Marking the 2017 centenary of Kunsthal Aarhus, the park surrounding Kunsthal Aarhus has been transformed into a sculpture park with works by Danish and international artists. Works are continiously added to Kunsthal Aarhus Skulpturpark, which in turn makes it possible for passers-by to experience and perceive art at all hours of the day.
Ronan & Erwan Bouroullec have designed a series of outdoors sitting installations entitled OUI (2017) for the park surrounding Kunsthal Aarhus. Each of the four installations comprise a circular shape made of galvanised steel; three of the installations encircle large trees in the park and the fourth ring around a fireplace by the new main entrance. OUI is produced in collaboration with Kvadrat.
FOS has created Hypernormalization (2017), which is situated by the new entryway on the corner of J.M. Mørks Gade and Christiansgade. The work is made of burnt larch and was initially produced for an exhibition at the French embassy in Copenhagen where it marked the border between Danish and French territory. In Kunsthal Aarhus’ park the work constitutes a physical and psychological portal to contemporary art.
In 1977, Aarhus-born artist Willy Ørskov (1920-1990) produced the work Sort Granit fra Congo (Black Granite from Congo), which subsequently was installed on the lawn by Kunsthal Aarhus’ former main entrance at J.M. Mørks Gade. Breaking away from romantic conceptions about art as an entry to the human mind, Ørskov’s sculptural work is characterized by an absence of recognisability, motif and narrative. In turn, a classic Ørskov dictum reads, “The content of sculpture is sculpture.” Ørskov’s sculpture is a permanent installation.
Uffe Isolotto's artwork Universal Serial Bus addresses the current human condition. The work takes its name from the expansion of the acronym USB; the port used to plug in your device, to transfer information or charge your battery. When you expose your device, by hooking it up to a bigger circuit with the electrical umbilical cord, you become vulnerable. The interconnectedness of beings, through inanimate things, has become a base for our understanding of ourselves, the individual. Not the universe, not the mass, not the omnibus.
Jillian Mayer has designed 14 colourful and unpretentious sculptures, Slumpies, which are placed around Kunsthal Aarhus. Slumpies visualises our human behaviour. They are a sculptural solution to a relatively new need we humans have acquired after the invention of smartphones. Mayer states that: ”Slumpies are designed for both your body, your mind and your mobile”. Slumpies will provide you with ergonomical support, so you can sit, stand or lounge in whatever way that fits you and your smartphone the most. Slumpies are a thought-provoking idea of what a sculpture can be and what it can be used for.
On the occasion of Kunsthal Aarhus’ 100-year-anniversary in 2017, artist Bodil Nielsen was commisioned by Kunsthal Aarhus to recreate the colour that the outer walls of the building had in the years 1954-1969. The colour was named ”festlig teglrød” (festive brick-red) by the journalists of the time. However, no colour photographs exist from the time, and Nielsen had the task of recreating what she considers as ”festive brick-red”. On your way to the entrance of Kunsthal Aarhus you can experience her white and orange flag with white tassels flutter in the wind. Inside you will also find Bodil Nielsen’s influence. Her version of ”festive brick-red” adornes the curved wall in the café and the walls of the restroom.
Previously exhibited in Kunsthal Aarhus Skulpturpark:
Neon works by Nat Bloch Gregersen & Matilde Mørk, Theta Wave (2017), Solidarity is not Old Fashion (2017) and Follow the Horse II (2017). The three works revolved around different modes of lingering and devoting oneself to a collaboration: Follow the Horse II is for example based on a horse therapy exercise that the artists had translated into a collaborate drawing exercise. The works were initially produced for Kunsthal Aarhus’ exhibition at Roskilde Festival 2017.