Archive

Careless Nature

Careless Nature, Møstings hus, Copenhagen 2019.

The exhibition Careless Nature uses as a point of departure two lots, left without interference for a long period of time, and thus overgrown: the Beauvais lot on Østerbro, Copenhagen and the Ellstorp lot in Malmö.
 
These small pockets in the cities have developed organically outside planning, without interference from elsewhere. With their varied and wild-growing vegetation these places functions as a kind of autonomous havens in the middle of the city.
 
A significant part of Maria Finn’s solo exhibition at Møstings hus is the film Forgetful Nature, that documents these places. The film opens with a quote from a utopia: News from Nowhere by William Morris (1890). Morris’ vision is a socialistic utopia where people have taken a stand against industrialization and private ownership. Morris describes another London, where the large buildings are in decay, and forests and fruit-plantations have taken over large areas.

Forgetful Nature

Careless Nature

Careless Nature, Møstings hus, Copenhagen, 2019.

Careless Nature

Careless Nature, The Beauvais Lot, photograph mounted on mould-made paper with text printed with letterpress, 2019.

Careless Nature


Careless Nature, The Ellstorp Lot, photograph mounted on mould-made paper with text printed with letterpress, 2019.

Careless Nature


Careless Nature, The Ellstorp Lot, photograph mounted on mould-made paper with text printed with letterpress, 2019.

Careless Nature

Careless Nature, Møstings hus, Copenhagen 2019. Forget-me-not, walldrawing.

Careless Nature

Careless Nature, Møstings hus, Copenhagen 2019. Forget-me-not, walldrawing.

Careless Nature

Careless Nature, Møstings hus, Copenhagen 2019. Forget-me-not, walldrawing.

Careless Nature

Careless Nature, Møstings hus, Copenhagen, 2019.
From left: Grey # 12, 2018, Grey # 10, 2017.

Careless Nature

Careless Nature, Møstings hus, Copenhagen, 2019.
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.

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 # 12


Grey # 12, pencil on paper, 50 x 65 cm, 2018.

Grey # 10


Grey # 10, pencil on paper, 50 x 65 cm, 2017.

Grid – patterns in grass

Amorpark 17.5.2019
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

Amorpark 11.6.2019

Grid – patterns in grass

Amorpark 14.7.2019

Grid – Patterns in Grass

Amorpark 30.7.2019

Drawing Attention

From left: “Las babas del diablo”, HD video, 5:44 min., 2010., “Las babas del diablo I – III”, pencil drawings, 72 x 104 cm, 2009.

Everything Represents, Nothing is – Ingmar Bergman and the Arts

“Summer after Monika” in “Everything Represents. Nothing is” at Centre of Photography, Copenhagen, also at Gävle Konstcentrum 2018, and Silkeborg Bad 2019.

Everything Represents. Nothing is – Ingmar Bergman and the Arts

“Summer after Monika”, DVD, 5:32 min., 2007.

Det største i det mindste, det mindste i det største

Skimrende kalk, catalogue text for Rikke Ravn Sørensen’s public work Det største i det mindste, det mindste i det største, Ballerup Psykiatriske Center, 2018.