catleya II (after Josef Frank)”, MDF panel, 122 x 244 cm, 2016.
“Catleya III (after Josef Frank)”
“Catleya III (after Josef Frank)”, MDF panel, 122 x 244 cm, 2016.
Las babas del diablo I
Las babas del diablo II
Las babas del diablo III
Four Telegrams and a Short Story
“Telegram (Catleya)”, “Telegram (Lyon), pencildrawings, 50 x 65 cm, 2016.
Telegram (US Tree after Josef Frank)
“Telegram (US Tree after Josef Frank)”, pencil drawing, 50 x 65 cm, 2016.
Telegram (Lyon after Josef Frank)
“Telegram (Lyon after Josef Frank)”, pencil drawing, 50 x 65 cm, 2016.
Telegram (Catleya after Josef Frank)
“Telegram (Catleya after Josef Frank)”, pencil drawing, 50 x 65 cm, 2016.
The Spring Exhibition 2016
Installationview “The Spring Exhibition”, Den Frie, 2016, “Patterns of Behaviour”, 10 framed digital prints, 18 x 27 cm, 2014.
Patterns of Behaviour
Patterns of Behaviour, digital print in frame, 18 x 27 cm, 2014.
Patterns of Behaviour
Patterns of Behaviour, digital print in frame, 18 x 27 cm, 2014.
Patterns of Behaviour
Patterns of Behaviour, digital print in frame, 18 x 27 cm, 2014.
The Spring Exhibition 2015
Installationview at “The Spring Exhibition” at Den Frie – Centre for Contemporary Art. From left: “Blinded”, DVD 2:30 min., on table with 3 pencildrawings, “Unfinished # 8, 9, 10”, 2015.
Blinded
100 x Spring
Installation view ”Honeysuckle I – IV (after William Morris)”, 2014, ”100 x Spring”, Den Frie Centre of Contemporary Art.
100 x Spring
”Honeysuckle I – IV (after William Morris)”, pencil on paper under glass, 2014.
Honeysuckle (after William Morris) II
“Honeysuckle (after William Morris) II”, 50 X 65 cm, pencil on paper shown under glass, 2014.
Honeysuckle (after William Morris) III
“Honeysuckle (after William Morris) III”, 50 X 65 cm, pencil on paper shown under glass, 2014.
Honeysuckle (after William Morris) IV
“Honeysuckle (after William Morris) IV, pencil on paper shown under glass, 50 x 65 cm, 2014.
Refuge
“Summer after Monika, act IV”, walldrawing. “Refuge” with Anette Abrahamsson, Nässjö konsthall, 2013.
Refuge
From left: “Summer after Monika”, DVD 5:32 min., 2007. 8 sketches for walldrawings, “Summer after Monika, act I – VIII”, watercolour on paper, 28 x 40 cm, 2007 – 2013.
Refuge
“Summer after Monika, act V”, sketch for walldrawing, watercolour on paper, 28 x 40 cm, 2013.
Refuge
“Summer after Monika, act VI”, sketch for walldrawing, watercolour on paper, 28 x 40 cm, 2013.
Refuge
“Summer after Monika, act VIII”, sketch for wall drawing, watercolour on paper, 28 x 40 cm, 2013.
The Spring Exhibition 2013
“Defence Mechanisms”, pencil on paper, 29 x 42 cm, installationview “The Spring Exhibition”, Den Frie – Centre for Contemporary Art”, 2013.
The Spring Exhibition 2013
“Defence Mechanisms”, 10 pencildrawings on paper, 29 x 42 cm, 2013.
Defence Mechanisms: Sublimation
“Defence Mechanisms: Sublimation”, pencil on paper, 29 x 42 cm, 2013.
Defence Mechanisms: Isolation
“Defence Mechanisms: Isolation”, pencil on paper, 29 x 42 cm, 2013.
Defence Mechanisms: Undoing
“Defence Mechanisms: Undoing”, pencil on paper, 29 x 42 cm, 2013.
Kritik # 208
Artists as Researchers
“Artists as Researchers – A New Paradigm for Art Education in Europe”, ed. Mika Hannula, Jan Kaila, Roger Palmer & Kimmo Sarje, Academy of Fine Arts Helsinki, Helsinki, 2013.
Retake
Hidingplace, walldrawing, Retake, Tranen, Gentofte hovedbibliotek, 2012.
Retake
Retake, Tranen, Gentofte hovedbibliotek, 2012.
Hidingplaces I
Hidingplaces I, c-print 20 x 30 cm, 2012.
Han bøjede nakken og krøb ind under bordet. Efter et stykke tid begyndte hans nakke at gøre ondt og han var nødt til at lægge sig på siden. Han lå helt stille og døsede hen.
He lowered his head and crawled under the table. After a while his neck started hurting and he was forced to lie on one side. He lay perfectly still and dozed off.
Hidingplaces II
Hidingplaces II, c-print 20 x 30 cm, 2012.
Hun kravlede ind under sengen og kunne derfra se fødder passere som siden standsede op. Når skridtene forsvandt ud af værelset rullede hun forpustet tættere på væggen.
She crawled under the bed. From there she could see feet walking past and then stopping. When the sound of footsteps disappeared from the room, she moved closer to the wall, feeling out of breath.
Hidingplaces V
Hidingplaces V, c-print 20 x 30 cm, 2012.
Han gemte sig bagved gardinerne i entréen. Fødderne stak ud og han prøvede på at gøre sig så flad som muligt for ikke at blive opdaget. Han holdt vejret, men gav til sidst slip på luften med et dybt suk som han håbede ikke skulle afsløre ham.
He hid himself behind the curtain in the hall. His feet stuck out and he tried making himself as flat as possible so as not to be noticed. He held his breath but in the end he sighed deeply and hoped this would not reveal his presence.
Hidden Narratives
”Hidden Narratives” with Vesna Pavloviç, BKS Garage, 2012.
Hidden Narratives
“Unfinished” # 2 – 7, pencil on paper, 2011 – 2012.
Hidden Narratives
“Boxes”, DVD, 5:32 min., 2012.
Boxes
Unfinished # 3
“Unfinished # 3”, pencil on paper, 29 x 42 cm, 2012.
Unfinished # 4
“Unfinished # 4”, pencil on paper, 29 x 42 cm, 2012.
Unfinished # 6
“Unfinished # 6”, pencil on paper, 29 x 42 cm, 2012.
The Exception and the Rule
Installationview with “The Go-Between”, DVD, 7:30 min., at “The Exception and the Rule”, SAK, Svendborg, 2012.
The Exception and the Rule
“11 x The Go-Between”, used paperback copies.
The Go-Between
Restless
“Restless”, installationview Danske Grafikers hus, 2012. From left: “Grey # 6”, “Grey # 1”, “Grey # 3”, “Grey # 2”, “Grey # 4”, “Grey # 5”.
Grey # 1
“Grey # 1”, pencil on paper, 50 x 65 cm, 2011.
Grey # 2
“Grey # 2”, pencil on paper, 50 x 65 cm, 2011.
Grey # 3
“Grey # 3”, pencil on paper, 50 x 65 cm, 2011.
Les Paris sont ouvert
“Dad”, b/w photographs, installed in “Les Paris sont ouvert” at The Freud Museum, London.
Dad
“Dad”, b/w photograph 19 x 28 cm, 1997.
Dad
“Dad”, b/w photograph 17 x 25 cm, 1997.
Love Me, Love Me Not
A folder with a narrative in text and photos, “Love Me, Love Me Not”, was available in two holders in Østre anlæg, one at Oslo Plads, and the other in Stockholmsgade. All visitors could take a leaflet where images and texts let a story unfold with the park, in summer and winter, as a background.
Love Me, Love Me Not
Love Me, Love Me Not
Love Me, Love Me Not
At the opening of “Love Me, Love Me Not” Pablo Llambias read from his reinterpretation of Suzanne Brøggers essay “Kærlighedens veje & vildveje”.
Images Between the Word and the film
Images Between the Word and the Film
Gaps in the Landscape
“Gaps in the Landscape”, MDF-panel, 122 x 244 cm, 2010.
Images Between the Word and the Film
Installationview “Images Between the Word and the Film” at Overgaden June 2010. From left: “Sometimes the Desert is Red”, 2004 & 2009, “Parkscenario”, “Summer after Monika”, DVD, 5:32 min., 2007, “Las babas del diablo”, DVD, 5:44 min., 2010.
Images Between the Word and the Film
“Parkscenario: Parc de la Villette, Parc André Citroën, Parc de Buttes Chaumont, Bois de Boulogne” 24 c-prints 15 x 22 cm,1999 – 2009.
Parkscenario
När de möttes blev hon omfamnad av henne. Det fick henne till att hoppas på att hon hade förlåtit henne. De gick vidare nära varandra, och skrattade lite för högt varje gång den andra sa något. När de försvunnit bakom buskarna kunde man fortfarande höra dem skratta.
She gave her a hug when they met which made her hope that she had been forgiven. Walking along very closely together, they laughed a bit too loudly every time the other one said anything. You could even hear them laughing when they disappeared behind the bushes.
Parc de la Villette III, c-print 15 x 22 cm, 1999.
Parkscenario
Efter att ha suttit en stund på bänken upptäckter hon att en man i närheten iakttar henne. Hon reser sig och går men kan inte låta bli att vända sig om och titta på honom.
After sitting on the bench for a while, she noticed that a man nearby was watching her. She gets up and leaves but cannot help turning around to look at him.
Parkscenario: Parc de la Villette II, c-print 15 x 22 cm, 1999.
Parkscenario
En kvinna går under trädet. Hon har en svart kappa på sig som sluter tätt omkring kroppen. Lågt säger hon till sig själv att hon inte skulle ha lämnat honom ensam igen. A woman walks under the tree.
She is wearing a tightly fitting black coat. In a low voice she tells herself that she should not have left him alone again.
Parkscenario: Parc de Buttes-Chaumont I, c-print 15 x 22 cm, 1999.
Behind the Face
Las babas del diablo
The Cinematic Experience
“The Cinematic Experience”, ed. Alice Autelitano, Campanotto Editore, Paisan di Prato, 2010.
Technically Sweet, New York
Installation view “Technically Sweet, Participant Inc., New York.
A Technical Problem
The Making of Technically Sweet
Catalogue for Technically Sweet, contributing artists: Elisabeth Subrin, Elsebeth Jørgensen, Frans Jacobi, Fredrik Jacobi, John Brattin, Lars Mathisen, Laura Parnes, Maria Finn, Mark Orange, Michel Auder, Michael Stickrod, Pia Rönicke, Ulrik Heltoft, Yvette Brackman.
In Silent Conversation with Ingmar Bergman
Installationview “Summer after Monica act III”, walldrawing in “In Silent Conversation with Ingmar Bergman” at Kunstmuseum Thun, Thun.
In Silent Conversation with Ingmar Bergman
Installationview with “Summer after Monika”, DVD, 5:32 min., 2007, and drawings “Summer after Monika I – VII”, pencil on paper, 29 x 42 cm, in “In Silent Conversation with Ingmar Bergman” at Kunstmuseum Thun, Thun.
In Silent Conversation with Ingmar Bergman
Installationview with “Summer after Monika”, DVD, 5:32 min., 2007, in “In Silent Conversation with Ingmar Bergman” at Kunstmuseum Thun, Thun.
Technically Sweet, Copenhagen
Installationview “Technically Sweet” at Overgaden 2008.
Summer after Monika
“Summer after Monika act II”, walldrawing at The Apartment, Athens.
Summer after Monika
SUM # 1
published in SUM # 1, ed. Malene Vest Hansen, Billedkunstskolernes Forlag, Copenhagen, 2007.