Søren Behncke, Heerup Museum, 2020. Photo by Mikkel Grønnebæk
Due to the covid, the artist talk has been postponed to a later date in 2021 tba
On the occasion of the exhibition Behncke – Heerup – Hildebrandt at Heerup Museum, V1 Gallery is pleased to invite you for an artist talk with Søren Behncke about tracing heritage and artistic strategies – from Heerup’s garbage models and Hildebrandt’s sculptures made of shoemaking nails to Behncke’s own cardboard paintings.
Heerup Museum, Rødovre
November 19, 4-5pm and 5-6pm
RSVP before November 18 via email@example.com
*please write time slot and name of all attendees
**in order to provide a safe environment, there is a maximum capacity of 10 guests per talk
From the press release:
The exhibition is a collaborative venture between Vendsyssel Museum of Art and Heerup Museum, featuring works by the three influential Danish artists Søren Behncke (b. 1967), Henry Heerup (1907–1993), and Kristian Hildebrandt (1924–2011).
The three artists have, in different ways, addressed contemporary consumer and throw-away culture.
Hildebrandt combined shattered watches, coins, and nails with nature in the form of amber and tree roots. Heerup was inspired by everyday objects like lamp shades, bike parts, coffee pots, and a gramophone horn, nailing everything together to form three-dimensional structures while Behncke, in particular, is preoccupied with cardboard as an expression of modern consumer mentality: packaging consumer goods like flat screens and shipping them worldwide.
Common to the method of the three artists is their choice of material as an integral part of the work and the accumulation of materials. Common to the three artists is an essential predilection for reusable materials, shared methods, and a unique aesthetic of recycling, deliberately breaking down barriers between high and low culture, one-off and mass-produced objects. Furthermore, an integral part of all three artists is the interrelationship of symbols, humour, and gravity.
This unique juxtaposition indicates a distinct eye for materiality, for sustainability in art, and an inspiring freedom of artistic method. Another common point of reference is the artists’ work with symbolism; both conventional ones such as the heart and the cross as well as self-invented symbols emerging through repetition. Behncke’s picture series are, in themselves, living proof of how repetition as a method provides a fluid movement from motif to symbol.