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.
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
Grid – patterns in grass
Grid, pencil drawing 29 x 42 cm, 2018.
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.
Free Art, Free Children
From left: “Transforming Patterns”, embroidery cotton/linen, 175 x 150 cm, 2018, “Patterns in Memory”, 10 drawings 29 x 42 cm, pencil and ballpoint, 2015.
Transforming Patterns
“Transforming Patterns”, embroidery, linen/cotton, 175 x 150 cm, 2018.
Patterns in Memory
“Patterns in Memory”, 10 drawings 29 x 42 cm, pencil and ballpoint, 2015.
“Patterns of Behaviour”, 10 digital colour prints 18 x 27 cm, 2014.
Patterns of Behaviour
“Patterns of Behaviour”, digital print, 18 x 27 cm, 2014.
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.
From left: “Telegram (US Tree after Josef Frank)”, “Telegram (Catleya after Josef Frank)”, walldrawing “US Tree after Josef Frank”.
About Work, Danske Grafiker
“US Tree after Josef Frank”, watercolour, 30 x 40 cm, 2017.
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)
“Miracle (after Josef Frank”, pencil drawing on paper, 29 x 42 cm, 2017.
Kiosk
“Transforming Patterns”, prints 80 x 120 cm, after water-colour sketches, 2015/2017, “Kiosk”, Sydhavnen, Copenhagen.
Kiosk
“Transforming Patterns”, prints 80 x 120 cm, after water-colour sketches, 2015/2017.
About Losing
“About Losing”, DVD, 3:13 min., 2015. “The Free Exhibition”, Den Frie – Centre for Contemporay Art, Copenhagen, 2017.
Catleya IV (after Josef Frank)
“Catleya IV (after Josef Frank)”, site-specific walldrawing for “Quantum Leap Festival”, a one day festival at Villa Veel, 20.8.2016, www.villaveel.dk.
Catleya IV (after Josef Frank)
“Catleya IV (after Josef Frank)”, site-specific walldrawing for “Quantum Leap Festival”, a one day festival at Villa Veel, 20.8.2016, www.villaveel.dk.
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.
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.
The Spring Exhibition 2015
“Unfinished # 11, 10, 12”, pencil on paper,29 x 42 cm, 2015.
Text:
Hun gik gennem parken mod museet. Da hun var fremme satte hun sig ned på en bænk. Foran sig opdagede hun projektørerne, som oplyste museet om natten. Hun forestillede sig, at man blev blændet, når de blev tændt og besluttede sig for at vente på, at det skete. Til sidst var det helt mørkt og hun forstod, at lysene ikke ville blive tændt. Det fik mørket til at føles anderledes, mindre kompakt og med flere konturer. Så vendte hun sig om og opdagede, at museet faktisk var oplyst, bare af andre projektører. Hun rejste sig og gik uden at være skuffet. Faktisk følte hun en tilfredsstillelse over, at det ikke blev, som hun havde forventet. Hun havde ønsket at et øjebliks blindhed kunne få billeder i hendes hukommelse til at forsvinde. Men i stedet opdagede hun, at mørket absorberede dem lige så godt.
She walked through the park towards the museum. When she got there she sat down on a bench. In front of her she discovered the projectors that lit up the museum at night. She imagined that you would be blinded when they were turned on and decided to wait for it to happen. Finally it was completely dark and she realized that the lights would not be turned on. It made the darkness feel different, less compact and with more contours. Then she turned around and realized that the museum actually was lit up, but only by other projectors. She raised herself from the bench and left without being disappointed. Instead she felt a satisfaction over the fact that it had not turned out as she had expected. She had wished that the flash of blindness could make images in her memory disappear. But instead she came to see that the darkness submerged them just as well.
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.
Is it a Plane?
“The Lighthouse”, drawings and texts on table, installationview “Is it a Plane?”, Summer Sculpture Søby, 2014.
Is it a Plane?
”The Lighthouse”, drawings and texts on table, 2014.
”The Lighthouse”:
What she remembers most from her time on the island was when she bicycled down to the lighthouse. The dirt road that leads there is surrounded by fields, and she also remembers an impressive walnut tree that was growing in the courtyard of an old farm long the way. When she reached the lighthouse she never stayed there for long. But one warm day in August she took off her clothes and went bathing. One comes to the island by a ferry and when one gets off in the wintertime it is like walking into the darkness. When she thought of rainy, windy winter evenings it occurred to her that she had never seen the lighthouse at night. She also knew that she never would but she liked imagining it.
Quote from W. G. Sebald, ”Austerlitz”:
”On that summer night, said Austerlitz, we sat high above the estuary of the Mawddach in our hollow in the hills until daybreak, watching the moths fly to us, perhaps some ten thousands of them by Alphonso’s estimate. The trails of light which they seemed to leave behind them in all kinds of curlicues and streamers and spirals, and which Gerald in particular admired, did not really exist, explained Alphonso, but were merely phantom traces created by the sluggish reaction of the human eye, appearing to see a certain afterglow in the place from which the insect itself, shining for only the fraction of a second in the lamplight, had already gone.”
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 VII”, sketch for walldrawing, watercolour on paper, 28 x 40 cm, 2013.
“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.
“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.
From left: “Hidingplaces”, c-prints with text, 2012, “Behind the Face”, DVD, 2012, “Parkscenario”, c-prints with text, 1999 – 2009.
Retake
Location for the sound piece “Hidingplaces” in Øregårdsparken.
English translation below:
HIDING PLACES
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 fell asleep.
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.
She squeezed herself in between the sofa and the desk. She had to lower her head and pull her feet back so as not to be seem. It felt very uncomfortable and after a while she started to panic.
She sneaked behind the kitchen door, closing it so that it would be more difficult to be seen. Time and again she heard someone go past without noticing her. Her pulse beat more rapidly whenever there was someone moving around in the room.
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 reveal his presence.
She opened the cupboard door and crept in amongst the clothes, closing the door behind her. It was reopened several times without her being discovered. As the footsteps disappeared out of the room, she dreaded the thought of having to remain there for very much longer.
Installationview “Allusion” with Anette Abrahamsson at Antechamber – Project for Drawing and other Research, Copenhagen. From left: “T-shirt I + II”, c-print 20 x 30 cm, soundpiece “Allusion session” a mix of the sounds in the space, “Grey # 7”, pencil drawing 50 x 65 cm, 2012.
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.
At the opening of “Love Me, Love Me Not” Pablo Llambias read from his reinterpretation of Suzanne Brøggers essay “Kærlighedens veje & vildveje”.
Paris
“Las Babas del diablo”, DVD, 5:44 min., 2010, installed in “Paris”, a show with Vesna Pavloviç at Raum 58, Münich.
Pieces in Conversation
Collaboration with Yvette Brackman, 2011.
Images Between the Word and the film
Installationview “Images Between the Word and the Film”, at Overgaden with “Gaps in the Landscape”. The show was open for two weeks as a supplement to the practice-based Ph.D thesis with the same title.
Ph.d thesis “Images Between the Word and the Film”, Faculty of Humanities, University of Copenhagen and The Royal Danish Academy of Fine Arts, 2010.
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.
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.
Contributors: Søren Andreasen, Pia Kriegbaum Sørensen, Laura Thors, Jacob Kamp, Mette Vase, Katya Sander.
Plum Velvet # 2
Contributors: Lars Jörgen Svensson, Oliver Hangl, Andrea Creutz, Klaus Thejll Jakobsen, Katinka Ahlbom, Petri Raapana, Christine Melchiors, Cecilie Høgsbro Østergård, Peter Holst Henckel, Magnus Engstedt, Håkan Sandell, Elisabeth Apelmo, Johan Röing, Katya Sander.
Plum Velvet # 1
Contributors: Thomas Björk, Staffan Boije af Gennäs, Andra Creutz, Daniel Rose, Magnus Wallin, Benny R. Jørgensen, Annika Lundgren, Lise Nelleman, Petri Raappana, Annika Ström, Rikke Ruhwald, Simon Sheikh, Lisa Strömbeck, Fredrik Sandblom.
