20 September 2023 – 7 January 2024
Continue readingANNA AND MICHAEL ANCHER – TOGETHER AND SEPARATELY
ENIGMATIC UNDERWORLDS. GAUGUIN AND LILJA
24 March – 25 June 2023
Continue readingJESPER CHRISTIANSEN AT ORDRUPGAARD
1. February – 3. September 2023
Continue readingVILHELM LUNDSTRØM. RETHINKING COLOUR AND SHAPE
16 September 2022 – 15 January 2023
VILHELM LUNDSTRØM. RETHINKING COLOUR AND SHAPE
Vilhelm Lundstrøm’s monumental paintings chiefly revolve around two motifs: still lifes featuring everyday objects and female nudes. The motifs are usually rendered in stringent, stylised compositions and the colours so well-considered as to lend them almost iconic power. The exhibition sheds light on Lundstrøm’s development from his young years as art’s enfant terrible to his mature years as professor at the Royal Danish Academy of Fine Arts. Lundstrøm’s name is synonymous with Danish modernism, not unreasonably, since he influenced his generation – including the furniture designer Finn Juhl, whose house now forms part of the collection at Ordrupgaard.
It is remarkable that Vilhelm Lundstrøm (1893–1950) is among the best-known Danish modernists, since his oeuvre, like Picasso’s, is divided into strictly defined periods, each one characterised by marked new departures in terms of style. A general feature, however, is the anchorage in the potent effects of colour and form, as well as the ambition to achieve a pure and decorative mode of expression rather than a naturalistic rendition of reality.
‘… by the way, we also tried to make our pictures entirely anonymous or impersonal … We were working to attain simplicity and painterly order, and we also believed that we could achieve some kind of ultimate and perfect beauty by following this path’, Lundstrøm is quoted as saying in 1939 in a retrospective interview.
With a chronological perspective, the exhibition shows Lundstrøm’s artistic evolution from the early, cubist-inspired collages and ‘crate’ pictures followed by the expressive ‘curly’ pictures and, later still, by the advent of Purism in 1924. After this, he discovered his familiar, serene expression in the ’monumental blue period’, culminating with the large-scale decorative commission for Frederiksberg Public Swimming Baths. The last part of the exhibition takes it departure in the 1930s when he abandoned this period in favour of a more colourful palette and a softer mode of expression.
The fact that the architectural and furniture design work of Finn Juhl (1912–1989) was greatly influenced by Lundstrøm and that works by Lundstrøm can still be experienced in Finn Juhl’s house at Ordrupgaard add a special dimension to the exhibition. Juhl was particularly fascinated by the artist’s late works, using them repeatedly in his furniture exhibitions.
It is almost thirty years ago since the capital area was last able to experience a Lundstrøm exhibition on this scale. With this exhibition, therefore, Ordrupgaard wishes to open up Lundstrøm’s at once very accessible and inscrutable oeuvre to a wide contemporary audience. Included in the exhibition are works from private collections never before shown in public.
The exhibition is curated by Anne-Birgitte Fonsmark, director, and Morten la Cour, curator, both Ordrupgaard.
Catalogue text by Morten la Cour.
The exhibition receives generous support from:
Aage og Johanne Louis Hansens Fond, Den Danske Forskningsfond, Queen Margrethe’s and Prince Henrik’s Foundation, Jørgen Krygers og Anne Ammitzbølls Fond, Knud Højgaards Fond, Ernst B. Sund Fonden, Arne V. Schleschs Fond, Bodil Pedersen Fonden, and Gangstedfonden
Vilhelm Lundstrøm, Still Life with Jugs, after 1930. Kunstmuseum Brandts
EXPLORE OUR WOMEN ARTISTS
WOMEN ARTISTS AT ORDRUPGAARD
Ordrupgaard was founded at a time when women artists faced adverse conditions. This is clearly evident in the museum’s French and Danish collections, where the gender ratio reflects the era’s favouring of male artists. Addressing this historical starting point and fuelled by a desire to champion overlooked and underexposed women artists, Ordrupgaard has focused on women artists for a number of years – even before #MeToo. A succession of exhibitions have shed new light on historical artists such as Helene Schjerfbeck, Anna Syberg , Berthe Morisot and Mary Cassatt, as well as on contemporary artists such as Nelli Palomäki.
In addition to the series of solo shows, Ordrupgaard has presented a number of exhibitions on artist couples, offering opportunities to introduce lesser-known women artists to a wider audience and raising their profile in art history. Examples include exhibitions about Carl and Karin Larsson, Johannes and Alhed Larsen, L.A. Ring and Sigrid Ring as well as Fritz and Anna Syberg, giving the museum yet another opportunity to address Anna Syberg’s art.
Ordrupgaard’s latest initiatives in the field include acquisitions of works of art by Klara Kristalova for the park and by artist duo Randi & Katrine for the museum’s newly established children’s room.
Ordrupgaard now introduces a special guided tour of the museum’s collections and park, focusing specifically on the prominent women artists found there – from the Impressionist Berthe Morisot by way of sculptor Sonja Ferlov Mancoba and artist duo Randi & Katrine to architect Zaha Hadid. The tour begins in the museum’s French collection, then takes you through the Danish collection and across to Finn Juhl’s house to finally end in the large park.
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Berthe Morisot,Mademoiselle Isabelle Lambert, 1885. Photo Anders Sune Berg
VILLAPÜK BY RANDI & KATRINE
VILLAPÜK BY RANDI & KATRINE
Continuing from the extension and reopening of Ordrupgaard in 2021, children now have their very own gallery inside the museum. We proudly present a new permanent installation entitled Villapük by the artist duo Randi & Katrine.
In a playful and cunning way, Randi & Katrine have recreated the large manor house Ordrupgaard from 1918 in mini format. Villapük can best be described as an oversize doll’s house resembling a small version of Ordrupgaard. In Villapük, everything is child-size and children can play at the kitchen table in the old serving pantry and peep into the elegant living rooms. The title references the founding couple, Wilhelm and Henny Hansen who, besides being ardent art collectors, were passionately engaged in the contemporary artificial language Volapük. With Villapük, Randi & Katrine have created a fairy-tale world that reflects reality but is nevertheless full of surprises.
Villapük primarily addresses children aged three to ten, but children and adults of any age are welcome to take a look into the imaginative and fabulous installation, unlocking new ideas of Ordrupgaard when it was a large detached family home. The installation is located in the children’s room in Zaha Hadid’s building.
Villapük. Photo Paul Skovbakke
GAUGUIN AND HIS FRIENDS
GAUGUIN AND HIS FRIENDS
26 JANUARY - 1 MAY 2022
With exceptional loans from numerous influential museums and private collectors from across the world, we now proudly present ‘Gauguin and His Friends’. The exhibition shows how, at the end of the nineteenth century, Paul Gauguin and the group of artists around him created an entirely new painterly expression. A symbolist painting where dreams, places, and imagination were interwoven in colourful and daring compositions without depth effect. Gauguin wanted to free art from the shackles of naturalism, yearning for a time when life was unspoilt by the dogmas of civilisation. He found inspiration in Brittany in the isolated towns Pont-Aven and Le Pouldu where the primitive lifestyle, deep piety, and folklore of the rural population helped set his art free. This new departure was adopted by a group of young artists known as the Pont-Aven school. The exhibition will feature several major works by Gauguin never previously shown in Denmark.
In this exhibition, we direct focus at Paul Gauguin and the group of young artists manifesting a new symbolist painting style near the end of the nineteenth century. Many will be familiar with the image of Gauguin as an uncompromising artistic genius who sought out the faraway shores of Tahiti to escape the constricting ties that bourgeois outlooks and family life imposed on his art. Fewer will know that the freedom-seeking artist also sought out small villages like Pont-Aven and Le Pouldu in Brittany in north-western France for inspiration. Here, among the Catholic rural population, he found a rustic way of life and deep faith that held a great and exotic appeal for him and which he translated into a new style of painting. A new symbolist kind of art that looked inward rather than outward, and which was preoccupied with dreams and the imagination rather than with reality.
In addition to a number of Gauguin’s epoch-making pictures, the exhibition will present a large number of works by the artists who, in a literal and artistic sense, travelled in the footsteps of this distinctive creator of images. They include figures such as Émile Bernard, Paul Sérusier, Meijer de Haan, Charles Filiger and Jens Ferdinand Willumsen. All of them became part of the circle around Gauguin in Brittany. Also featured are very young artists of the generation such as Maurice Denis, Jan Verkade and Mogens Ballin, who saw themselves as prophets of a new art – ‘Les Nabis’, as they liked to call themselves – and were inspired by Gauguin.
The exhibition presents just under one hundred works, of which half have been loaned from private art collections. An exhibition on this scale would be unthinkable without assistance from the art historian André Cariou, who is a leading expert on the Pont-Aven school. As academic consultant to the exhibition, he has generously made his numerous contacts to private art collectors and museum staff available to us. Moreover, he has written the detailed introduction to Gauguin and the artists of the Pont-Aven school for the exhibition catalogue. This main contribution is supplemented with an article by Dorthe Vangsgaard Nielsen, chief curator, about Gauguin’s Danish artist friends.
Works for the exhibition have been loaned from museums such as the Metropolitan Museum of Art, New York, the National Gallery of Prague, Musée d’Orsay, Paris, Musées Royaux des Beaux-Arts de Belgique, Brussels, and the Rijksmuseum, Amsterdam.
Gauguin and His Friends focuses specifically on the years after 1889, thus continuing where Ordrupgaard’s earlier exhibitions on Gauguin left off – i.e. Gauguin and Impressionism from 2005 and Van Gogh, Gauguin, Bernard. Friction of Ideas from 2014
The exhibition is generously supported by:
ANDERS ZORN THE BEST UNDER THE SUN
ANDERS ZORN
THE BEST UNDER THE SUN
1 OCT 2021 UNTIL 9 JAN 2022
Discover one of the brightest stars of Swedish art history at Ordrupgaard. In 2014, we presented Carl Larsson’s colourful world and now the turn has come to Larsson’s close friend and artist colleague, Anders Zorn. Zorn’s repertoire is wider than Larsson’s, since he travelled far and wide in his capacity of internationally feted portrait painter and distinguished man of the world. Even so, Zorn, like Larsson, has been of great significance for the perception of Swedish culture through his portrayals of life in Dalarna. Based on local life – nature, homelife, and local traditions – he evokes timeless ideal images of the good life. Moreover, the works attest to a local social engagement and a belief in the importance of the local community. Themes that are highly topical in our own times.
The exhibition, collocating fifty works by Zorn plus a few items of furniture from Emma and Anders Zorn’s home in Mora, forms part of a series of exhibitions about Nordic artists’ homes at Ordrupgaard.
The Swedish artist Anders Zorn (1860–1920) was one of the best-loved and most acclaimed artists of his time. Already from a young age, he achieved great success on the international art scene with his flattering portraits of society’s bigwigs from art collectors and financial moguls to American presidents. However, there was another side to Zorn, far removed from metropolitan feted artists’ lives and high social circles. Throughout his life, Zorn always returned to his native area of Dalarna and the local life in which he was deeply rooted.
’I deeply long for the old peninsula, the best under the sun. Soon nothing else will do for me than things Swedish’ wrote Anders Zorn in 1884 in a letter to his betrothed, Emma Lamm (later Zorn).
Already in 1886, Zorn and his wife Emma bought a plot of land in his native town of Mora by Lake Siljan in Dalarna County. Ten years later, the couple settled permanently in this area. This became a turning point for Zorn, who now turned even more to Swedish nature and the Mora residents portrayed in their original environment. It was not a case of a nostalgic or romantic looking back to a world before it was thrown out of joint, but rather of empathetic and supportive portrayals of the local population, which Zorn himself felt closely associated with, nourished by a deep-rooted wish to pass on the cultural life of this area. The couple’s engagement in the region resulted, for example, in the establishment of Mora Folk High School which taught local music, dancing, cabinetmaking traditions, and textile art and, later, the setting up of Mora Open-Air Museum.
Zorn’s attachment to the area around Mora is manifested in atmospheric portrayals of the archipelago, the seasonal celebrations, the sauna, and popular Dalar culture. The works are, like Larsson’s, very significant for the understanding of Swedish culture. To the Zorn couple, Mora came to symbolise things that were unspoilt which, in contrast to contemporary industrialisation, emphasised local traditions and crafts. Now, hundred years later, their ideas appear visionary and relevant as a contrast to the rising consumerism.
The exhibition is financed by:
Aage og Johanne Louis-Hansens Fond
Augustinus Fonden
CHILDREN’S DAYS AT ORDRUPGAARD
CHILDREN’S DAYS AT ORDRUPGAARD
Art and Games for all the Family in Ordrupgaard’s Art Park
25 and 26 September
10.00―14.00
The Event is Free of Charge
Ordrupgaard invites you to attend a terrific weekend with fun, live music, puppet theatre, soap bubble workshop, and creative tables in the art park. Children, young and old, can sing along to jazzy afro-rhythms, make gigantic soap bubbles, art postcards, or shed a tear over Othello’s tragicomic fate presented as puppet theatre for children.
Programme for both days:
10.00 The workshops are open
11.00 Puppet theatre featuring Othello inspired by Shakespeare
12.00 Live music from Yasmins Børneafro
13.00 Puppet theatre featuring Othello inspired by Shakespeare
14.00 Goodbye
Child-friendly food can be purchased in the park.
The event is inspired by the artworks in the park. A tour of discovery through the park offers, for example, a ceramic puppet theatre, giant mushrooms and pine cones, a rotating church, a tower made of bamboo, and much more. The works were all created specifically for Ordrupgaard by leading contemporary artists.
ORDRUPGAARD’S NEW EXTENSION PROVIDES A FINE SETTING FOR WORLD ART
SNØHETTA’S NEW EXTENSION AT ORDRUPGAARD UNVEILS WORLD ART IN A CONTEMPORARY SETTING
On the 14th of August, a new chapter will be added to the history of Ordrupgaard. This day marks the reopening of one of the finest collections of French art in Northern Europe in a new extension by the award-winning Norwegian architect firm Snøhetta. The extension provides space for the entire French collection and safeguards the works for future generations. Snøhetta’s building blends in elegantly with the existing Ordrupgaard buildings, entering into dialogue with the collections, the surrounding landscape, and the other buildings. Moreover, it has the appearance of a selfcontained architectural work, adding an innovative aspect and transforming Ordrupgaard into a museum destination of international dimensions.
Snøhetta’s building
Thanks to generous donations from private foundations and benefactors, Snøhetta’s building is finally ready to open its doors to the public. The building itself is located below ground and only a glistening steel roof in clear-cut geometric shapes is visible from the outside, welcoming visitors in the museum’s new forecourt. The extension consists of three new gallery spaces for the French collection plus two for temporary exhibitions. The latter form direct extensions of Zaha Hadid’s building, continuing this acclaimed architect’s striking idiom of black lava concrete and grandiose rawness. In contrast, the French galleries appear bright and gentle. Floors, walls, and coffered ceilings are covered with white-oiled oak only interrupted by pastel green walls forming a backdrop for the works. Hence the French gallery spaces present an almost classicistic transition from Zaha Hadid’s building (2005) toGotfred Tvede’s elegant stately home (1918) to which they form a passage. In this way, Snøhetta’s building creates a perfect ambulatory through the museum, taking visitors through the whole collection with the architecture accentuating the transitions, sharpening the senses as you go, and bracing you for new impressions.
Snøhetta’s building is set gently into the landscape. Only the steel roof marking the outline of the centremost of the three French galleries is visible from the outside. The sculptural shapes of the roof and its numerous facets refract the light in subtle anticipation of the impressionist works on show inside. Snøhetta’s building unlocks a wealth of associations, for example, the notion of a buried treasure chest.
The French collection
Ordrupgaard possesses a unique collection of twentieth-century French art, including works by Monet, Degas, Renoir, Cézanne, Gauguin, and Matisse. These works have, over a number of years, undergone restoration to the tune of a multi-million sum granted by the Ministry of Culture. The new building designed by Snøhetta enables us to show the collection in its entirety while optimal climate, light, and humidity conditions will preserve the works for the future.
Due to lack of space, some forty per cent of the collection was previously relegated to storage, including numerous works likely to have occupied places of honour in other museums. Enhanced lighting conditions now enable us to show a series of delicate pastels by great impressionist
masters such as Manet, Degas, and Renoir in a permanent hanging. These works are now doing their utmost to outshine one another like a row of glittering gems in the subdued lighting in the pastels gallery.
During the construction phase of Snøhetta’s building, the French collection
has been ‘touring abroad’ to Musée Jacquemart-André, France, Hamburger Kunsthalle, Germany, and the Royal Academy of Arts, England, to name but a few. Everywhere, it was critically acclaimed and extremely popular with visitors and it gives us great pleasure, therefore, to present the collection at Ordrupgaard once again.
A new Ordrupgaard
Snøhetta’s building virtually doubles the exhibition space at Ordrupgaard, showing the entire collection to its best advantage which, besides the French collection, includes the Danish Golden Age, Hammershøi and his time, Finn Juhl’s House, and contemporary art in the open.
For the reopening, Ordrupgaard is pleased to present a new installation in the park by the Argentine contemporary artist Tomás Saraceno. The work Omega Centauri 3.9 hangs among a group of trees in the northern end of the park, drawing parallels to the roof construction of the new building with its geometric shapes and reflections. Snøhetta’s building underpins Ordrupgaard’s architectural profile, creating a modern museum complex with space for the collections, international temporary exhibitions, and a learning centre, plus a café, shop, and children’s room.
About Snøhetta
The award-winning architect firm Snøhetta also designed buildings including the Oslo Opera House, Bibliotheca Alexandrina in Egypt, and the National September 11 Memorial Museum & Pavilion in New York, USA.
Facts
Snøhetta’s building is constructed under the proprietorship of the Palaces and Culture Agency and the entire museum has undergone an energy upgrade. The main contractor for the project is the consortium Juul & Nielsen A/S and Barslund A/S, HSM Industri supplied the sculptural steel structure, and G4S is responsible for the security installations in the museum.
The cost of the construction and energy upgrading project totalled DKK 131.5 million, financed by A.P. Møller Fonden, Augustinus Fonden, Realdania, Det Obelske Familiefond, and Knud Højgaards Fond.
SNØHETTA UNVEILS WORLD ART IN A NEW SETTING
SNØHETTA’S NEW EXTENSION AT ORDRUPGAARD UNVEILS WORLD ART IN A CONTEMPORARY SETTING
On the 14th of August, a new chapter will be added to the history of Ordrupgaard. This day marks the reopening of one of the finest collections of French art in Northern Europe in a new extension by the award-winning Norwegian architect firm Snøhetta. The extension provides space for the entire French collection and safeguards the works for future generations. Snøhetta’s building blends in elegantly with the existing Ordrupgaard buildings, entering into dialogue with the collections, the surrounding landscape, and the other buildings. Moreover, it has the appearance of a selfcontained architectural work, adding an innovative aspect and transforming Ordrupgaard into a museum destination of international dimensions.
Snøhetta’s building
Thanks to generous donations from private foundations and benefactors, Snøhetta’s building is finally ready to open its doors to the public. The building itself is located below ground and only a glistening steel roof in clear-cut geometric shapes is visible from the outside, welcoming visitors in the museum’s new forecourt. The extension consists of three new gallery spaces for the French collection plus two for temporary exhibitions. The latter form direct extensions of Zaha Hadid’s building, continuing this acclaimed architect’s striking idiom of black lava concrete and grandiose rawness. In contrast, the French galleries appear bright and gentle. Floors, walls, and coffered ceilings are covered with white-oiled oak only interrupted by pastel green walls forming a backdrop for the works. Hence the French gallery spaces present an almost classicistic transition from Zaha Hadid’s building (2005) toGotfred Tvede’s elegant stately home (1918) to which they form a passage. In this way, Snøhetta’s building creates a perfect ambulatory through the museum, taking visitors through the whole collection with the architecture accentuating the transitions, sharpening the senses as you go, and bracing you for new impressions.
Snøhetta’s building is set gently into the landscape. Only the steel roof marking the outline of the centremost of the three French galleries is visible from the outside. The sculptural shapes of the roof and its numerous facets refract the light in subtle anticipation of the impressionist works on show inside. Snøhetta’s building unlocks a wealth of associations, for example, the notion of a buried treasure chest.
The French collection
Ordrupgaard possesses a unique collection of twentieth-century French art, including works by Monet, Degas, Renoir, Cézanne, Gauguin, and Matisse. These works have, over a number of years, undergone restoration to the tune of a multi-million sum granted by the Ministry of Culture. The new building designed by Snøhetta enables us to show the collection in its entirety while optimal climate, light, and humidity conditions will preserve the works for the future.
Due to lack of space, some forty per cent of the collection was previously relegated to storage, including numerous works likely to have occupied places of honour in other museums. Enhanced lighting conditions now enable us to show a series of delicate pastels by great impressionist
masters such as Manet, Degas, and Renoir in a permanent hanging. These works are now doing their utmost to outshine one another like a row of glittering gems in the subdued lighting in the pastels gallery.
During the construction phase of Snøhetta’s building, the French collection
has been ‘touring abroad’ to Musée Jacquemart-André, France, Hamburger Kunsthalle, Germany, and the Royal Academy of Arts, England, to name but a few. Everywhere, it was critically acclaimed and extremely popular with visitors and it gives us great pleasure, therefore, to present the collection at Ordrupgaard once again.
A new Ordrupgaard
Snøhetta’s building virtually doubles the exhibition space at Ordrupgaard, showing the entire collection to its best advantage which, besides the French collection, includes the Danish Golden Age, Hammershøi and his time, Finn Juhl’s House, and contemporary art in the open.
For the reopening, Ordrupgaard is pleased to present a new installation in the park by the Argentine contemporary artist Tomás Saraceno. The work Omega Centauri 3.9 hangs among a group of trees in the northern end of the park, drawing parallels to the roof construction of the new building with its geometric shapes and reflections. Snøhetta’s building underpins Ordrupgaard’s architectural profile, creating a modern museum complex with space for the collections, international temporary exhibitions, and a learning centre, plus a café, shop, and children’s room.
About Snøhetta
The award-winning architect firm Snøhetta also designed buildings including the Oslo Opera House, Bibliotheca Alexandrina in Egypt, and the National September 11 Memorial Museum & Pavilion in New York, USA.
Facts
Snøhetta’s building is constructed under the proprietorship of the Palaces and Culture Agency and the entire museum has undergone an energy upgrade. The main contractor for the project is the consortium Juul & Nielsen A/S and Barslund A/S, HSM Industri supplied the sculptural steel structure, and G4S is responsible for the security installations in the museum.
The cost of the construction and energy upgrading project totalled DKK 131.5 million, financed by A.P. Møller Fonden, Augustinus Fonden, Realdania, Det Obelske Familiefond, and Knud Højgaards Fond.
SPECIAL EXHIBITION TAL R – HOME ALONE 25 JUNE – 19 SEPTEMBER
TAL R - HOME ALONE
25 JUNI –19 SEP.
2021
Ordrupgaard’s upcoming exhibition Tal R – Home Alone presents brand new works by the internationally renowned contemporary artist Tal R. As always, there is a lot going on in Tal R’s colourful and evocative universe. The exhibition falls into three thematic sections, updating classic motifs from Ordrupgaard’s collection. In Tal R’s hands the figurative and the ornamental intertwine in monumental works that open the floodgates of imagination and pleasure.
The exhibition consists of 20 paintings and a large number of works on paper. An entire gallery, the largest in the exhibition, is dedicated to works created on paper. The paper medium is thus put on an equal footing with painting, a fact further emphasised by the, at times, large formats of these works.
The exhibition themes are grouped in three series. Birds in Cages was begun just before the Covid-19 pandemic made a deep impact on the world. The series shows magnificent oversized birds in small cages, and the title of the exhibition is inspired by this series. In Flowers in a Vase Tal R fantasises about the classic theme of transitoriness where the ephemeral beauty of cut flowers is captured inside the form of a vase. House facades have been a recurring theme with Tal R for a long time. Here Tal R explores the facade as the mask behind which private life unfolds.
Motifs such as Birds in Cages, Flowers in a Vase and House Facades also appear in Ordrupgaard’s permanent collection. Tal R thus addresses the art-historical tradition but breaks new ground. With naively playful and colourful effects he makes us open our eyes wide and experience something unexpectedly new and long forgotten, where the inertia of habitual thinking has taken over.
The fact that Ordrupgaard is formed around a formerly private art collection and still has its roots in the founding couple’s private residence is reflected in the curating of the exhibition. Tal R – Home Alone points to the domestic sphere – both as something site-specific and as a universal concept concerning us all.
The exhibition is accompanied by the film Gyldne Dages Tårer (Tears of Golden Days), created by the artist’s wife, film director Emma Rosenzweig. Tal R has decorated the walls of the children’s room, where children can be inspired by the exhibition motifs. The children’s room is named Sun Rises. Bird Falls down.
THANKS TO:
Tal R. Home Alone is made possible with the support of Knud Højgaards Fond, Ferring Pharmaceuticals A/S, Preben Johan Michelsens Fond, Dronning Margrethes og Prins Henriks Fond, Hoffmann og Husmans Fond, Axel Muusfeldts Fond, William Demant Fonden, Beckett-Fonden, Ernst B. Sund Fonden, Frimodt-Heineke Fonden, Gangstedfonden and Toyota-Fonden.
ORDRUPGAARD REOPENS
ORDRUPGAARD REOPENS
Ordrupgaard reopens in two successive stages. The first is on 25 June when Tal R will take over the special exhibition galleries with his wondrous and colourful universe. A stunning new display for the Danish collection together with Finn Juhl’s iconic house is also part of the first stage. The Snøhetta building, which will house the French collection, will be inaugurated just after the summer holidays on 14 August.
The museum has decided on a two-phase reopening to allow the public to enjoy the museum over the summer. The distinguished French collection, which includes works by Monet, Renoir, Degas and Gauguin, to mention but a few, is slower to take form. The inauguration of the Snøhetta building is therefore scheduled for 14 August.
Already the first phase of the reopening offers a wealth of experiences. The internationally renowned contemporary artist Tal R shows at Ordrupgaard for the first time with the exhibition Tal R – Home Alone. The exhibition features brand new paintings and works on paper by Tal R. Furthermore, there will be a film created especially for the exhibition by the artist’s wife, the film director Emma Rosenzweig.
The Danish collection has been growing fast and been expanded with works by, for instance, Vilhelm Hammershøi and L.A. Ring. The collection has been displayed with gusto and now shows to full advantage. From now on it will be known under the name of ’Hammershøi and his Time’.
By way of exception, Finn Juhl’s house will open for extended hours, matching those of the rest of the museum during the summer period. Incidentally, the house has been refitted with its original shutters from 1942 and at the same time been carefully renovated.
The founders’ drawing rooms from 1918 have also been restored and appear more complete. The beautiful pantry, which was not previously accessible, has now been included as a permanent part of the historic house, emphasising the homelike atmosphere of the place.
For the park Klara Kristalova has created the work After the Deluge, a kind of puppet theatre populated with ceramic figures. Inspired by the paintings of Paul Gauguin, Kristalova’s adaptation weaves together people, animals and spirits in a timeless universe.
In future, Chaya will be in charge of the café, where the menu is put together to reflect the seasons, so that everything is prepared using fresh, organic ingredients. Food can be enjoyed both inside the café and outside in the park. Many of our visitors may already know Chaya from Dronning Louises Tehus in Bernstorffsparken.
Ordrupgaard’s beautiful new museum shop is also ready with a large and inviting range of goods