The Scandinavian Artist Making Waves


Cathrine Raben Davidsen’s designs span sculptural lamps and Japanese-inspired tableware.

Cathrine Raben Davidsen doesn’t draw within the lines. Her multidisciplinary “far-from-perfect” works have captured the attention of aesthetes near and far from the Copenhagen studio where each item is lovingly handmade. Trained at the Royal Danish Academy of Fine Arts, Raben Davidsen takes inspiration from both contemporary and renaissance art as well as ancient mythology, to create works that explore human connection – both to each other and to the earth. Large landscape paintings and intimate pencil sketches share the language of her sculptural lamps and ceramic tableware, and her artistic pursuits have also extended to costume and stage design. Here, the artist muses on her life and work.


Your path into art and design.

I grew up in a very creative and bohemian family, where nothing seemed impossible if you pursued and persevered. That has influenced me tremendously in my life and in the approach to my work as an artist. I began painting when I was very young and have studied at art academies in Italy and The Netherlands, but I graduated at The Royal Danish Academy of Fine Arts in Copenhagen. I like to experiment and to constantly move towards new territories. My mantras are to be curious and always do my utmost. I have worked with ceramics for the past 10 years but, after traveling to Mexico and Japan, I became more interested in glazes. I now do my own firings and experiment with Japanese raku firings (with wood and sawdust). I also do salt firings, by throwing salt into the oven.


The materials that you’re drawn to.

My favourite materials are paint and clay – although they are very different mediums to work with, they do blend into each other. As I am not trained to be a ceramicist, my glaze work is fuelled by experimentation and with this comes an enormous freedom. Most of the time I will just see what happens and if I am not content, I will do another re-firing. They are by no means “perfect”. I cannot control the end result and it really appeals to me.


The story behind the faces in your designs.

From 2017-2019, I collaborated with the Danish Porcelain Company Royal Copenhagen making more than 150 unique ceramic vessels, jars and pots. Titled ‘Totem,’ the collection was inspired by prehistoric ceramics from central Europe, Mexico, and Japan and by a type of stoneware from the late Bronze Age in Scandinavia commonly referred to as ‘face-mask urns’ or sometimes “medicine bottles” or “witch bottles” as they were said to be used to practice witchcraft. The myths around these vessels have fed directly into my ceramics. Most of the jars are glazed in earth colours such as red, green, white, and black, which have symbolic or spiritual meanings. Red refers to blood, birth and life; black is associated with power, change and rebirth; and white symbolizes purity and death.


The launch of your extraordinary lamps.

I began making lamps five years ago, because I wanted to make some for my own home. I exhibited my first collection with Tina Seidenfaden at The Apartment here in Copenhagen, and they sold out. What began as a personal project developed into something larger than I could have expected, but it is important that they are still unique and handmade. I will never mass produce: no two are the same and the glazes are by no means “perfect” – some of them are “crooked” – but they do have real personality. Some of the lampshades are hand painted and others imported from the US.


One for the wishlist.

I am currently developing my Eichu tableware, which combines fine art with functionality. Each piece is one-of-a-kind, created at my ceramic studio here in Copenhagen. The title EICHU refers to the Buddhist monk Eichū (永忠), who brought tea to Japan on his return from China in the 9th century.

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GRAFIK 1998-2022



About the exhibition

Cathrine Raben Davidsen is a multi-dimensional artist. Working in a variety of media, she has developed and refined an instantly recognizable personal style over a career of nearly 30 years. Raben Davidsen moves effortlessly through time and space – between myth and history, light and darkness, reality and fantasy. From prehistory to the present, human challenges and universal dilemmas are her preferred subject matter. While the final product may vary widely, the starting point is always the same: graphic art. Lines. The written word or the drawn line. But mainly the former, even if it ends up as a visual narrative embodied in art.

Raben Davidsen’s work in printmaking has long since become a fundamental and essential part of a multifaceted practice that she characterizes, cultivates and celebrates as eternal study. In fascination with its techniques and curiosity about its manifold expressions, printmaking has become an inexhaustible source of inspiration. Often, it is through the printmaking process that she finds themes for subsequent paintings.

Over the years, Raben Davidsen has produced a prodigious output of more than 400 prints – etchings, lithographs, woodcuts, monotypes and monoprints. This body of work is now presented for the first time in a major retrospective exhibition of prints spanning Raben Davidsen’s career as an artist. The present volume, published in conjunction with the exhibition, lists and illustrates her prints from 1998 to the present.

As museums with significant collections of prints, it is a natural fit for us to engage wholeheartedly in spotlighting Raben Davidsen’s prints. It is quite unique to see a contemporary artist of her talents explore printmaking so comprehensively. In a conversation conducted for this book, Raben Davidsen and art historian Marie Laurberg open a window into the thoughts, impetus and choices behind her work.

Raben Davidsen notes the generosity of printmaking as one of the most important parameters for her longstanding devotion to the medium. Despite her years of practice and skilled partners at print studios, the nature of printmaking inherently involves an element of “blind creation” or “writing between the lines,” as the artist puts it. Using all the tools available to her, Raben Davidsen cross-pollinates form and content in her artistic expression, juxtaposing the differences between printmaking techniques. In the grey zone between the controlled intimacy of etching and the potential wildness and voluptuous lines of lithography, an unknown and alluring world lies wide open.

The conversation with Laurberg also casts a light on what we might call Raben Davidsen’s own version of the graphic connection between words and images. From very early on, writing has been an aesthetic tool for the artist, as manifested in the spectacular and expansive, densely written mind maps featured in this show that lie at the root of her practice. The mind maps also aid our understanding of Raben Davidsen’s process and, equally important, the sources of her inspiration that can be found across the history of art.

We are deeply grateful to Marie Laurberg, who devised and conducted the insightful and illuminating conversation with the artist.

Thanks to the staff of CRD Studio for their omnipresent assistance in all matters great and small. Thanks as well to the Danish Arts Foundation and the Gangsted Foundation for supporting the exhibition. Last but not least, we warmly thank Cathrine Raben Davidsen for her fantastic engagement and collaboration in bringing this publication and exhibition to life.


by Museum Director at The Kastrupgaard Collection, Mette Sandhoff Mansa


Vera Ikon

As above, so below, 2022. Oil on canvas, 300 x 180 cm



Swan, 2022. Oil on canvas, 90 x 70 cm


Udstillingens titel Vera Icon er inspireret af fortællingen om Veronika, som fik medlidenhed med Jesus, da han gik sin lange hårde gang mod Golgata, hvor han skulle korsfæstes. Hun gav ham derfor et klæde, så han kunne tørre sit ansigt, og et aftryk af hans ansigt blev ifølge myten efterladt på klædet.


”Vera Icon” betyder “Det sande billede”. Vera = sande og Icon = billede. Museet har i sin samling flere forskellige kunstneres fortolkning af motivet Vera Icon eller Veronicas Svededug, og det centrale ved disse religiøse billeder er deres insisteren på egen konstruktion som et billede af et billede af Jesus. Vera Icon er således det sted, hvor kunsten møder religionen.


Dette møde har til forskellige tider og steder haft forskellige udtryk og i sit mest dramatiske udtryk givet anledning til konflikter og ikonoklasme (billedødelæggelse). Vi sætter i udstillingen et spørgsmålstegn bag titlen, da det i høj grad er et spørgsmål til samtidskunsten: For hvordan arbejder de yngre kunstnere egentligt med religiøs kunst i dag?


De udstillede kunstnere er:
Maria Wæhrens f. 1976
Cathrine Raben Davidsen f. 1972
Alexander Tovborg f. 1983
Sif Itona Westerberg f. 1985
Julie Born Schwartz f. 1981
Anu Ramdas f. 1980
Yinon Avior f. 1991
Birgitte Støvring f. 1982
Julie Lænkholm f. 1985
Francesca Buratelli f. 1988
Martin Brandt Hansen f. 1990
Kinga Bartis f. 1984


Strandvejen 13
DK 7620 Lemvig
Phone [+45] 97810371


Udstillingen er støttet af Statens Kunstfond og 15. Juni Fonden

Self-Indulgent, Staging, Reflections

Hvordan opleves samtidskunsten, når den udfoldes i kulturhistoriske rammer fremfor i et minimalistisk hvidt galleri? Oplevelsen udfordres, når 12 samtidskunstnere præsenterer værker i Grevinde Danner’s velbevarede lejlighed i sen-klassicistisk stil. Samtidskunstnernes værker kontekstualiseres her i en af Københavns mest æstetiske lejligheder udsmykket af nogle af Dansk Guldalders kunstnere, der dyrkede det sublime og illusionistiske, hvor de udstillede samtidskunstnere arbejder langt mere udfordrende, kritisktagende og reflekterende. Nyere mediers potentiale udfordres som både materiale og teknologi, transformationer og en bevidst selviscenesættelse anvendes, køn udviskes og det rene blottede udtryk får lov at stå til skue overfor beskueren og tiden. Der skabes et udefinerbart tidsmæssigt rum, når omgivelserne oser af Dansk Guldalder og kunsten kalder på vor samtids refleksioner og brugen af medier.

Grevinde Danner’s lejlighed er normalt ikke tilgængelig for offentligheden, men udstillingen er åbent for alle og et gratis besøg kan bookes via COLLABORATIONS hjemmesiden under bookingsystem eller direkte til

Deltagende kunstnere er:
Amalie Smith
Anna Rettl
Astrid Krogh
Astrid Kruse Jensen
Ava Samii
Cathrine Raben Davidsen
Evren Tekinoktay
Gun Gordillo
Julie Nymann
Lea Guldditte Hestelund
Lærke Bagger
Rose Eken




af Birgitte Ellemann Höegh

Som en af de få har billedkunstner Cathrine Raben Davidsen besluttet sig for at stå helt uden gallerist. Det kræver en særlig stamina og en vedholdende tro på sig selv – blandt andet når krisen kradser. Selvom hun tvivler hver eneste dag, har hun en stærk fornemmelse af, at hun står et meget stærkt sted netop nu – med sit maleri.

”Jeg føler, at det først er nu, mit værk virkelig er ved at samle sig. Jeg kan mærke det med mine nye landskabsmalerier. Det har krævet mange års arbejde at blive moden. Mine malerier taler et stort sprog, jeg har noget på hjerte, og jeg ved, at jeg kan male røven ud af bukserne på de fleste. Jeg tror på skæbnen, og at det ikke nødvendigvis behøver at blive i Danmark, at jeg får et galleri i fremtiden, hvis overhovedet. Men jeg binder ikke min lykke op på det, for jeg ved også, hvor meget det kræver at gå ind i det game,” siger Cathrine Raben Davidsen.

Jeg sidder i Cathrine Raben Davidsens værksted i indre København. Vi har et bord med to kopper imellem os, som hun selv har lavet i sit keramikværksted, der ligger et par gader derfra. Hun er sådan én, der kigger sin samtalepartner direkte i øjnene, men med spor af en overbygning, der giver indtryk af, at hun ved, jeg er ved at gå på strandhugst i hendes liv og virke. Så hun passer på sig selv. Har integritet. Hun er ellers meget generøs, viser sit værksted frem midt i sin proces, dykker ned i skuffer og hiver værker frem, som hun beholder for sig selv, og har sagt ja til at tale om, hvorfor hun har valgt at stå alene og uden galleri i de sidste syv år.

Jeg har besøgt hende samme sted, lige før hun tog sin beslutning om at forlade sin gallerist, Martin Asbæk, som hun havde været tilknyttet, siden hun dimitterede fra Det Kongelige Danske Kunstakademi i 2003. Der er sket en del. Det er som om, hun er solidt favnet af sine værker. Her er kommet flere arkivskabe ind – ja så mange, at hun har godt over 400 forskellige litografier arkiveret, lavet over de sidste 20 år, som hun skal vise et udsnit af på soloudstillingen GRAFIK der åbner på Kastrupgårdsamlingen til februar. På gulvet står meterhøje keramiklampefødder i Yves Klein-blå, som bliver solgt i high end design-gallerier i USA og Italien. Det myldrer med unika keramik, under det bord, vi sidder ved, ligger stabler af bøger, der dokumenterer hendes værkproduktion, og så er hun i gang med nogle malerier, som sætter en fed streg under det faktum, at hun kan male røven ud af bukserne på de fleste, og at noget nyt er under opsejling. Hendes hidtidige værker, der næsten altid har indeholdt uudgrundelige væsen-lignende skikkelser, er for en stund forsvundet. På et gigantisk maleri er et landskab, hvis forlæg er et af hendes egne fotos fra en kyst tæt ved Hallandsåsen i Sverige, hvor hendes sommerhus er.

Jeg tænker straks på Mamma Andersson, og det har Cathrine Raben Davidsen også gjort – samt Edvard Munch og Peter Doig. Gennem hele sit virke har hun lænet sig op ad kunsthistorien.



”Maleriet er et sprog med en kæmpe bagage. Der er ikke ret mange, der mestrer maleriet, ofte fordi de glemmer, hvad der ligger før dem. Det synes jeg, man skal være bevist om og kunne tale til. På det seneste har jeg nærstuderet Munch, som har lavet nogle fantastiske landskaber. Der er en anden frihed i landskabet.”

Hendes landskaber er så suggestive, at jeg har lyst til at bade i dem – eller spise dem. Det bliver interessant at følge, hvor hun bringer de nye værker hen. Navnlig fordi, hun som én af de få helt selv tager sine beslutninger om, hvad der skal placeres hvor.  Og hvad med de perioder, hvor tvivlen raser – eller man som kunstner går helt i stå? Er det ikke der, det er vigtigt at have en gallerist, der kan cykle forbi og banke på døren?

”Jeg går aldrig i stå. ”

Tvivler du heller aldrig?

”Jo, hele tiden. Det er min drivkraft. Jeg er ekstrem dårlig til at sammenligne mig med alle mulige, men jeg kommer hurtigt over det igen. Og så har jeg jo også alt muligt andet, jeg kan kaste mig over. Jeg har slet ikke tid til at gå i stå. Noget, der virkelig kan få mig ud af kurs, er, hvis malerierne ikke går så godt, men jeg har lært at være god mod mine værker og god mod mig selv. I ”Kunstnerkollektivet i Skagen” (DR-program fra 2020, red.), blev det virkelig spejlet, hvordan jeg tvivler i processen, men det er også fordi, jeg hele tiden prøver at komme nye steder hen.”

Hvem læner du dig så op ad undervejs?

”Mange har en romantisk forestilling om, at galleristen sidder og nusser én på ryggen, men en gallerist har jo 30-35 kunstnere. Min fornemmelse er, at der er mange kunstnere, der står alene med deres værker, selvom de har en gallerist. Op til min beslutning om at stå selv, snakkede jeg med mine venner i forretningsverdenen, der sagde, at man aldrig skal gå fra et job, hvis man ikke har et andet, men jeg er bare et ærligt menneske og kunne ikke lide at gå bag om ryggen på Martin. Vi var ikke uvenner. Jeg har aldrig været drevet af pengene, men har bare en friheds-trang tror jeg.”

Hvad med rådgivningsdelen?

”Jeg har fire ansatte, der hjælper mig med at svare på mails, fremviser, registrerer og den slags, og som jeg også har en sparring med. Når jeg så udstiller, som jeg senest gjorde med Collaborations, har jeg et tæt samarbejde med dem. Og så bruger jeg stadig Claus Hagedorn-Olsen, som er én af de museumsdirektører, der har samlet på mine værker siden min begyndelse og inviteret mig til at udstille flere gange. Jeg har i det hele taget været heldig og har haft museumsudstillinger mindst hvert andet år siden min begyndelse. Og så har jeg Niels Bastrup, tidligere kreativ direktør for Royal Copenhagen, som jeg har arbejdet sammen med i mange år, mine venner og min mand, Jens, der godt nok er øjenlæge, men han er meget involveret i det strategiske.”

Der er så mange ting, jeg ikke er

I dag er der kø til hendes nye værker, inden de er opstået, og hun indgår i samlinger som Statens Museums for Kunst, Clay, Ny Carlsbergfondet og Horsens Kunstmuseum. Hun er god til at markedsføre sig og har blandt andet et stærkt netværk i mode- og magasinbranchen, fordi hun i kort tid arbejdede som stylist. Men helt grundlæggende mener hun, at held og timing er afgørende.

”Der er sindssygt mange talentfulde kunstnere, der slet ikke kommer frem. Jeg vil tro, at kun omkring fem procent af de kunstnere, jeg gik med på akademiet, lever af deres kunst i dag.”

Værdien i at læne sig op ad et anerkendt galleri, hvor kunstnere tog farve af respekten for galleristen og de kunstnere, der ellers var i stald, var normen i begyndelsen i 00’erne og også afgørende for hende Cathrine Raben Davidsen. Navnlig fordi hendes værker blev udsolgt ved hendes første udstilling hos Martin Asbæk i 2006 – og derfra tog hendes virke fart. I dag mener hun, at det kan lykkes på helt andre platforme – som Instagram, der giver adgang til et bredt publikum.

”Der er rigtig mange kunstnerdrevne steder, og kunstnere er blevet dygtige til at formidle deres kunst. Den dér gammeldags idé om, at en kunstner står sky i et værksted og overhovedet ikke kan tale om sine værker, gælder ikke kun. Der er mange måder at være kunstner på i dag.”

Selv har hun aldrig været blandt dem, der har hængt højtråbende ud i miljøet, for at skabe de rigtige kontakter.

”Hvis jeg virkelig vil ind i et udenlandsk galleri, så skal jeg flytte til Berlin, Paris eller New York. Jeg skal være et udadvendt menneske, der skal gå til ferniseringer konstant, og det er jeg bare ikke. Der er så mange ting, jeg ikke er. Jeg vil gerne have mange frugtbare samarbejder og være mig selv, som jeg altid har været. På akademiet var jeg en total enspænder og fik børn undervejs. Jeg har aldrig været god til at gå med på barer til klokken fire om natten og komme med på alle mulige gruppeudstillinger, fordi jeg var venner med dén og dén.”

I stedet kan hun godt lide struktur, og der hersker en sær grad af orden i hendes atelier med en snorlige linje mellem hendes kontor, hvor der ikke er én malerklat at spore på dørgreb eller det blanksorte terrazzo-gulv, mens der inde på den anden side er træplader på gulvet og et anderledes frirum til at sjaske med maling.

”Jeg er rimelig organiseret og ikke nem at bide skeer med, for jeg ved godt, hvad jeg er værd. For mig handler det om at finde nogle mennesker, jeg godt kan lide, og hvor der er gensidig respekt og de forstår mit værk. Jeg føler, jeg måske har været lidt umoden tidligere. Det er først nu, mit værk virkelig er ved at samle sig.”

En måde at holde det i skak er ved at fordybe sig i maleriet tre faste dage om ugen, hvor hun ikke foretager sig andet. Tirsdag til torsdag.

”Hvis jeg har bare én aftale på de dage, bliver jeg hylet ud af den. Det er jo et arbejde, der kræver mit nærvær, jeg er nødt til at føre penslen ordentligt. Men jeg elsker at være her alene, så hører jeg podcast og musik og føler mig heldig at have sådan et job. Og så kan jeg godt lide at holde møder og blive forstyrret og lave andre ting de andre dage. Hvis jeg skulle stå og male hver dag, ville jeg sgu nok blive skør.”


Til februar har Cathrine Raben Davidsen en soloudstilling på Kastrupgårdsamlingen og skal medvirke på en gruppeudstilling på Museet for religiøs kunst i Lemvig, og arbejder løbende på værker til en soloudstilling, som hun skal have samme sted i 2022.

Dette interview blev bragt i Berlingske den 21 november 2021. Foto: Søren Bidstrup. Link til interviewet her

Open and Closed

in correlation with


An exhibition of boxes and all they represent

Featuring work from:
Annelie Grimwade Olofsson
Cathrine Raben Davidsen
Elly Glossop
Ida Elke
Iben Høj
Louise Hedegaard Madsen
Mariko Wada
Pettersen & Hein
Stine Mikkelsen



Contemporary design gallery The Future Perfect, in partnership with the Danish Arts Foundation, is proud to present Open and Closed, a group exhibition of new works by nine emerging Danish artists and designers. On view from October 27 – December 15 at Casa Perfect New York, the exhibition explores the metaphor of a box, its quality as an object, and its context in society.



For the exhibition, The Future Perfect invited each artist to construct miniature three-dimensional containers adhering to the conventional characteristics of a box while reflecting each designer’s unique aesthetic and practice. The nine works on view highlight both the beauty of construction and the possibility of the space they hold. This collection of distinctive containers constructs a conceptual dialogue between the makers and viewers, encouraging viewers to immerse themselves in each designers’ work and consider how each box connects to the exterior world.



“The box is a poignant symbol of spaces as they are opened and closed and of the rigid conditions under which many artworks are made and presented,” says The Future Perfect Director Laura Young “To show work created from such a fixed concept, we explore how every object and artwork we interact with carries within it a set of complex economic and political circumstances.”


Open and Closed’s nine artists’ interpretations and unique approaches to this theme are prevalent throughout the show, which sees artist Cathrine Raben Davidsen explore the symbolism and spiritual qualities behind the ceramic tradition of an urn and the notion of space tackled by Annelie Grimwalde Olofsson, who uses materials which allow objects to distort and expand. Iben Høj and Louise Hedegaard Madsen’s work utilizes natural fibers in creating sheer soft surfaces that challenge conventional material boundaries, and the notion of interval vs. external by allowing the viewer to glance in. In contrast, Ida Elke, Mariko Wada, and Pettersen & Hein gravitate to the use of natural resources such as stoneware, metal, clay, and concrete in designing miniature containers. Other artists, namely Elly Glossop, and Stine Mikkelsen, confront materiality by upcycling and engineering their own composites from crushed glass bead and marble, quartz sand, fish glue, porcelain, and volcanic glass fragments.


About The Future Perfect
The Future Perfect was founded by David Alhadeff in 2003 and has become one of the world’s foremost contemporary design galleries. From its inception, The Future Perfect has been distinguished by its thoroughly creative and ebullient vision and strong curatorial focus, which showcases studio-created works alongside one-of-a-kind and limited edition pieces.
In its 17-year history, the gallery, as its name implies, has introduced some of the seminal design talents of our times, including highly collectible works by Lindsey Adelman, Jason Miller, and Piet Hein Eek. Considered a catalyst as well as an industry authority, The Future Perfect has also forged relationships with some of the world’s most influential artists, designers, and craftspeople.





Today, The Future Perfect’s prestigious gallery program is tailored to its unique locations in North America: Casa Perfect New York on Manhattan’s West Side; The Complex, in San Francisco; and Casa Perfect, in Beverly Hills, CA. By design, each space offers a highly customized environment that includes exclusive exhibitions from cutting-edge contemporary artists complemented by an eclectic mix of contemporary production and gallery pieces, all of which can be discovered under one roof.





About Laura Young
Laura Young is the Gallery Director of The Future Perfect, where since 2014 she has played a pivotal role in the Gallery’s commercial and cultural success. Working closely with founder David Alhadeff, Laura has helped establish The Future Perfect as one of the world’s foremost contemporary design galleries and champion of emerging talent in the collectible design market. Under Laura’s leadership, The Future Perfect’s gallery program has staged landmark shows at The Future Perfect’s locations in New York, Los Angeles and San Francisco, and yearly at Design Miami/ and The Salon Art + Design. Laura’s role touches on all facets of the company, ranging from marketing, creative direction and curation to artist management and sales.
Curatorial highlights from Laura’s tenure at The Future Perfect include The Chair, an exhibition of one-of-a-kind chairs from an international roster of artists and designers, and Mess, co-curated with Tom Morris and featuring unique ceramic works by 32 international artists across three locations in Los Angeles, New York and San Francisco.


Prior to The Future Perfect, Laura was the Director of Operations at Lindsey Adelman Studio, and the Creative Director for Areaware. She has also been on the faculty of Parsons School of Design. She received a BFA in Furniture Design from Rhode Island School of Design, and is currently based in New York City.



About Danish Arts Foundation
The Danish Arts Foundation is Denmark’s largest art foundation working to spread the arts to a wide audience all over Denmark, promote Danish art internationally, and pave the way for talented artists. By funding more than 6,000 artists and art projects every year through 60 different funding programs, the Danish Arts Foundation supports creative thinking and innovative ideas and funds the production and promotion of visual arts, film, literature, music, performing arts, architecture, crafts and design – and all that transcends the border of these art forms.




For press inquiries, please contact:
Olivia Lugarini, Camron PR
For any other inquiries, please contact The Future Perfect here.



Opening: Thursday 30.09.21 4 PM – 8 PM

Presented and curated by Pettersen & Hein and Camilla Schmidt (Between Objects)

46 Danish and international artists and designers are interpreting the physical space between people through a study of the cup as both a medium and an intermediary object.

The exhibition is also a tribute to the pause, as the cup plays a crucial role in allowing the intimate space of presence that is created through a unique morning ritual, an afternoon break, or a meeting between friends. Here the cup becomes the material link in the encounter between people.

Each artist has delivered their interpretation and exploration of the cup, which has resulted in a broad spectrum of media and formats ranging from paintings and clay work to videos.

CUP @between_objects

Daphne Lithographs











New original lithographs made in collaboration with Edition Copenhagen. Some of these are now available at CRD online shop. You are welcome to contact for a full portfolio.

á mon avis

à mon avis er et nyt udstillingskoncept, der præsenterer og sælger 55 unikke værker af 18 danske samtidskunstnere op til 10.000 kroner per værk. Lanceringen manifesteres med en pop-up udstilling og kunsthandel i Kødbyen 27.-29. august, og fortsætter derefter digitalt i to måneder her på sitet og på


Kom til fernisering:
Fredag den 27. august kl. 16-21

Flæsketorvet 38, 1711 København V

Kig forbi pop-up udstillingen:
Fredag den 27. august kl. 16-21
Lørdag den 28. august kl. 11-17
Søndag den 29. august kl. 11-15


Deltagende kunstnere:
Bo Rune Madsen

Ulrik Weck
Ida Thorhauge
Eske Kath
Carl Krull
Amalie Gabel
Karl Monies
Cecilia Fiona
Mads Juel
Sofie Burgaard
Cathrine Raben Davidsen
Jasper Stürup
Mathias Malling Mortensen
Mads Hilbert
Joachim Fougner
Rasmus Niclas Rose
Asger Harbou Gjerdevik

Algae – 5 New Etchings

Sacred Geometry (II), 2021
Line etching printed on Kozo paper
Plate: 20.3 x 14.9 cm (7.99 x 5.87 in)
Sheet: 45.20 x 35.50 cm (17.80 x 13.98 in)
Edition: 24 (CRD1572_024)
Published by Schäfer Grafik


Algae Figure, 2021
Line etching printed on Kozo paper
Plate: 29.8 x 16.2 cm (11.73 x 6.38 in)
Sheet: 45.20 x 35.50 cm (17.80 x 13.98 in)
Edition: 24 (CRD1573_024)
Published by Schäfer Grafik


Demonagerie, 2021
Line etching printed on Kozo paper
Plate: 29.9 x 16.2 cm (11.77 x 6.38 in)
Sheet: 45.20 x 35.50 cm (17.80 x 13.98 in)
Edition: 24 (CRD1570_024)
Published by Schäfer Grafik


Sacred Geometry (I), 2021
Line etching printed on Kozo paper
Plate: 18 x 17.3 cm (7.09 x 6.81 in)
Sheet: 45.20 x 35.50 cm (17.80 x 13.98 in)
Edition: 24 (CRD157_024)
Published by Schäfer Grafik


Algae, 2021
Line etching printed on Kozo paper
Plate: 32.8 x 24.8 cm (12.91x 24.8 in)
Sheet: 45.2 x 35.5 cm (17.8 x 13.98 in)
Edition: 24 (CRD1569_024)
Published by Schäfer Grafik



please visit CRD online shop to view prints or write us at


WTF Willumsen



I forbindelse med COVID-19 situationen, som har skabt nye retningslinjer for museumsbesøg, har museet udviklet et virtuelt udstillingsformat, der ikke kræver fysisk tilstedeværelse på museet men kan opleves direkte fra en skærm hjemme i stuen eller fra en mobil enhed i selskab med familie og venner – 24/7. Projektet er støttet af Augustinus Fonden.


Den virtuelle udstilling ”WTF Willumsen” er kurateret af billedkunstner Stense Andrea Lind-Valdan, der har taget J.F. Willumsen under kærlig behandling og set nærmere på den sårbarhed, kropslighed og kødelighed, man finder i hans værker og i hans selvbevidste selviscenesættelse. Med et feministisk blik og en overvægt af kvindelige kunstnere udfordres og undersøges Willumsens værker i den virtuelle udstilling.


Oplev WTF Willumsen ved at klikke HER

Du kan vælge at besøge WTF Willumsen  i en 3d-model af museet. Her skal du downloade og installere WTF Willumsen på din computer for at gå på opdagelse i udstillingen. Vælg download til enten PC eller Mac. Når filen er hentet åbner du den og følger vejledningen. Du kan slette den efter brug. Klik på linket for at downloade – eller højreklik og vælg “gem link som”. Du kan også vælge at  besøge WTF Willumsen i et 2d-univers.


Deltagende kunstnere: Ahmad Siyar Qasimi (DK/AFG), Alfred Kubin (A), Amoako Boafo (GH), Ana Mendieta (C), Cathrine Raben Davidsen (DK), Kiki Smith (USA), Christian Schmidt-Rasmussen (DK), Dorothy Iannone (USA), Egon Schiele (A), Ejnar Nielsen (DK), Elke Krystufek (A), Frida Kahlo (MEX), Iben Mondrup/Jessie Kleemann (DK/GR), J.F. Willumsen (DK), Janemaria Mekoline Pedersen (DK), Janine Antoni (USA), Johanne Cathrine Haugen Østervang (DK), Julie Bitsch (DK), Jytte Rex (DK), Kathrine Ærtebjerg (DK), Kirsten Justesen (DK), Krass Clement (DK), Käthe Kollwitz (D), Léon Spilliaert (B), Lise Ulvedahl Carlsen (DK), Maria Pasenau (N) Meret Oppenheim (D/CH), Orsolya Bagala (DK/H), Penny Slinger (USA), Samella Lewis (USA), Vito Acconci (USA)


Willumsens Museum er et museum for den danske multikunstner Jens Ferdinand Willumsens (1863-1958) grænseoverskridende, storladne, til tider bizarre og ekstreme figurative kunst samt hans egne kunst- og billedsamlinger. Uden for kategori og med sin egen helt igennem individualistiske og konceptuelle tilgang skabte Willumsen kunst, der på én og samme tid trak på manierismens overdrev og populærkulturens billedstrøm.


Mange af hans hovedværker står i dag som væsentlige bidrag til nordisk modernisme, men meget er også blevet afvist og genopdages først i disse år.Gennem nytænkende udstillinger, forskningsbaserede publikationer, seminarer og workshops og et bredt anlagt program for offentligheden har museet til formål at præsentere, aktualisere og perspektivere Willumsens kunst.


Museet skaber to årlige særudstillinger som har karakter af dialogudstillinger, tematiske udstillinger eller gruppeudstillinger. Ofte har kunstnerne – danske såvel som udenlandske – ligesom J.F. Willumsen gået egne veje og befundet sig langt fra tidens normer. Museet medvirker hermed til at give det geografisk perifere, det stilmæssigt utilpassede og det periodemæssigt afvigende en plads i kunsthistorien.

Art Walk Copenhagen



På grund af den nuværende situation er det ikke muligt at komme indenfor og opleve TIDES – derfor har Cathrine Raben Davidsen kreeret en udstilling, der er skabt til at blive oplevet fra gaden.

Udstillingen består af en række keramiske skulpturer, som er placeret på podier rundt omkring i rummet. Fra loftet hænger tre trådmobiler og bevæger sig stille i det lyssatte rum, hvor de kaster deres skygge på overfladerne i rummet og på stoffet i den bagerste del af lokalet. De keramiske skulpturer med uhyggelige ansigter, der dukker frem af leret, synes blottet for ethvert sted og enhver tid. Næsten som var de sænket ned i havets tidevand, stigende og faldende i et kontinuerligt kredsløb.


De skrøbelige papirudklip fra mobilerne er skabt ud fra Raben Davidsens store arkiv af historisk kildemateriale; en slange, en to hovedet hjort, middelalder figurer, en hermafrodit, figurer fra vintage magasiner, mytologiske planter og forskellige mikroorganismer. Disse udklip er et sammensurium af Raben Davidsen’s kreative hjerne og tankeproces. En form for mind-map. Raben Davidsen finder konstant inspiration i kontraster og transformationer såsom lys og mørke, og feminin og maskulin. Kontraster, der også kan være flydende. Udstillingen vil hele tiden kunne opleves forskelligt, da dens udtryk vil forandres i takt med det konstant skiftende dagslys samt de bevægelige trådmobiler.



Besøg IDOART  her

Se tilgængelige værker hos Tableau her

Foto: Michael Ryggaard


Cathrine Raben Ravidsen & TABLEAU


For Art Walk CPH Cathrine Raben Davidsen presents the shadow play installation Tides. Three wire mobiles hang from the ceiling, moving quietly in the illuminated space, casting their shadow on the surfaces and on the veil behind them. The delicate cut-outs are made from Raben Davidsen´s vast historical archive of source material; a snake, a two-headed deer, medieval figures, a hermaphrodite, figures from vintage magazines, mythological plants and various microorganisms. Her ceramic sculptures, with their uncanny faces emerging from the clay, are scattered around the room. They seem devoid of any place or time, almost as if immersed by the tides of the sea, rising and falling in a continuous orbit.

The installation Tides will be on view 24 hours a day from 11 February until 1 March 2021. It will never be the same experience as the wire mobiles and the light of the day is everchanging.


Where: Tableau Pop Up at Lille Kongensgade 14, 1074 Copenhagen K
When: 24/7 until 1 March 2021
The exhibition is also part of ArtWalk Copenhagen @artwalkcph



Cathrine Raben Davidsen & TABELAU

Til Art Walk CPH præsenterer Cathrine Raben Davidsen skyggespils-installationen Tides. Tre tråd mobiler hænger fra loftet og bevæger sig stille i det belyste rum og kaster deres skygge på overfladerne i rummet, og på stoffet bag dem. De delikate papir-udklip er skabt ud fra Raben Davidsens store historiske arkiv af kildemateriale; en slange, et to hovedet hjort, middelalder figurer, en hermafrodit, figurer fra vintagemagasiner, mytologiske planter og forskellige mikroorganismer.

Spredt rundt i rummet er hendes keramiske skulpturer med uhyggelige ansigter, der dukker frem fra leret. De synes blottet for ethvert sted eller tid. Næsten som var de sænket ned i havets tidevand, stigende og faldende i et kontinuerligt kredsløb.

Det vil være muligt at opleve installationen Tides 24 timer i døgnet fra den 11 februar til den 1 marts 2021. Det vil aldrig være den samme oplevelse, da mobilerne og lyset er i konstant forandring.

Hvor: Tableau Pop Up at Lille Kongensgade 14, 1074 København K
Hvornår: 24/7 til 1 marts 2021
Udstillingen er en del af ArtWalk Copenhagen @artwalkcph


Brevet fra Solen til Månen

Se billedserien fra udstillingen Brevet fra Solen til Månen ved at klikke her

Brevet fra Solen til Månen

Vi er stolte over at præsentere en række helt nye malerier af Cathrine Raben Davidsen på soloudstillingen Brevet fra Solen til Månen i Collaborations by Tania & Thomas Asbæk. Udstillingens titel er hentet fra et arabisk middelalderskrift af Ibn Umail, som er kendt for sine symbolske allegorier og fortolkninger af alkymien. Skriftet handler om stadierne i den alkymistiske transformation, som Umail ser som en både fysisk og metaforisk proces. I digtet Brevet fra Solen til Månen, repræsenterer solen ånden, mens månen repræsenterer sjælen.


Cathrine Raben Davidsen adskiller sig fra sin samtid ved at have etableret et symbolsk sprog, der er helt unikt for hendes kunstneriske praksis, inspireret af hendes fascination for filosofi, mystik, middelalderens ikonografi og planter. Hendes malerier er introspektive, undvigende og foruroligende. De meditative scenarier henter inspiration fra en bred vifte af arkivfotografisk kildemateriale, myter, botaniske encyklopædier, middelalderskrifter, alkymiske symboler og ur- organismer. Snarere end at formidle specifikke rumlige eller tidsmæssige referencepunkter, handler de om at skabe en atmosfære, der udforsker rummet mellem den fysiske verden og det indre landskab.


Kompositionerne er en del af en selvbevidst indsats på at fange en stemning snarere end en bestemt begivenhed, og er derfor friere og mere abstrakte end vi hidtil har set det i hendes værker. Karakteriseret ved en unik kombination af strukturerede penselstrøg, tynde lag af overhældt maling, skarpe grafiske linjer og dybe farver, repræsenterer Cathrine Raben Davidsens værker en ny genre af landskabsmaleriet, der befinder sig et sted mellem et under- og overjordisk landskab, hvor mennesker og dyr afbildes som alkymiske symboler. Selve udgangspunktet for malerierne er en række akvareller fra Aurora Consurgens (Opstigende morgenrøde) som er navnet på et poetisk og mytisk middelalderskrift, som menes at stamme fra den sidste halvdel af det 13. årh.


Cathrine Raben Davidsen arbejder i flere lag både indholdsmæssigt og rent maleteknisk. Ud over at være symbolsk ladede i deres betydning er værkerne også ladede i forhold til de kunstneriske teknikker. De mange transparente lag af maling påføres og fjernes op til flere gange i samme maleri i en langsommelig og observerende proces, som er en slags mægling mellem at definere og opløse værket. Det er en proces, der bibeholder sporene efter enhver beslutning, der er taget. Materialet har en hukommelse og malerierne ser ud til at komme til syne og forsvinde på én og samme tid. Dermed skabes den ukontrollerbare, atmosfæriske kvalitet, der er så karakteristisk for Cathrine Raben Davidsens malerier.


Grundet Covid-19 restriktioner bedes man booke en tid via galleriet til et timeslot på ferniseringsdagen d. 4. december. Dette gøres på


Du er også velkommen til at kontakte Julie Quottrup Silbermann: / +45 31511335, som kan oplyse dig om tilgængelige værker og andre spørgsmål du måtte have.


Vi glæder os meget til at se dig

Mange gode hilsner
Cathrine og Collaborations


Udstillingen Brevet fra Solen til Månen kan opleves frem til d. 18.01 2021

Collaborations by Tania and Thomas Asbæk
Store Kongensgade 118
1264 København K





Brevet fra Solen til Månen & Aurora Consurgens



download pdf here

Aurora Lithographs






New original lithographs made in collaboration with Edition Copenhagen are now available at CRD online shop.

Download full portfolio here

Ny Carlsbergfondet


Cathrine Raben Davidsens tre store billeder til Københavns Byret fremtræder som sprækker til en anden verden fjern fra juraens nøgterne lovmæssigheder.


En imponerende række af toneangivne danske billedkunstnere har gennem de seneste år skabt markante kunstneriske udsmykninger til Københavns Byret. Sidste skud på stammen er Cathrine Raben Davidsen, som på baggrund af en bevilling fra Ny Carlsbergfondet nu har udsmykket en af byrettens retssale.


Ud af mørket
Silvery Waters hedder de to store tegninger, der sammen med maleriet Hydra Viridissima har indtaget retssal 29. Som ofte i Raben Davidsens billedverden, synes billederne i retssalen at begynde med mørket, som var de hver især en lille skabelsesberetning. Billedfladen i begge tegninger udgøres således af et ekspressivt mørke i henholdsvis sort og douce blågrå farver. Det er dette abstrakte, mættede og meget stoflige mørke, som lyset og figurationen brydes med og brydes ud af. De to smukke, renæssanceagtige kvindeansigter, der toner frem i tegningerne, peger på den billedmæssige genese, på transformationen fra ikke-form til form. Samtidig synes denne formforvandling også at antyde en mere eksistentiel dynamik, en art bevægelse fra intet til væren, fra tomhed til liv.


Lignende tematik er på spil i maleriet Hydra Viridissima, om end på lidt anden vis. Her er det livet i mikroskopform, som Raben Davidsen har blæst op i storformat (180 x 300 cm). Det massive mørke deles midtover af en grenagtig struktur, hvorpå små hydra-polypper lyser som lange tynde lanterner. Livet lyser op i sin urform, i dette nældecelledyr, som var vi vidner til det allerførste stadie i evolutionen.


Gådefulde, indadvendte, selvsluttede
Raben Davidsens billeder tilbyder sig som åbninger til refleksion og fordybelse, som et gådefuldt visuelt helle, man kan hengive sig til og gå på opdagelse i: ”Cathrine Raben Davidsen frembringer ofte og også her en særlig zone mellem abstrakt og figurativt, mellem ren farve/form og så en præcis reference: en genstand eller måske konturerne af et ansigt der dukker frem, ofte præget af alvor, eftertænksomhed, kontemplation. På den måde henvender hendes værker sig direkte og åbenlyst til os, samtidig med at de er gådefulde, indadvendte, selvsluttede,” siger Morten Kyndrup, bestyrelsesmedlem i Ny Carlsbergfondet.



Cathrine Raben Davidsen dimitterede fra Kunstakademiet i København i 2003 og havde forinden længere studieophold ved Instituto Lorenzo de´ Medici i Firenze og Vrije Akademie i Haag. Hvad end det er i maleri, tegning, grafik eller keramik, synes hendes værker at finde næring i den kanoniserede kunst- og kulturhistorie. Ikke mindst malerierne bærer ofte tydelige referencer til renæssancens store mestre, bl.a. Rafael og Tizian, som samples frit med andre visuelle inspirationskilder. Raben Davidsen har udstillet hyppigt i ind- og udland, ligesom hendes værker er repræsenteret på en række danske museer, bl.a. Statens Museum for Kunst, Kunsten Museum of Modern Art Aalborg og Horsens Kunstmuseum.


Besøg Ny Carlsbergfondet her


All Together Now

(Scroll down for English version)

Oplev nogle af landets mest toneangivende kunstnere og få nye perspektiver på vores samtid. Du kan glæde dig til en helstøbt oplevelse, en energiudladning, når genkendelige og helt nye samtidskunstværker i Kunstens samling sættes sammen i en ny udstilling.

Udstillingen All Together Now sætter fokus på dansk samtidskunst med udgangspunkt i en stor donation fra Margit og Jens Haven Christiansens samling, der blev skænket til Kunsten i 2019.

Donationen rummer en lang række værker af fremtrædende, danske samtidskunstnere som Peter Bonde, John Kørner, Katrine Ærtebjerg, Peter Linde Busk, Adam Saks og mange flere.

Det er første gang, samlingen vises i sin helhed og sættes i relation til et udvalg af dansk samtidskunst fra Kunstens eksisterende samling. Udstillet side om side bliver værkerne samlet til én samling – og de er All Together Now – som også er titlen på ét af udstillingens værker af den danske kunstner Anders Brinch.

På udstillingen præsenteres du for både tegninger, malerier, skulpturer og installation. Der findes mange forskellige bud på, hvad der er samtidskunst, og hvornår kunst er samtidskunst. Betegnelsen er flydende, fordi vores samtid er flydende.

Du kan blandt andet opleve Michael Kviums rå figurer, der afspejler 1980’ernes og 1990’ernes punk og grunge, Cathrine Raben Davidsens tyste og eftertænksomme silhuetter, Mille Kalsmoses installation, der undersøger alternative familierelationer og Julie Nords mystiske surreelle verdener, samt Allan Ottes æstetiske og realistiske billeder af samtidens industri.

Værkerne er både smukke, grimme, skæve, skræmmende og humoristiske og bidrager på forskellig vis med perspektiver på verden lige nu, og hvad det vil sige at leve i den.

Fokus er en udstillingsserie, der zoomer ind på en enkelt kunstner eller et nedslag i Kunstens samling.




Discover some of the most influential artists in Denmark and see society with fresh eyes. A comprehensive new exhibition of both recognisable and brand new contemporary works from Kunsten’s collection will provide visitors with a refreshing boost of energy.

The exhibition All Together Now spotlights Danish contemporary art, featuring works from a major donation to Kunsten in 2019 from Margit and Jens Haven Christiansen’s collection. The donation includes a huge range of works by such prominent Danish contemporary artists as Peter Bonde, John Kørner, Katrine Ærtebjerg, Peter Linde Busk and Adam Saks, to name but a few.

This is the first time the collection will be shown in its entirety and juxtaposed with a selection of Danish contemporary art from Kunsten’s existing collection. Exhibited side by side, together the works will form one coherent collection. In other words, they will be All Together Now – also the title of one of the works in the exhibition by the Danish artist Anders Brinch.

The exhibition will feature drawings, paintings, sculptures and installations. There are a myriad of opinions when it comes to what contemporary art is, and when art is contemporary. The term constantly shifts, because the age in which we live constantly shifts.

Michael Kvium’s raw characters reflecting the Punk and Grunge of the 1980s and 1990s; Cathrine Raben Davidsen’s silent, contemplative silhouettes; Mille Kalsmose’s installation exploring alternative family relationships; the mysterious, surreal worlds of Julie Nord; and Allan Otte’s beautiful, ultra-realistic images of contemporary industry. These are just some of the delights that lie in store for visitors to the exhibition.

The works are beautiful, ugly, offbeat, scary and humorous, each offering a different view of today’s world and what living in it means.

Focus is an exhibition series that zooms in on a single artist or a theme in Kunsten’s collection.


Kunsten Museum of Modern Art Aalborg
Kong Christians Allé 50
9000 Aalborg

Phone: +45 99 82 41 00

Fed Ler

Fascinationen af leret som materiale i kunsten er en af tidens mest markante tendenser på kunstscenen både i Danmark og internationalt. Udstillingen FED LER – Krukker i kunsten nu viser 20 danske billedkunstneres nyfortolkning af krukken som kunstværk. Her er krukken både brugsobjekt, myte, krop, lydinstrument, lærred og skulptur.

I et forandret Gl. Holtegaard, hvor gulvet er fyldt med jord og væggene beklædt med mørk tekstil præsenterer de ca. 60 værker den forskellighed, der gør sig gældende inden for billedkunstneres brug af ler i kunsten i dag.





Lisbeth Bank (f.1975), Claus Carstensen (f.1957), Cathrine Raben Davidsen (f. 1972), Rose Eken (f.1976), Nour Fog (f.1981), Ida Kvetny (f.1980), Klara Lilja (f.1989), Carl Mannov (f. 1990), Karl Monies (f.1984), Mie Mørkeberg (f.1980), Ursula Nistrup (f.1974), Fie Norsker (f.1974), Frederik Nystrup-Larsen (f.1992), Frederik Næblerød (f.1988), Knud Odde (f.1955), Anna Samsøe (f.1987), Andreas Schulenburg (f.1975), Anna Stahn (f.1994), Dan Stockholm (f.1982), Anna Sørensen (f.1968)


Gl. Holtegaard udgiver i anledningen af udstillingen et omfattende og rigt illustreret katalog på både dansk og engelsk. Publikationen indeholder tekster af Gl. Holtegaards direktør, Maria Gadegaard, samt forfatter og kunsthistoriker Ida Marie Hede, klassisk arkæolog og ph.d. Rune Frederiksen og kurator og ph.d. Charlotte Sprogøe. Desuden vil kataloget indeholde et genoptryk af den amerikanske forfatter og essayist Ursula K. Le Guins Bæreposeteori om fiktion (1986). Kataloget er designet af Spine Studio og udkommer til oktober.

Udstillingen er generøst støttet af:
Augustinus Fonden, Spar Nord Fonden, 15. Juni Fonden, Aage og Johanne Louis-Hansens Fond, Konsul George Jorck  og hustru Emma Jorck’s Fond, Knud Højgaards Fond, William Demant Fonden, Ernst B. Sund Fonden og Toyota-Fonden. Nordea-fonden støtter udstillingens formidlingsprogram. Statens Kunstfonds Projektstøtteudvalg for Billedkunst støtter Gl. Holtegaards udstillingsprogram.


Besøg Gl Holtegaard her

Enter Art Fair

Cathrine Raben Davidsen will show new paintings with Bjorn Gundorph Gallery.

Enter Art Fair meets the demand for a relevant and high quality international art fair in Scandinavia and has created the first and only ongoing virtual art fair experience.

Enter Art Fair is a new and ambitious international art fair in the Nordics. As the first of its kind Enter Art Fair and Artland combines the well-known art fair format with a state-of-the-art digital art fair experience.ENTER is therefore the only fair that actually connects artists and galleries to collectors and other art lovers on an unlimited global scale all year round. The next fair will take place 27th – 30th August 2020.

Enter Art Fair and Artland recognizes the demand from the established International art community for an international high quality art fair in the Nordics. At the same time the mission is to continuously develop and maintain an innovative setting for younger art lovers and emerging collectors – a burgeoning force set to be the groundbreaking collectors of tomorrow.By combining the physical art experience and personal meeting with a direct reach into the virtual reality, Enter Art Fair and Artland bridges the two.



Opening Hours:
Thursday 27 August 2020 VIP Preview – by invitation only
Friday 28 August 2020, 12.00 – 20.00
Saturday 29 August 2020, 11.00 – 20.00
Sunday 30 August 2020, 11.00 – 18.00

Venue 2020
Tunnel Factory
Oceanvej 1, 2150 Nordhavn

Enter Art Fair Office
Skudehavnsvej 1
2150 NordhavnCopenhagen

Emanuel Olsen Salonen


Kunstsalonen flytter ind hos stylist og forfatter Katrine Martensen-Larsen. 30 samtidskunstnere udstiller værker i familiens private hjem. Udstillende kunstnere: Jeanette Hillig, Helene Blanche, Sofia Tufvasson, Henrik Godsk, Sarah Schönbeck, Kirsten Schröder, Mie Olise, Andredottir og Bobek, Amanda Betz, Sophie Klerk, Mikkel Ørsted, Inger Odgaard, Josefine Winding, Line Busch, Cathrine Raben Davidsen, John Kørner (Borch Editions), Knud Odde (Borch Editions), Matt Saunders ( Borch Editions), Asger Jorn ( Borch Editions), Victor Ash, Trine Birgitte Bond, Souvanni Asmussen, Faranak Sohi, Cecilie Hertz, Lotte Maja Bjerre, Kasper Kjeldgaard, Jonas Sangberg, Stine Regild, Ditte Ejlerskov, Matilde Duus, Marie Edinger Plum, Stinne Bo, Jeba Arkitekter.


Hans Dahlerup Berthelsens ikoniske dobbelthuse på Emanuel Olsens Vej
Katrine Martensen-Larsen bor sammen med sin familie i et af mesterarkitekten Hans Dahlerup Berthelsens ikoniske dobbelthuse på Emanuel Olsens Vej på Frederiksberg. Som arkitekt lod Hans Dahlerup Berthelsen sig kraftigt inspirere af Bauhaus-skolens minimalisme og tidens internationale funktionalistiske strømninger. Da husene blev opført i 1933, var de et kulturrevolutionerende projekt, som gjorde op med alle tidligere forestillinger om arkitektur.

Hans Dahlerup Berthelsens hyldede funktion frem for dekoration, og arkitekturen lænede sig op ad et mere internationalt formsprog, som det kendes fra for eksempel Le Corbusier. Det var så voldsomt provokerende for samtiden, at husene af majoriteten blev opfattet som mislykket installationskunst. Men lige så stor en fiasko projektet dengang var økonomisk, lige så stor en succes blev det kunstnerisk. 

For os er det interessant at flytte kunsten ind i en epokegørende del af dansk arkitekturhistorie. Hans Dahlerup Berthelsens bygningsværker er i dag et pejlemærke for vores moderne selvforståelse, hvad angår design, kunst og arkitektur. Minimalisme og den stringente funktionalisme er i dag forankret i vores nationale arkitekturforståelse, og Hans Dahlerup Berthelsens dobbelthuse opnår stadig større anerkendelse, siger Anne Aarsland.

Anne og jeg tager altid udgangspunkt i det hjem, vi udstiller i, når vi kuraterer og udvælger kunsten. På Emanuel Olsen Salonen vil vores besøgende opleve en strammere og enklere udstilling, der går i dialog med Hans Dahlerup Berthelsens bygning og Katrine Martensen-Larsens stil, siger Mette Helena Rasmussen.


Kunstsalonen vil tage sine forholdsregler og følge myndighedernes retningslinjer og anbefalinger, Man vil kunne opleve at blive bedt om at vente i kø udenfor eller at komme tilbage. Besøgende vil blive lukket ind i mindre hold. Hold dig orienteret på


Om Kunstsalonen
Kunstsalonen er et nomadisk udstillingskoncept kurateret af Anne Aarsland og Mette Helena Rasmussen. Siden december 2017 har Kunstsalonen inviteret til gruppeudstillinger i forskellige private hjem i skiftende lokalområder. Alle udstillede kunstværker er til salg, og der er fri entré i åbningstiden. Anne er udøvende billedkunstner og cand. mag i kunsthistorie og visuel kultur fra Københavns Universitet.Mette Helena er Master in Fine Arts fra Det kongelige Danske Kunstakademis Billedkunstskoler, stylist og ejer af butikken Retro Villa. Mette Helena er designdommer i TV2 programmet Nybyggerne og indretningsekspert i Go’morgen Danmark.


Vi inviterer til presseevent på Emanuel Olsen Salonenmandag den 21. september. Det vil være muligt at tilmelde sig kl. 9.00, kl. 12.00. Skriv til hvornår du ønsker at deltage. Begrænset antal pladser. Adressen er Emanuel Olsen Salonen, Katrine Martensen-Larsen, Emanuel Olsens Vej 7, 2000 Frederiksberg. Hold dig orienteret om programmet, eventuelle ændringer og åbningstider på Fri entré.


Offentlige åbningstider
Onsdag den 23. september kl. 11-16 (Fernisering)
Torsdag den 24. september kl. 11-16.
Fredag den 25. september kl. 11-16.
Lørdag den 26. september kl. 11-16
Søndag den 27. september kl. 11-16


For yderligere info, interviews eller high res-pressefotos, kontakt os:
Tlf.: 27265789 og 22154058.

Læs merepå og følg @kunstsalonencom på Instagram og på Facebook/Salonen, hvor kunstnerne og kunstværker løbende præsenteres. Gå på opdagelse i Katrine Martensen-Larsens univers ved at følge @katrinemartensenlarsen på Instagram eller ved at besøge hendes website:

Med venlig hilsen 

Anne Aarsland og Mette Helena Rasmussen 

kunstnerkolonien i skagen

Fra den 16 august og seks uger frem kan du se Kunstnerkolonien i Skagen på DR2 hver søndag kl 21.00

Seks af Danmarks mest anerkendte billedkunstnere har sagt ja til en udfordring. De skal skabe en kunstnerkoloni i ikoniske Skagen. I to uger skal de bo sammen og skabe kunst i samme omgivelser som skagensmalerne gjorde det, i slutningen af 1800 tallet. Men hvad vil de få ud af at være sammen med andre kunstnere, der arbejder helt anderledes og vil det lykkedes dem at skabe nye værker inspireret af Skagen og lave en fælles udstilling til allersidst?

De medvirkende kunstnere er: Maria Torp, Cathrine Raben Davidsen, Kirsten Justesen, Frederik Næblerød, John Kørner og Erik A Frandsen.

Produceret af Eddy Media for DR2

Klik på dette link for at se serien på DR2


I en tid, hvor menneskets spiritualitet ligger i dvale, tager billedkunstneren Cathrine Raben Davidsen livets åndelige dimension alvorligt. Med dyr, planter og mennesker som motiv beskæftiger hun sig med de mytiske, kosmiske og rituelle lag i sin kunst. Det handler om livets store temaer – fødsel, kærlighed og død, om selve udviklingen fra ét livsstadie til et andet der i Cathrine Raben Davidsens keramik udtrykkes med brændingens uforudsigelige glasurløb som en velkommen medspiller.

Under titlen TOTEM udstiller Cathrine Raben Davidsen keramik, maleri, tegning, grafik og en animationsfilm. De forskellige medier indarbejdes i en sammenhængende scenografi, der åbner op for en sanselig totaloplevelse. Tyngden i udstillingen er en række unikaværker i stentøj og porcelæn, som hun fra 2017 til 2019 har skabt i samarbejde med den faglige ekspertise på Royal Copenhagen. Et frugtbart møde, der relaterer sig til museets historiske samling fra Den kgl. Porcelainsfabrik, Bing & Grøndahl og Aluminia, hvor samarbejdet med skiftende gæstekunstnere har været en essentiel drivkraft for den tekniske såvel som den kunstneriske udvikling.

På udstillingen TOTEM tager Cathrine Raben Davidsen favntag med kunstens spirituelle kraft. I sine smukke keramiske fade, krukker og kar anvender hun forhistoriske formtyper fra forskellige kulturer og genopliver hermed keramikkens åndelige dimension og dens store kulturhistoriske fortælling. På den måde minder hun os om, hvordan mennesket og keramikken, til alle tider og verden over, har formidlet forholdet mellem stof og ånd gennem myter og ritualer. Glæden på CLAY Keramikmuseum er således stor over nu at kunne præsentere Cathrine Raben Davidsens kunst. En hjertelig tak til Cathrine Raben Davidsen for det tætte samarbejde omkring tilrettelæggelsen af udstillingen. Tak ligeledes til Aukje Lepoutre Ravn for den spændende tekst til dette katalog og til Kristine Møller for praktisk assistance. Tak også til Cathrine Raben Davidsen og Royal Copenhagen for udlån af værker til udstillingen og tak ikke mindst til de fonde, som med udstrakt tillid har støttet dette projekt.


Se, sans og slip spiritualiteten løs!

Af Pia Wirnfeldt
Direktør, CLAY Keramikmuseum


For mere information om de udstillede værker kontakt venligst: Kristine Møller, Studio Manager: +45 29455528. Vedr. presse forespørgsler kontakt: Henny Husum: / +45 30301019. Besøg: TOTEM

The Mindcraft Project


The Mindcraft Project 2020 unfolds a curated selection of artistic, research-driven and experimental design projects by ten of Denmark’s most notable designers and artists. This year, we transformed the exhibition into a digital experience due to the Covid-19. Welcome to the digital exhibition.



The Totem ceramics are inspired by prehistoric Mexican terracotta, Danish Bronze Age stoneware and German Bartmann ceramics from the 16th and 17th centuries. In some regions, these ceramic containers were used in occult rituals with the purpose of expelling evil spirits. By playfully adapting this stylistic expression to her own ceramics, Cathrine Raben Davidsen introduces the association to the ghostly and spiritual in her work, juxtaposing the old tradition with a modern mystique. Some of the ceramics are glazed with oxblood, celadon and various oxides. One selected piece has been applied 24 carat gold, while others have undergone salt firings. The Totem ceramics are made in collaboration with Royal Copenhagen from 2017 to 2019 using historical glazes from the Royal Copenhagen archives.




Learn more about the exhibition

The Mindcraft Project



The Mindcraft Project
The Mindcraft Project 2020 unfolds a curated selection of artistic, research-driven and experimental design projects by ten of Denmark’s most notable designers and artists. This year, we transformed the exhibition into a digital experience due to the Covid-19. Welcome to the digital exhibition.



The Mindcraft Project is a platform for explorative and experimental design from Denmark. Through communication and exhibitions, the ongoing project addresses issues of future relevance in a meeting between design, craftsmanship, art, research and technology. The Mindcraft Project celebrates human creativity and design that can bring profound ideas to life and tackle relevant issues. Through exhibitions at leading international design events, pop-up shows, case studies, interviews and articles, The Mindcraft Project aims to raise awareness of what design can do and how it affects our lives. Artistic and experimental design practices serve as fundamental research in society, inspiring to new ways of thinking, making, consuming and living. Our mission is to elevate these design practices and promote their work, and to push the boundaries for design’s potential to create new perspectives on future innovation.


Watch the film



Past exhibitions and organization
The Mindcraft Project (formerly MINDCRAFT) was initiated in 2008 with the inaugural exhibition during Milan Design Week 2008. The annually recurring exhibition project has received considerable critical acclaim throughout the years for its curated thematic content and varying participants. From 2008 to 2013, the exhibitions were organized by Danish Crafts. From 2014 to 2018, the exhibitions were organized by Danish Arts Foundation. In 2019, The Mindcraft Project was handed over to Copenhagen Design Agency by The Danish Arts Foundation.


Wang & Söderström
The Mindcraft Project will be designed by the Copenhagen-based studio Wang & Söderström. The studio is known for its ongoing exploration of connections between the digital and the physical. Wang & Söderström is comprised of spatial and furniture designer Anny Wang and architect Tim Söderström. The duo has worked internationally with a wide range of leading design-driven brands as well as renowned cultural institutions. Copenhagen Design Agency has selected Wang & Söderström to be in charge of exhibition design and visuals for The Mindcraft Project’s exhibition for Milan Design Week in 2020. “The design elements take inspiration from the new ‘era’ of The Mindcraft Project. By working with abstract shapes that influence each other, intersect and grow in different ways, we want to symbolize the action of making an impact. One side is how we as designers or consumers create traces, a collective human imprint on Earth. Another side is how we as designers can create meaningful impacts and catalyze change”, says Anny Wang and Tim Söderström.


Materiality and Technology
Bridging physical and digital realms is a major theme in Wang & Söderström’s work, and they are persistently challenging the boundaries between these realms. The studio strives to create mind tickling and unexpected experiences through materiality and technology. Wang & Söderström discard pre-existing conventions regarding the digital, and the duo puts emphasis on tactility to give the digital a more human-relatable quality and create meaningful connections between digital and spatial experiences.
Wang & Söderström. Anny Wang (b. 1990), designer. Graduated from HDK, Academy of Design and Crafts, 2014.
Tim Söderström (b. 1988), architect. Graduated from The Royal Danish Academy of Fine Arts in Architecture (KADK), 2015.


Digital Exhibition
Milan Design Week will not take place this year due to the Covid-19 pandemic. Therefore, The Mindcraft Project 2020 will be presented in a new digital format.The Digital Exhibition will launch 16 June 2020. The exhibition will highlight artistic, research-driven and experimental works by some of the most notable contemporary designers and artists from Denmark.


The represented artists are:

Ane Lykke
Cathrine Raben Davidsen
Jonas Edvard
Kasper Kjeldgaard
Krøyer Sætter Lassen
Maria Bruun
Mathias Bengtsson
Norm Architects
Tanja Kirst


More to be revealed so stay in touch!

learn more


Cathrine Raben Davidsen: “Our inter- and intra-connectedness with the natural world”

In a Q&A series, the designers and artists participating in this year’s Milan exhibition by The Mindcraft Project tell us about their process, what they are working on, how they use their favorite tool and generally what they are into right now. A warm welcome to Cathrine Raben Davidsen.

What I do in my studio:
I have two studios. In the largest studio I draw, paint, work with printmaking, have meetings, do office work and all other practical stuff, and in my ceramic studio I work with clay, make my own glazes and do kiln firings. I just recently installed a ceramic studio in an old barn in the center of Copenhagen, and it is great to be able to separate the two studios as working with clay is messy and dusty.

Photo Courtesy of Cathrine Raben Davidsen

Essential working tool:
My hands and my earphones…I cannot work without music.

What I work on at the moment:
I am currently working on a comprehensive permanent commission for The Carlsberg Academy, which is the old villa of Brewer J.C. Jacobsen (1811-87) near Valby Bakke at Vesterbro, Denmark. The Academy is undergoing an extensive renovation and will open in August 2020. I am specifically working on a series of very large bronze vessels for the Winter Garden of the Carlsberg Academy. The villa was also the former honorary residence of leading Danish scientists Niels Bohr, so it is a great honor to be able to work on this project.

Photo Courtesy of Cathrine Raben Davidsen

Best design experience I had recently:
In 2019 Bjarne Ingels and BIG completed the cleanest waste-to-energy power plant in the world here in Copenhagen. “CopenHill”, also known as “Amager Bakke”, which is open to the public all year round, has an artificial ski slope on the roof of this human-made mountain, which also includes tree-lined hiking trails, and the tallest artificial climbing wall in the world on the facade of the building. Inside it is filled with the latest technologies in waste treatment and energy production and is capable of converting 440,000 tons of waste into clean energy annually. It is hoped that “CopenHill” will help Copenhagen meet its goal of becoming the world’s first carbon-neutral city by 2025.

Favorite material:
All materials make me really excited. I am such nerd when it comes to mediums and I have a lot of everything both materials and tools. I love working with ink, water and oil, but also with clay and glazes. Recently I started working with animated film, which is constructed by photographing a drawing, making erasures and changes, and then photographing it again and again for each change I make, sometimes up to hundreds of photographs on top of one drawing.

Photo Courtesy of Cathrine Raben Davidsen

What I listen to when I work:
At the moment I listen to a lot of Father John Misty, Chet Baker and Cat Power. I like melancholy moody music. I also listen to Donna Haraway, who talks about the merging of human and non-human/machine in the form of the cyborg, and about science, technology and environmental studies. I am deeply inspired by her thoughts about where our society is heading.

Next travel destination:
I am going to Marrakesh for the “1-54 Art Fair”, which is the first leading international art fair dedicated to contemporary art from Africa and its diaspora. It was founded by Touria El Glaoui and the fair draws reference to the fifty-four countries that constitute the African continent. I am very excited to visit this fair as it is a sustainable and dynamic platform that engages in contemporary dialogue and exchange.

Photo Courtesy of Cathrine Raben Davidsen

Biggest inspiration:
My mentors South African artists: Rose Shakinovsky and Claire Gavronsky, with whom I have studied with for the past 20 years. They are able to continuously push me into unknown territories yet keep me on track on my own process.

3 things I’m into right now:
Our “inter-” and “intra”-connectedness with the natural world, dark matter and my family.

Learn more about: The Mindcraft Project


Cathrine Raben Davidsen: “Jeg er meget optaget af tanker omkring fællesskaber”

Cathrine Raben Davidsen: Totem Clan (I-XII), 2017-2019. Installationsview. Foto: Jacob Friis.

Udstillingen TOTEM, der lige nu kan opleves på keramikmuseet CLAY, peger tematisk tilbage til religiøse traditioner, men er også relevant i dag. har talt med Cathrine Raben Davidsen om ansigtsurner, samarbejdet med Royal Copenhagen og om forbundethed mellem menneske og natur.

Det smukke røde keramikmuseum CLAY ligger badet i vintersolen denne onsdag formiddag. Jeg er taget til Middelfart for at se Cathrine Raben Davidsens udstilling TOTEM.

Ved første øjekast forekommer værkerne i det aflange udstillingslokale usammenhængende: Det første, der møder mig, er nogle store sort/hvide malerier af gopler. Derefter får jeg øje på keramiske krukker, urner og flasker. Sidenhen møder mit øje nogle kobberstikværker, med noget der ligner rødder. Og så en sort/hvid 3 minutters animeret video….

 Cathrine Raben Davidsen: Medusa (I), Medusa (II), Medusa (III), 2019. Installationsview. Foto: Jacob Friis.

Men da jeg kommer tættere på værkerne, fremtræder der en sammenhæng. Dyr og mennesker er gennemgående motiver i Raben Davidsens værker. Og det opdager man, når man går tættere på de keramiske flasker, fade, urner og krukker: Utallige små ansigter, indgraveret i de glaserede keramiske værker, følger min færden gennem udstillingen. I de farverige malerier fremtræder menneskeskikkelser, og jeg opdager, at rødderne i kobberstikkene har ansigter.

Cathrine Raben Davidsen: Prima Materia (Hydra Polyp), 2019.
Kobberstik på Kozo-papir. Foto: Malle Madsen.

Forhistorisk forbundethed

“Udstillingens titel Totem refererer til kulturhistoriske og religiøse traditioner såsom animisme og totemisme”, fortæller Cathrine Raben Davidsen. “Jeg er meget optaget af tanker omkring fællesskaber og om at høre til. Men udstillingen handler også om naturen, forgængelighed, transformation og det spirituelle. I de ældste religioner var alt levende, ikke overnaturligt, men naturligt levende og man troede på, at alt havde en sjæl – selv dyr og planter“.

I tiden før civilisationen, og inden de store verdensreligioner fik en fremtrædende status, var trossystemer som animisme og totemisme, noget der kunne styrke en gruppes identitet og samhørighed. Og ideen om at der er en forbundethed og et fællesskab, der er større end mennesket og som involverer alt levende, bruger Raben Davidsen i sin kunstneriske undersøgelse af forholdet mellem menneske, natur og den åndelige verden.

I arbejdet med de keramiske værker har Cathrine Raben Davidsen hentet inspiration fra forskellige tidsperioder, såsom forhistorisk stentøj fra Nord- og Centraleuropa, okkulte hekseflasker og dansk bronzealders ansigtsurner, der blev brugt i begravelsesritualer.

Samarbejdet med Royal Copenhagen

De keramiske beholdere har Raben Davidsen udarbejdet sammen med Royal Copenhagen. Hun blev i 2009 del af Royal Copenhagens lange tradition for kunstnersamarbejder, der daterer helt tilbage til 1821. TOTEM er et resultat af et samarbejde, der er forløbet mellem 2017-2019.

For Raben Davidsen, der er uddannet billedkunstner, har samarbejdet givet hende muligheden for at skabe 150 unikaværker og at eksperimentere med sin kunstneriske praksis i keramisk form:

“At arbejde med en stor kommerciel maskine som Royal Copenhagen har været et frugtbart samarbejde, som har bidraget med noget nyt for begge parter. Der er så få penge i kunstverdenen, så for mig at se er det kun en god ting, at en virksomhed som Royal Copenhagen tilbyder sin ekspertise og skaber nogle rammer, som kan være med til at udvikle kunsten”.

Cathrine Raben Davidsen: TOTEM FACE URN, 2017-2019.
Foto: Anders Hviid.

Tidløs totalinstallation

Selvom udstillingen vises på keramikmuseet rækker Raben Davidsens værker som nævnt også ud over det keramiske, og det har været vigtigt for hende at integrere sine forskelligartede kunstneriske udtryk i udstillingen:

“Vi har med TOTEM arbejdet på at lave en totalinstallation, som viser hele mit virke, og udover keramik udstiller jeg maleri, tegning og grafik men også en animationsfilm. Rent teknisk arbejder jeg med at male mine glasurer på emnerne, og på denne måde er der en klar sammenhæng i forhold til, hvordan jeg arbejder med maleri og tegning”.

Samlingen af de forskellige kunstneriske udtryk giver mening, fordi de alle er præget af en tidløshed. I de forskellige værker fornemmer man ikke rum og tid, men mere en flydende tilstand, som når man kigger på maleriet af dådyrungen, der bare synes at svæve i en sort intethed. Eller fadene, hvor de indgraverede ansigter, dukker op som for at trække vejret over de glaserede overflader.

Cathrine Raben Davidsen. Foto: Anders Hviid & Royal Copenhagen.

Samtidens digitale animisme

Men hvad skal vi med disse forhistoriske, religiøse traditioner i dag udover at undres over vores forfædres overtro?

Ifølge Raben Davidsen lever animismen stadig – dog i en ny form: “Vores opfattelse af verden præges stadig af animistiske konnotationer. Helt konkret beskriver animisme et religiøst verdenssyn, hvor alle elementer i naturen omkring os, herunder dyr, planter og til tider genstande eller fænomener, rummer en sjæl. I dag har vi næsten overført personlighedskvaliteter til vores computere og smartphones. Man taler i denne henseende om neo-animisme, som netop vil have os til at gentænke forholdet mellem menneske og maskine, levende og ikke-levende”.

Raben Davidsens udstilling sætter i hvert fald tanker i gang om samtidens forbundethed – eller mangel på samme – og om refleksioner over fremtiden:

“Lige nu er forbundetheden mellem natur og menneske, samt vores ansvar for at opretholde den naturlige balance, noget vi alle sammen taler om, og ikke kun i samtidskunsten. Jeg tror, vi kan lære meget af, hvordan ældre trossystemer så på dette forhold. Men på et nyt plan”.

“Kunsten kan være et sted for refleksion, som kan være med til at få os til at tænke over, hvem vi er, hvor vi kommer fra, og hvor vi er på vej hen. Og så tror jeg stadig på, at et maleri eller en krukke kan rumme noget magisk. Det her med at det er så ufattelig gammeldags at arbejde med de her langsomme medier, det kan noget særligt”, slutter Cathrine Raben Davidsen.

Cathrine Raben Davidsen: Totem Face, 2017-2019. Foto: Anders Hviid.

Cathrine Raben Davidsen: THE DARK NIGHT (II), 2016. Foto: Anders Sune Berg.


Ugens Værk

Hver uge vælger vi på Børsen Atelier et værk, vi selv gerne vil eje. I denne uge er vores øjne faldet på Cathrine Raben Davidsens porcelænsfad med stjernehimmelglasur og oxider, “Totem Face”, 37 x 32 cm, som er en del af en serie på 150 unikaværker, hun har skabt i samarbejde med Royal Copenhagen.

 Totem Face, 2017-2019. Porcelænsfad med stjernehimmelglasur og oxider, 37 x 32 cm


26. januar åbnede “Totem”, en stor udstilling på Clay Keramikmuseum Danmark i Middelfart med keramiske krukker, malerier, tegninger og grafik af Cathrine Raben Davidsen.

Udstillingen er et samarbejde med Royal Copenhagen, og det gav Cathrine Raben Davidsen mulighed for at eksperimentere med gamle glasurer og teste nye brændinger.

“Jeg kan godt lide uforudsigeligheden ved at arbejde med keramik. At jeg ikke kan styre det, jeg ser. Det er lidt det samme, når jeg laver mine kobberstik, hvor man arbejder spejlvendt.

Når man arbejder med glasurer, arbejder man meget i blinde. I det her tilfælde med Totem-værkerne har jeg fået lov til at bruge Royal Copenhagens historiske glasurer. Den blå glasur er helt sort, når jeg kommer den på. Det er først, når den kommer ud af ovnen, at jeg kan se hvilken farve den har, og jeg synes, det er interessant at komme flere lag på et keramisk værk, indtil det rammer et udtryk, jeg er tilfreds med.”


Af Louise Stenbjerre, Redaktør Børsen Atelier

Higher Power

The TRIPOD STOOL, GAIA VASE and SEA JELLY FOLDING SCREEN with our handmade SEA JELLY wallpaper made in collaboration with architect Mathias Mentze are featured in this issue of RUM INTERNATIONAL EDITION No. 9

In a MODERNIST chapel from 1929 on the outskirts of Copenhagen, GEOMETRICAL pieces come to life under a divine light. A trinity of SACRED classics from the golden era of 20th century design, SCULPTURAL objects and current works that blur the borders between art and design form new configurations as EXPERIMENTAL as the work of the building’s architect, Frits Schlegel.

By: Mille Colling Flaherty and Stine Langvad
Photo: Line Thit Klein


to view the works



Horsens Kunstmuseum præsenterer særudstillingen DARK MATTER med Cathrine Raben Davidsen og Nikoline Liv Andersen. De to kunstnere har tilbage i efteråret 2018 arbejdet side om side på Statens Værksteder i København, hvor de påbegyndte et dialogudstillingsprojekt, som tager afsæt i naturen og dennes betydning for vores eksistens. Begge kunstnere er velrepræsenteret i Horsens Kunstmuseums samlinger, og museet har ligeledes løbende præsenteret kunstnerne med soloprojekter, men udstillingen i efteråret 2019 bliver de to kunstneres første fælles projekt.

Med udstillingen præsenteres en række nyproducerede værker, som både vil skabe en materialemæs- sig dialog i form af forskellige materialer såsom tekstilværker, maleri, tegning, grafik og animation. Men fundamentet for udstillingen er den kunstneriske udveksling imellem de to kunstnere. Titlen Dark Matter henviser til alt det, vi ikke kan se. Langt størstedelen af alt stof i universet er såkaldt mørkt stof og der er ingen forklaring på, hvad det er.

Cathrine Raben Davidsen viser på udstillingen en række nye oliemalerier, tegninger og kobberstik samt en animationsfilm. Motivverdenen udgøres af mikro- og makrokosmos, hvor hybrider af figurer, planter og andre uafhængige, levende organismer optræder. I deres ubegribelighed fremstår de som det mørke stof, der peger mod det uvisse. Fælles for motiverne er, at man ikke kan se dem med det menneskelige øje. Cathrine Raben Davidsen tager bl.a. udgangspunkt i stjernekonstella- tionen Hydra Corvus (af gr. havslange og ravn) og i ferskvandsorganismen Hydra Polyp (af gr. mangefodet), som menes at være udødelig. I værkerne kropsliggøres mørket ved at give det form med henvisninger til transformation, evolution og den alkymiske proces.

Nikoline Liv Andersen har til udstillingen skabt en række tekstilværker i både stor og lille skala. Hun maler med vævede, strikkede, syede og broderede elementer, som sammensmeltes i én collagelignende form. Hun ønsker at opløse grænserne mellem det at male og sy og lade disse praksisser glide sammen Med Dark Matter viser Nikoline Liv Andersen en række mørke landskaber: Det mørke hav, den sorte sol og det uendelige rum. Hun arbejder med strålebilleder, strømnings- billeder og hvirvelvinde, hvori naturen beskrives som én sammenhængende organisme, hvor vand, vind, damp, og planter gror sammen. Projektet kredser for Nikoline Liv Andersen om evigheden og hendes vemod over ikke at være en del af den. For når evigheden suser forbi med en voldsom kraft, hiver den kroppen med sig og lader sjælen stå fortabt tilbage. Alt er natur, intet er ånd. Få lysglimt af håb åbner sig men lukker sig hurtigt igen.


Udstillingen er at opleve i perioden lørdag den 9. november 2019 – søndag den 8. marts 2020. Udstillingen er gavmildt støttet af Statens Kunstfond. For information om de udstillede værker af Cathrine Raben Davidsen samt high res fotos til pressebrug skriv venligst til studio manager Kristine Møller: eller besøg: For yderligere information om udstillingen kontakt museumsinspektør Julie Horne Møller: eller 76292372


In Dialogue



“When I think of art I think of beauty. Beauty is the mystery of life. It is not in the eye it is in the mind. In our minds there is awareness of perfection.” Agnes Martin

‘In Dialogue’ is a group exhibition exploring the heritage and legacy of Fredericia Furniture’s classic Danish designs. A selection of Danish and international artists and designers engage in conversation across rooms and surfaces, disciplines and generations, materials and perspective. Sculptural, organic shapes and an emphasis on materiality and structure are pervasive elements in the exhibited works, furthering the scope and scale of this dialogue. The works share the notion of quality, craftsmanship and the aim to create and nourish a sensuous bond between object and viewer, a sentiment which is also distinct in the Fredericia Furniture brand.

To further quote Canadian-born American abstract painter Agnes Martin, she once said that “the measure of your life is the amount of beauty and happiness of which you are aware”, thus inviting us to be attentive to the detail in every aspect of life. With that, Natalie Weinberger, Maria Bruun & Anne Dorthe Vester, Kasper Kjeldgaard, Anne Brandhøj, Ole Vesterlund, Camilla Monsrud, Valerie Collart, Camilla Skov and Cathrine Raben Davidsen, some of the participating artists of the exhibition, ask the question: Can objects change the way we view our surroundings and the furniture we choose to live with?

More information and prices are available upon request to Images will be available upon request to or

Henriette Noermark is a curator and freelance writer with an emphasis on collectible design and sculpture with exhibitions at Galleri Christoffer Egelund, Patrick Parrish Gallery, CHART, Spring/Break Art Show, MKDT, A. Petersen Collection, Les Gens Heureux and more. She co-founded Heartland Temporary and curated the first edition of the exhibition in 2017. Furthermore she has worked with institutions like MAD, SAIC, the Danish Arts Foundation and design companies, latest as a PR consultant for Bang & Olufsen on their presence at Salone Del Mobile and the Venice Biennale collaboration with Carpenters Workshop Gallery.

Fredericia Furniture is an international design brand working with premium furniture. Since its foundation in 1911, the family-owned company has built up a strong tradition of beautiful craftsmanship and innovative design, developed in close collaboration with a carefully chosen circle of internationally recognized designers.

A Scandinavian authority on interiors, design, architecture and art. It is a beautifully crafted magazine capturing the essence of the Scandinavian lifestyle and design values. Ark Journal explores the spaces around us, the objects put in them and the people who make them. Copenhagen-based, Ark Journal is a biannual magazine led by Editor-in-Chief Mette Barfod and made by an experienced team of designers, stylists, photographers and editors. The 240-page magazine is sold in more than 28 countries around the world.

Fredericia Furniture
Løvstræde 1, 4th and 5th floor
1152 Copenhagen

21 November – 19 December 2019
Mon- Fri: 10 am – 4 pm



THE FUTURE PERFECT is pleased to present MESS, a group show of ceramic works by 32 international artists across 3 locations in Los Angeles, New York, and San Francisco on November 7th.


An exhibition co-curated by The Future Perfect’s Gallery Director Laura Young and Tom Morris, the London-based design editor, critic and author of ‘New Wave Clay, ‘‘Mess’ aims to highlight the unleashed sense of creativity that has underpinned ceramics in recent years. The title of the show refers not just to the expressive, painterly nature of contemporary pottery, but also the disarrayed thoughts and radical references that have emboldened the practice of many ceramicists working today. Unconventional techniques, rule-breaking approaches to clay, and a playful aesthetic have created a renewed optimism in the age-old craft.

“Ceramics as a craft has seen a huge surge in popularity in recent years. In a world of touch screens and shiny surfaces, the opportunity to work with an unpredictable material that takes time and patience to master has huge appeal with a generation of artists and designers who have grown up with humming machines and digitized predictability. They long to get their hands dirty. Mess refers to the frenzied pleasure that can be had experimenting with an unruly, elemental and alchemical material such as clay. It refers to the radical, feckless approach many contemporary ceramicists are showing – quite happy to blur boundaries and break the rules on what people expect of ceramics. They make a mess with traditional techniques as well as formal style. These elements have all combined to create a really exciting time for the discipline, which we hope to study in this show.”- Tom Morris

‘Mess’ is by nature iconoclastic, celebrating the people that blend and outsize the traditional rules of the discipline and the sense of joy that defines contemporary ceramics today. The landmark show will bring together works by artists based in Japan, New Zealand, Italy, Denmark, South Africa, the UK, and the Netherlands, as well as some of the most exciting ceramic talents in the US. Today, ceramics are no longer considered the lesser art to sculpture. In fact, with a coalescence of art and design, age-old processes and technology, the ancient craft of ceramics has seen unprecedented innovation and visibility.

“Ceramics blur the lines between art, design and craft. I think of them as a gateway drug – opening people’s minds towards collecting and investing. Aiding this is often the functionality, and I think an inherent familiarity or domesticity of ceramics, but this show aims to go beyond this entry point. Inviting Tom Morris to co-curate this exhibition really helped to cast a wide net and diversify our artist pool to build a dynamic conversation about relationships, old and new. With Mess, we asked each artist to push the material and explore fresh ideas both physically and conceptually. Works from Harvey Bouterse, Virginia Leonard and Roger Coll exhibit a level of physical turmoil on the surface. While Bari Ziperstein really turned her process on its side, producing large-scale works that are both functional and completely sculptural. I’ve formed a personal attachment to the work of Magnus Maxine. Maxine is a truly badass woman who has built an entirely new body of work for this exhibition somehow just weeks after giving birth to her first child. Oh and to speak to opening this show in all three of our locations on the same night, I would say it’s about time, if we can pull this off then I see this as something we’ll do again and again.” – Laura Young

A worldwide collection of participating artists and designers include Akiko Hirai, Alex Reed, Andile Dyalvane, Apparatu, Aude Van Ryn , Bari Ziperstein, Ben Medansky, Cathrine Raben Davidsen, Chris Brock, Chris Wolston, Cody Hoyt, Eric Roinestad, Floris Wubben, Harvey Bouterse, James Rigler, Jeremy Anderson, Jonathan Cross, Jongjin Park, Katie Kimmel, Kazunori Hamana, Kristin Victoria Barron, Liselotte Watkins, Luke Edward Hall, Magnus Maxine, Mauricio Paniagua & Tony Moxhan, Monty J, Reinaldo Sanguino, Roger Coll, Ryosuke Yazaki, Stan Bitters, and Virginia Leonard.



The Future Perfect, founded in 2003 by David Alhadeff, is one of the world’s foremost contemporary design galleries. From its inception, The Future Perfect has been distinguished by its thoroughly creative vision and strong curatorial focus, which showcases studio-created works alongside one-of-a-kind and limited-edition pieces.

In its 16-year history, the gallery, as its name implies, has introduced some of the seminal design talents of our times, including highly-collectible works by Lindsey Adelman, Jason Miller, and Kristin Victoria Baron. Considered a catalyst as well as an industry authority, The Future Perfect has also forged relationships with some of the world’s most influential artists, designers, and craftspeople. A focus on dynamic programming and cross-pollination has produced enduring collaborations with celebrated international design studios including Piet Hein Eek, DimoreStudio, and Michael Anastassiades.

Today, The Future Perfect’s prestigious gallery program is tailored to its unique locations in New York, San Francisco, and Los Angeles. Each space offers a highly customized environment that includes exclusive exhibitions from cutting edge contemporary artists such as John Hogan, Christopher Stuart, Chris Wolston and Eric Roinestad. Casa Perfect, The Future Perfect’s Los Angeles home, is located in a modern regency style Beverly Hills residence, formerly owned by Elvis Presley. Casa Perfect New York, which opened in March, is located in a 5-story townhouse in the West Village, renovated by British architect David Chipperfield, where guests experience an eclectic mix of contemporary production and gallery pieces together under one roof.




Veronica H. Speck
Phone: 212 473 2500 x 210
Instagram: @thefutureperfect


Kunstsalonen bliver denne gang til Hellerup Salonen, når vi flytter ind hos designer Kamilla Byriel og familie, der generøst har inviteret kunsten og offentligheden indenfor i deres private hjem, en 500 m2 stor skøn villa på Vingårds Allé i Hellerup. Kamilla Byriel er kvinden bag modebrandet Lollys Laundry. Kunstsalonen har inviteret ca 40 kunstnere til at udstille i familiens hjem og udstillingen bliver en del af familiens private interiør.

I samarbejde med Bruun Rasmussen udstilles også et udvalg af H.K.H. Prins Henriks samling af afrikanske masker og skulpturer, der kommer på auktion hos Bruun Rasmussen til efteråret.

Borch Editons udstiller et udvalg af deres grafiske værker, blandt andet af Georg Baselitz, Tal R, Matt Saunders og John Kørner. I den forbindelse holder Tobias Birr en talk om grafikkens verden. Lørdag kl. 13.

Geetis Stuesamtaler med Karen Bro og Tania Asbæk
Lørdag kl. 15. – 16. inviterer Geeti Amiri kunstsamler Karen Bro og kunstrådgiver Tania Asbæk indenfor i stuen til en snak om hvad kunst betyder for dem.

Arrangementet er gratis og åbent for alle. Pladser efter først til mølle. Tilmelding til

Deltagende kunstnere: Cathrine Raben Davidsen, Henrik Godsk, Mie Olise, Kasper Eistrup, Evren Tekinoktay, Tilde Grynnerup, Victor Ash, Julie Nord, Camilla Thorup, Kristian Jon Larsen, Lis McDonald, Malene Birger, Stine Maria Aalykke, Amanda Betz, Inger Odgaard, Jeanette Hillig, Josefine Winding, Mikkel Rundin Ørsted, Line Busch, Rasmus Eckhardt, Sarah Schönbeck, Faranak Sohi, Sofia Tufvasson, Tal R (Borch Editions), Noa Gammelgaard, Emilie Bobek, Stinne Bo, Tune Andersen, Anne Aarsland, Mette Helena Rasmussen, Maria Wandel, Mikkel Carl, Matt Saunders (Bort Editions), Georg Baselitz (Borch Editions) og Balder Olrik.

Hellerup Salonen er kurateret og arrangeret af Mette Helena Rasmussen og Anne Aarsland.

Fernisering fredag d. 27. september kl 16 – 19. Alle er velkomne.
Lørdag og søndag d. 28. – 29. September kl 11 – 15.
Lørdag kl. 13. Talk ved Tobias Birr fra Borch Editons
Lørdag kl. 15 – 16. Geetis Stuesamtaler med Karen Bro og Tania Asbæk. (gratis, men tilmelding på

HVOR: Kamilla Byriel, Vingårds Allé 5, 2900 Hellerup.

AD Intérieurs 2019

Each year, AD magazine presents the realizations of ten talents who incarnate major trends in decoration. Some design mostly private homes, others specialize in commercial projects, others are product designers. The minimal, classic, baroque or sometimes even conceptual designers invited by the editors represent today’s diversities in style.

Hannes Peer
Laura Gonzalez
Bismut & Bismut
Humbert & Poyet
Tristan Auer pour Orient-Express
Fabrizio Casiraghi pour Piaget
Anne-Sophie Pailleret
Stéphane Parmentier
Thierry Lemaire
Pierre Gonalons
Pierre-Yves Rochon
Pierre Bonnefille

Visit AD Magazine



CHART is the leading event for contemporary art and design in the Nordic region. Building on Copenhagen’s strongholds of art, design and architecture, CHART explores the cross-fields between contemporary artistic practices. Presenting an art and a design fair, a number of curated exhibitions and a vast public programme of talks, film screenings, concerts and performances, CHART offers an entry point to the Nordic art and design scene. Located in the Royal Danish Academy of Fine Arts at Charlottenborg, and at Den Frie Centre for Contemporary Art, CHART is committed to exploring new frontiers in art and design and celebrating artistic practices as an important reservoir for rethinking society and connecting individuals.

CHART Design Fair presents ambitious contemporary collectible design from across the Nordic region, bringing together the best Nordic design galleries and emerging design studios. Focusing on unique contemporary works, limited edition pieces, and collectibles, CHART Design Fair unites established designers and emerging talents whose practices and originality contribute to the development of the Nordic design scene. In 2019 CHART Design Fair will focus exclusively on contemporary practices in two parts: a presentation of prominent galleries and a display of emerging studios and collectives from across the region.

For the 2019 exhibition CHART has invited a select group of emerging studios and design collectives from the Nordic countries to present new unique works, many of which will be shown for the first time. The invited studios explore the intersection between art and design and exhibit the most compelling contemporary practitioners currently working across the region.


About Cathrine Raben Davidsen
For CHART 2019 Cathrine Raben Davidsen has collaborated closely with architect Mathias Mentze and will present a new handmade wallpaper and a Japanese inspired folding screen made especially for CHART. Cathrine Raben Davidsen will also exhibit one of a kind stoneware jugs, vessels and lamps, which have never been shown before – some of them made in collaboration with Royal Copenhagen.

Cathrine Raben Davidsen is a Danish artist known for her ceramics, painting, drawings and textiles. Drawing inspiration from history, mythology and personal memory, her highly intimate pieces are marked by their strong narratives, vibrant use of colour and delicate craftsmanship. Her methods are defined by her deep interest in the material, and she varies her process each time from firings to glazes, materials and techniques. With influences from Pre-Columbian terracotta works and ancient Japanese craft traditions, including special glazing techniques and raku firing, her ceramics offer a particular emphasis on simple formal expression and the beauty of the imperfect. The traditional hierarchies among art, artist-craftsmanship and design are negated in an artistic oeuvre that ranges wide from painting, drawing and ceramics to costumes and stage design.

Cathrine Raben Davidsen has had successful solo exhibitions in Denmark and internationally and is represented in a wide range of museums and well-reputed private collections. She is educated in Italy and in The Netherlands and holds an MFA from The Royal Danish Academy of Fine Arts. Earlier this year she presented the exhibition Totem in collaboration with the Danish porcelain company Royal Copenhagen. Totem was the result of Cathrine Raben Davidsen’s two-year artist residency at Royal Copenhagen’s factory in Glostrup. In close collaboration with the factory’s experts she experimented with new shapes, glazes and firings. The collaboration resulted in more than 150 unique ceramic works comprising vases, jars, jugs and plates. For Milan Design Week 2017 Cathrine Raben Davidsen presented a lamp collection with Milan-based Nilufar Gallery. In 2015 she was appointed Knight of the Order of Dannebrog by Her Majesty Queen of Denmark. Cathrine Raben Davidsen is represented by The Future Perfect and Nilufar Gallery.


About Mathias Mentze
Mathias Mentze is a Danish architect who works in spatial design with a special interest in how art and space work on one another. Having just completed the refurbishment and redecoration of Marienborg, the Danish Prime Minister’s of- ficial residence, he has now shifted focus towards wallpapers, producing a series of limited-run editions with Danish and international artists, architects and designers, who include Danh Vo, FOS and Ana Kraš among others.


For general information about the art fair and programme please visit:
For more information about available works by Cathrine Raben Davidsen and high res images for press use please contact studio manager Kristine Møller: / Learn more:


Chart Art Fair Main Venues

Chart Art Fair
Kunsthal Charlottenborg
Nyhavn 2 – 1051
Copenhagen, Denmark

Chart Design Fair
Den Frie Centre of Contemporary Art
Oslo Plads 1 – 2100
Copenhagen, Denmark



Friday, 30 August
15:00 – 16:00 (VIP)
16:00 – 20:00

Saturday, 31 August
11:00 – 12:00 (VIP)
12:00 – 18:00

Sunday, 1 September
11:00 – 12:00 (VIP)
12:00 – 17:00

Årets Bedste Bogarbejde 2019


En komité har hvert år siden 1934 udvalgt det bedste danske bogarbejde. Udvælgelsen bliver gjort blandt de bøger som forlag og designere selv under ind. De udvalgte bøger er automatisk nomineret til Den Danske Bogdesignpris, som bliver uddelt til en fagbog, en skønlitterær bog, en børnebog og et bogomslag. Formålet med udvælgelsen af Årets Bedste Bogarbejde er at skabe opmærksomhed om dansk-producerede bøgers design og tekniske kvaliteter samt at hædre personerne bag.

Årets Bedste Bogarbejde er en udstilling med de bedst udførte danske bøger fra sidste år. Bøgerne er udvalgt af en fagjury og udstillingen arrangeres af Forening for Boghaandværk.

Onsdag den 12. juni 2019 kl. 17.00 i Dronningesalen på Det Kgl. Bibliotek; hvor foreningens hæderspriser vil blive uddelt og hvor vi åbner udstillingen Årets Bedste Bogarbejde 2019 og særudstillingen Nordiske Bogbind.


Kl. 17.00 i Dronningesalen
Landsformand Svend Larsen byder velkommen.
Uddeling af foreningens hæderspriser og åbning af årets udstilling.

Kl. 18.30 på Kirkebybroen
Reception, hvor der vil være mulighed for at se udstillingen med årets udvalgte bøger og bogbind og særudstillingen Nordiske Bogbind.

Vi håber, at du vil være med at festliggøre begivenheden og glæder os til at se dig.

De bedste boghilsener

Forening for Boghaandværk


De nominerede til Årets Bedste Bogarbejde 2019 er:
100 Danmarkshistorier
Aarhus Universitetsforlag

100 Jorn-eksperimenter du kan lave derhjemme ved køkkenbordet
Malene Hald Studio / Museum Jorn


Antologi over sindet
Forlaget Forlæns

Aristo Bogforlag

Strandberg Publishing

Berlin er
Forlaget Nimbo

Forlaget Virkelig

Studio Atlant

Blå Spor

Cellophane Magazine #1


Danske skilte

Den fnuggede himmel
Høst & Søn

Dorthe Mandrup
Alexis Mark

Du vil ha’ mig

Er det mit hjem?
Politikens Forlag


February Fict100n

Finn Juhl
Strandberg Publishing

IO / I

Ivories and Narwhal Tusks
Museum Tusculanum

John Kørner
Roulette Russe

Kan vi være stille et øjeblik
Line Lisberg Refstrup

Mindcraft 18
Rasmus Koch Studio


Nye Blikke

Olsen Banden

Pist prott #82
Space Poetry

Syv fantastiske fortællinger

Vilhelm Hammershøi
Lindhardt & Ringhof


Årets Bedste Bogbind
8 gadeherbarie
Helle Vibeke Jensen

Dansk betonarkitektur
Hanna Munch Christensen

Malene Maria Lerager

Malene Maria Lerager & Barry Lereng Wilmont

Lars Hedegaard


Den Sorte Diamant
Søren Kierkegaards Plads 1
1221 København K

12 Juni 17-20

Den Sorte Diamant

Grafik grafik grafik

I anledning af 40-året for statsanerkendelsen af Kastrupgårdsamlingen vises den største præsentation af museets samling i mands minde. Udstillingen vil vise værker fra 4 årtiers indkøb til samlingen og præsentere grafikkens mangfoldighed af teknikker og metoder.

Allerede da Kastrupgårdsamlingen åbnede dørene på sin nuværende adresse på Kastrupgård i 1977, var målet at blive et statsanerkendt kunstmuseum. Samlingen var indledt i 1968 på opfordring af den daværende Amager Kunstforening og op til 1977 var der allerede blevet indkøbt 1600 grafiske værker. Kulturministeriet så med gode øjne på det nye museum for grafisk kunst i Tårnby kommune, og statsanerkendelsen blev opnået i januar 1979. Siden da har Kastrupgårdsamlingen været en del af det nationale museumsvæsen – og det er denne begivenhed, som er anledningen til at vise et bredt udvalg af museets samling. Museet rummer i dag over 6000 værker af godt og vel 580 kunstnere. Denne udstilling vil bringe gensyn med nogle af danske kunsts store grafikere som Asger Jorn, Svend Wiig Hansen, Dea Trier Mørch, Lene Adler Petersen og internationale navne som David Hockney, Man Ray, Niki De Sant Phalle, Sam Francis og Picasso. Samtidigt vil der blive vist værker som aldrig har været oppe af magasinet og nye indkøb fra de sidste 10 års kunstfaglige indsamling på Kastrupgårdsamlingen.

Grafik på alle tænkelige måder.
Kastrupgårdsamlingens fokus på grafik er et særkende for samlingen – og selvom betegnelsen ”grafik” dækker over kunst som udelukkende er trykt, så rummer grafikken meget forskellige teknikker som fascinerer. Træsnit, linoleumssnit, kobberraderinger, silketryk er de overordnede genrer, men herunder udfordrer og udvikler kunstnerne teknikker i et væld af farver, former og materialiteter. På udstillingen vil man både kunne opleve og fordybe sig i motiver af nogen af de bedste kunstnere inden for de sidste 80 år, men man kan også udforske selve håndværket og teknikker på tværs af tid og motiv.

Udstillingen åbnes den 29. maj kl 19:00, hvor åbningstalen vil blive holdt af borgmester i Tårnby Kommune, Allan Andersen. Alle er velkomne.


Kastrupvej 399
DK-2770 Kastrup
Tlf: 32 51 51 80

30 Maj – 29 September 2019

Mandag lukket
Tirsdag-søndag kl. 14-17
Onsdag kl. 14-20

Besøg Kastrupgaardsamlingen



Unfunctionality – A group exhibition by Anna Stahn, Cathrine Raben Davidsen, Karl Monies, Lulu Kaalund, Nat Bloch Gregersen and Studio ThinkingHand

In our hectic modern life functionality has become close to serve as an ideology. Chained to everyday life ideas of function, utility, measurable results, linear time and schedules, everything finds its existential eligibility by having a certain purpose – from the things we surround ourselves by to our own human bodies and lives. The state of the unfunctional can be said to be a fundamental anxiety of this society based on efficiency and optimization. Just think about the common phrase “out of order”, which by defining the lack of functional quality, implies a rejection of society; left behind, trashed and forgotten as useless cast-off of our material world. The question arising is, what then is the purpose of a functionless object? The phenomenon of unfunctionality points toward an empty space, an in-between open for interpretation and a sphere of the aesthetic and poetic care and enjoyment of the self enriching our lives. The purpose is nothing less than the presence itself. Being just for the sake of being. Art offers this momental space of breath freed time and space, freed from our functionalized society. Perhaps what we need is more unfunctionality?

Alice Folker Gallery is pleased to present a group exhibition, which rethinks the concept of design, materials and sustainability. The contributing artists are Anna Stahn, Cathrine Raben Davidsen, Karl Monies, Lulu Kaalund, Nat Bloch Gregersen, Studio ThinkingHand and Kristoffer Raasted presenting unique works that emphasize materiality and textural sensuousness. Design-based artworks, sculptural flower-stands, organic ceramic sculptures, colourful crochet rugs, soft neon- works, wall decorations and an intangible lyrical performance are unfolded in the gallery space.

The exhibition contemplates the debate on aesthetics and function and challenges the traditional conception of design as having primarily functional purpose inherited from the modernism. By recalling the classical modernistic catchphrase ”l’art pour l’art” (art for art’s sake), Unfunctionality twists this view into a contemporary interpretation of the concept of design, exhibiting post-functional objects that explores the crossover between the realm of art and design and the firmly established idea of functionality – or unfunctionality – linked to this distinction.

St. Strandstræde 19, 5. tv
DK-1255 København K
Tel.: +45 53 60 33 50

Opening May 16, 2019, 17-20
Performance by Kristoffer Raasted 18.00 pm.
The exhibition is open until June 22, 2019

Thursday -Friday 11.00-17.00
Saturday 12.00-15.00

Learn more

Deeper Than text

International in composition, yet connected by process, Deeper than Text is a focused contemporary design exhibition featuring master designers and makers in furniture, lighting, textiles, works on paper and glass. With 20 designers from Beirut to the Netherlands, Los Angeles to New York City, this presentation focuses specifically on strength in form, work designed and made by women with a poignant use of material and innovation.

With Deeper than Text, we are redefining the visual message of women in design. In a world driven by the visual it is no wonder that designers and artists are encapsulated by an image. Reduced down to a screen grab; Does it look good? Is it sexy? What’s the story? Who made it? What does she look like? How many kids does she have? Who’s her boss? This exhibition goes beyond the mundane conversation and introduces a physical narrative in form emphasizing design work as deep and dynamic, just like women.

The exhibition features 18 established and 2 emerging designers, all who are informed by their process and craft, with precise commitment and repetition. The designers achieve the seemingly unachievable by creating innovative, top quality work that pushes through adversity, rejection, challenges and gender questions. Deeper than Text engenders to provide a visual voice heard through the hands and minds, of the makers, through the furniture, textiles and objects, and the vision of their ideas. The work speaks, and the message is powerful.

Malene Barnett
Karen Chekerdjian
Cathrine Raben Davidsen
Egg Collective
Liz Collins
Melissa Cromwell
Felicia Ferrone
Front Design
Elyse Graham
Justine Mahoney
Zizipho Poswa
Michele Quan
Amanda Richards
Leah Ring
Grace Song
Kiki Van Eijk
Myra Von Busekist
Elish Warlop


1stdibs Gallery
Terminal Stores
269 11th Avenue
Lobby 4 – Floor 7
New York

May 10 – May 22 1019

10am – 6pm

Learn more


Fuglebakke Salonen



Kunstsalonen bliver denne gang til Fuglebakke Salonen, når vi besøger Tine Møller og Jesper Romme, der bor i Billedehugger Anne Marie Carl Nielsen og Violinists Emil Telmanyis gamle hjem i Fuglebakkekvarteret på Frederiksberg. Mere end 30 kunstnere er inviteret til at udstille i familiens hjem. Kunstsalonen samarbejder med i forbindelse med Fuglebakke Salonen, hvor møbler fra auktionen udvalgt af Mette Helena Rasmussen og Anne Aarsland indgår i udstillingen.

Deltagende kunstnere: Nat Bloch Gregersen, Kasper Kjeldgaard, Tune Andersen, Ida Settergren, Thorbjørn Bechmann, Tilde Grynnerup, Wendy Plovmand, Arne-Marius Skogås, Henrik Godsk, Evren Tekinoktay, Lis Mcdonald, Mikkel Carl, Josefine Winding, Nicholas Imms, Faranak Sohi, Mikkel Rundin Ørsted, Mie Olise, Sarah Schönbeck, Rose Eken, Line Busch, Jeanette Hilig, Stendse Andrea Lind-Valdan, Sophie Klerk. Sofie Aabenhuus, Cathrine Raben Davidsen, Noa Gammelgaard, Inger Odgaard, Meyer Lavigne, Susanne Schmidt Nielsen, Camilla Thorup, Anne Aarsland og Mette Helena Rasmussen. Arrangører og kuratorer bag Kunstsalonen er stylist Mette Helena Rasmussen og kunsthistoriker Anne Aarsland.

Med venlig hilsen

Mette Helena Rasmussen og Anne Aarsland



Fernisering fredag d. 10. Maj kl 16 – 19
Udstillingen er åben lørdag og søndag d. 11. – 12. Maj kl 11 – 15

Tine Møller og Jesper Romme
Fuglebakkevej 93
2000 Frederiksberg

Til åbningen vil der være:
Koncert med Jeanett Albeck
Vin fra Chateau Vignelaure
Vodkabar fra Vodka Bornholm
Afterparty på Bodega ‘Det Gamle Posthus’.

Deeper Than text

At 1stdibs, Two Female Visionaries Champion Their Community
The inimitable design marketplace joins forces with Female Design Council founder Lora Appleton to present an exhibition of spectacular pieces—all made by women—that trounce adversity, stereotypes, and gender inequality.


It’s no secret that architecture and design share a fraught relationship with gender. Wage gaps still pervade most firms—even Studio Gang founder Jeanne Gang, despite her ideological commitment to gender parity, identified a small pay gap between men and women at her firm, which she promptly corrected. Meanwhile, a harrowing survey of more than 1,200 architects determined that 85 percent of women have experienced sexual harassment at the office. And when once-beloved figures such as Richard Meier are rightfully exposed for predatory workplace behavior while a list of Shitty Architecture Men circulates, one question remains: How do we move forward?

For Female Design Council (FDC) founder Lora Appleton, who also masterminds children’s design gallery Kinder Modern, this issue is of particular urgency. During NYCxDesign 2018, she teamed with Egg Collective to co-curate the beloved Designing Women exhibition, which shone a much-needed spotlight on standout female design talent. (One participant had work placed in a major art museum after the show.) In Appleton’s eyes, women often fall victim to surface-level impressions—images and stereotypes the patriarchy makes it difficult to shake.

That’s why, during this year’s NYCxDesign, she’s embarking on a similar mission to champion female designers who push the envelope in terms of form, material innovation, and preconceived notions of how objects should look and feel. When online marketplace 1stdibs opened their first bricks-and-mortar gallery space in Chelsea earlier this year, a lightbulb moment ensued: Why not give these women a platform to showcase their talents? Thus birthed the idea for “Deeper Than Text,” an exhibition of 19 female designers who hail from such far-flung locales as Beirut to domestic hubs like Los Angeles. The show seeks to redefine how female designers are perceived by transcending the mundane and positioning their objects and artworks as deep and dynamic—much like the women who create them. We sit down with Appleton and 1stdibs’ Cristina Miller to learn more.


Curating an exhibition of this size is no easy task. So, first thing’s first: how are you?

Lora Appleton: I’m pretty thrilled to be a part of this exhibition. It’s an honor to show the work of these designers and to have their trust and dedication. So much new work was made for the show and brought over from Europe to exhibit for the first time stateside. When in process for me, I never think too much about how tiring it all is, until after!

Cristina Miller: Well, Lora did all the curation—she is amazing at this! I’m so excited to be collaborating with her, the FDC, and these talented master designers and makers and to be elevating their work during NYCxDesign, which is such an important part of the design landscape in New York City and beyond.

Lora, you co-curated an edition of “Designing Women” with Egg Collective this past year.

LA: Yes! It was so cool to be asked by Egg Collective to co-curate last year’s show. It enabled me to highlight historical names (some, such as Mira Nakashima, are still working!) as well as contemporary designers that have made a huge impact: Sabine Marcelis, Mimi Jung, and Marta Palmieri to name a few.

Tell me more about that.

LA: We were very excited to engage top-tier galleries to lend work and designers to the exhibition. It opened up so many conversations, enabled work to be acquired by a major contemporary art museum, as well as helped support quite a few gallery/showroom relationships for female designers who may not have had those opportunities previously. The ladies of Egg Collective and I were thrilled to create a platform to encourage this type of exchange.

What did that experience teach you that proved useful here?

LA: Every chance I get to dig in deeper with women in design, I’m reminded of my own creative journey and to keep pushing as a curator, designer, and gallerist. I learned a ton from Egg Collective. Even in the most stressful situations they run very cool. They’re great team members to one another and the ingenuity runs deep. Their overall strongest message advocates for less self-criticism and more output of work. Focus on your craft and the rest will follow. Women before me have been achieving and succeeding for centuries. I’ll continue to do the same, while simultaneously helping my fellow designers. Through this cyclical support system, we further define our legacy: we are stronger in support of one another.

So, how did the conversation start with each other?

CM: Kinder Modern has been a 1stdibs dealer for years, so we’ve known and admired Lora for a long time, and are always interested in her work as a business owner and a designer. She and my colleague Emilia Vincent connected when Lora was first establishing the FDC a couple years ago; Emilia is a founding member. From there, 1stdibs has stayed involved, and we’re thrilled to see this level of success and growth. When Lora joined the steering committee of NYCxDesign, we approached her for a collaboration, also knowing we were getting our own gallery space (which opened in February). It all came together beautifully!

LA: I approached Emilia and said it’d be amazing for 1stdibs to spearhead this type of exhibition. They’ve been so supportive and a real beacon for the FDC. What an impact we could have if a brand with such a strong industry reach can get behind the work. Imagine five years ago… could a female curator managing an all-female show for a highly successful brand have even happened? I feel lucky for the opportunity and simultaneously aware of how necessary this really is.

How does the title “Deeper Than Text” inform the exhibition?

LA: This presentation focuses specifically on strength in form—work designed and made by women with a poignant use of material and innovation. With “Deeper than Text,” we are redefining the visual message of women in design. In a world driven by the visual, we’re often reduced to an image. I wanted to redefine that image—making it about the work, not what we look like. It introduces a physical narrative in form, emphasizing design work as deep and dynamic (just like women). The exhibition features 17 established and two emerging designers, all informed by process and craft, with precise commitment and long-time repetition. The designers achieve the unachievable by creating innovative, top-quality work that pushes through adversity, rejection, challenges, and gender questions.

What factors influenced the artists/designers selected to participate?

CM: This is Lora’s brilliance. She’s a design visionary with a mission to support women in this industry, and she hand-picked both well-known and emerging designers to create an exhibition that is both playful and subdued, which will visually captivate the audience while communicating the strength of female makers today.

LA: New York has a strong design community, but I often see the same work by the same folks over and over. It’s hard to view designers as original within this context, so I wanted to mix things up and highlight work from both New York and around the world. This contributes to a larger conversation of women in design and illustrates the vast reach of 1stdibs. Their design community is global.

In terms of objects on display, what can we expect?

LA: Expect stunning and innovative lighting, successful new forms in furniture, beautiful works on paper, and fun surprises in textile and clay. We are featuring work from the Netherlands, South Africa, Beirut, Copenhagen, the USA and more!

CM: The pieces are breathtaking—the mix of materials, colors, and forms is exquisite and thought-provoking. Everything can be purchased online, but to get the exhibition’s full impact, we encourage everyone to drop by the 1stdibs Gallery during NYCxDesign, starting May 11.

What are the most urgent issues facing women in design today?

LA: OMG, there are so many issues related to women in design. The most urgent, first and foremost, is the risk to our human rights—our ability to have control over our bodies and thus everything that comes from our bodies. I’m mostly referring to our work and awareness within our community. We live in a society where gender, background, and economic status all influence how we navigate professional landscapes. We need to redefine those definitions and take control of them by using our platforms to encourage, be positive, and stand behind each other in strength and diversity. It’s fine to be different in your work, in your skin, to be the only woman on the job site, and so on. We just need respect while doing so—no more than anyone else, just as an equal.

CM: As is the case in many creative industries, women are woefully underrepresented in the top echelons of design. In the same way that entrepreneurship is risky, it’s risky to become a furniture designer, maker, or artist. Women still carry more family responsibilities than men (whether taking care of elderly relatives or their own children), so the risk can be harder to absorb. Groups like the FDC help by providing support, introductions, visibility, and a community which de-risk the process and offer a roadmap.

How does “Deeper Than Text” address those issues?

LA: It highlights phenomenal quality in design. Through quality we achieve equality. You cannot tell the creator’s gender—all you see is phenomenal work. For me, that was essential. It levels the playing field and reminds the design industry that we’re here, period. And for the record, we’ve been here for centuries, and will continue to do so whether we’re recognized or not. I now have the ability to help recognize, and wow—what a privilege!

CM: By uniting so many impressive female makers and showing such high-quality work, we’re reminding the city—and the world—that one can curate an unparalleled exhibition entirely with pieces by women. To paraphrase Lora, that in and of itself sends a powerful message.

What do you hope the community takes away from this?

LA: I want the community to recognize world-class design, and then discover that it happens to be made by women. There is no need for shock or difference—it just is. Women make amazing work regardless of their gender. I hope there will be a sense of near-indifference to gender, and clear focus on the work, object, discipline, and dedication to process. There’s an incredible sense of materials and process in this exhibition. Kiki Van Eijk’s furniture is covered in a pigmented biomaterial based on maize flour. It has the touch and skin of a painting, yet it’s furniture-meets-object. Textile artist Liz Collins uses Selvedge from Sunbrella fabrics and reinterprets it into Selvedge Fur, testing the limits of materials and sustainability. Our two up-and-coming designers, Amanda Richards and Leah Ring, are pushing the boundaries in resin and acrylic. Innovation is alive and booming! I hope everyone who sees the work recognizes the effort, investigation, and consideration these designers are putting in.

CM: I hope people feel energized and hopeful about the outcome of supporting women in design and blown away by the beauty of the work. Just raising awareness about women in design is a win. We’ll be labeling other works in the 1stdibs Gallery from female creators and business owners, so visitors can see how this concept is woven throughout the broader 1stdibs experience.

Visit the 1stdibs Gallery to see “Deeper than Text”, an exhibition curated by the Female Design Council for the 1stdibs Gallery. International in composition, yet connected by process, “Deeper than Text” is a focused contemporary design exhibition featuring female master designers and makers in furniture, lighting, textiles, photography and glass.

1stdibs Gallery
Terminal Stores
269 11th Avenue
Lobby 4 – Floor 7
New York

May 10 – May 22 1019

10am – 6pm


Learn more



Drawing Attention

DRAWING ATTENTION – drawing on its own terms is an exhibition with its finger on the pulse of drawing today – a fresh take on the current revitalisation of drawing as an independent field of art with unique tactile qualities. With an unabashed dedication to the analogue, drawing forms the basis and conceptual focus of DRAWING ATTENTION. The exhibition has been created by the artists’ association Den Frie Udstilling, headed by artists Maria Finn and Peter Holst Henckel as curators. In addition to the association’s own artists, some of Denmark’s leading figures in the field have been invited to participate with works based on drawing in the widest possible sense of the term.

Whereas in the past drawing was a natural, technical point of departure for every young painter, graphic artist or sculptor, it is no longer a necessary discipline in the arts. Despite which, drawing continues to be a medium embraced by artists of every generation. During recent decades, the bodily and analogue have lost ground to touchscreens, digital technologies, and wireless communication, which might explain the revival of interest in more traditional techniques and media, and a growing appreciation of their tactile qualities. This is highly apparent in current contemporary art – perhaps as a backlash against the rampant digitalisation of society today. DRAWING ATTENTION delves into this shift, exploring drawing as an independent medium in its own right.

Maria Finn has worked with drawing for many years, and Peter Holst Henckel with a more conceptual approach to the potential of the medium.

Participating artists: Al Masson, Anette Abrahamsson, Ann Lislegaard, Anne Skole Overgaard, Asbjørn Skou, Camilla Berner, Cathrine Raben Davidsen, claus ejner, Cecilia Westerberg, Christian Lemmerz, Claus Carstensen, Elle Klarskov Jørgensen, Emil Westman Hertz, Ferdinand Ahm Krag, Fie Norsker, Freddie A. Lerche, Finn Naur Pedersen, Finn Reinbothe, Hannah Heilmann, Hein Heinsen, Henriette Heise, Henrik B. Andersen, Henrik Menné, Henrik Plenge Jakobsen, HuskMitNavn, Jasper Sebastian Stürup, Jens Hüls Funder, John Olsen, Julie Nord, Jytte Høy, Jørgen Michaelsen, Karin Lind, Katya Sander, Kirsten Ortwed, Kristine Kemp, Lars Bent Petersen, Leif Kath, Lis Nogel, Maria Finn, Marie Søndergaard Lolk, Margrete Sørensen, Mette Gitz-Johansen, Mette Winckelman, Mikkel Carl, Milena Bonifacini, Morten Schelde, Morten Stræde, Nanna Riis Andersen, Nils Erik Gjerdevik, Ninna Poulsen, Pernille With Madsen, Peter Holst Henckel, Pia Rönicke, Rasmus Myrup, Signe Guttormsen, Sophia Kalkau, Sophie Dupont, Stense Andrea Lind-Valdan, Sys Hindsbo, Søren Jensen, Thorbjørn Lausten, Thorgej Steen Hansen, Torben Ebbesen, Yvette Brackman og Zven Balslev.


Exhibition opening: Friday April 12th from 5 PM – 8 PM

Den Frie Centre of Contemporary Art
Oslo Plads 1
DK – 2100 Copenhagen Ø
T: +45 33 12 28 03

Opening hours
Monday: closed
Tuesday – Friday: 12 – 18
Thursday: 12 – 21
Saturday – Sunday: 12 – 18

For further information please do not hesitate to contact curator and Head of Press:
Kit Leunbach at or on +45 23 32 68 70

See more at Den Frie Centre of Contemporary Art



For TENTACULAR Danish visual artist Cathrine Raben Davidsen presents a series of drawings, prints and an animation film, all of which together expand her abstract visual language and reach beyond previous motif worlds. The prevailing subject matter in these works is the synthesis of human, animal and cosmos. We encounter shadowy images of ambiguous floating bodies, owls with pierced-out eyes, a young deer hovering in the air with its hooves growing like tree branches, lightweight birds, ethereal jellyfish and whales moving around in liquid, formless spaces.

Raben Davidsen’s newly produced animation film Tentacular stands out in the exhibition as the only moving image. In the 4-minute black-and-white looping film, we see series of subtly drawn milky-white jellyfish, spreading out their umbrella-shaped bells as they appear and disappear like magical ghostly creatures. Adding more layers we see figures, birds, spiders and plants performing the same organic movements, from physical dissolution to cosmic integration. The animation is accompanied by an underworld-like soundtrack and takes the form of a meditation on transformation.

Throughout her artistic career, the work and practice of Raben Davidsen  has gravitated towards the larger existential questions of human life and death. Understanding life as an imminent process of continuous transformation, Raben Davidsen explores the essential traits of being human, asking not only how we as humans are connected to each other, but also how these connections extend towards other living organisms and earthly entities. With an elementary curiosity that connects the knowledge of the past with present-day thinking, Raben Davidsen proposes to us, through her art, to broaden and diversify our sense of historical continuity.

Caring little about the traditional hierarchies among fine art, craftsmanship, design and other creative disciplines, Raben Davidsen is concerned in her artistic oeuvre with multiplicity and intertextuality. Drawing on a wide variety of visual and philosophical references – implementing both modern and renaissance art history, ancient mythology, non-western religion, science, 20th century feminist literature along with personal experience – Raben Davidsen juxtaposes loosely connected elements from diverse cultural realms. Her works most often take form as paintings, drawings, prints or ceramics, but she also engages in collaborative formats such as costume-making, stage and lamp design, and artist books.

In recent years, Raben Davidsen has focused her interest on how we perceive and understand mankind’s relationship with nature. She reflects on the modern loss of spirituality and contemplates how we can better pass on the worldly wisdom of ancient epistemologies that are not influenced by the dominant paradigm of Western capitalism.



Opening 4 May 17-20 pm

Galleri Jacob Bjørn
Thorvaldsensgade 33a
8000 Aarhus

phone: + 45 23 24 56 64

Opening hours:
Thursday 12am–5pm
Friday 12am–5pm
Saturday 11am–3pm

Learn more at Galleri Jacob Bjørn





Kl. 17.00 – 20.00 Fernisering
Kl. 17.30 Kort tale af Karen Bro chefredaktør ved Ekstra Bladet.
Kl. 18.30 Performance af Samina Bazai med skuespiller Danica Curcic


Da Tania fortalte mig om sin idé om en udstilling udelukkende med stærke, yngre kvindelige samtidskunstnere, der skulle markere den 8. marts, tænkte jeg instinktivt:

WHAT. Er der stadig noget at kæmpe for. Er det virkelig nødvendigt? Virker det ikke bare lidt ynkeligt at sætte køn før kunst. Er det at være kvinde en kvalitet, der kræver særlige privilegier? Sådan en udstilling giver da ingen mening, for der findes da ikke en verden, der er så dum, at den aktivt, og nærmest organiseret fravælger kvalificerede input udi eksempelvis videnskab, erhverv og kunsten fra henved 52% af befolkningen.

Og så begyndte jeg at google. Det var godt nok deprimerende data, jeg fandt frem. Verden er jo ikke i nærheden af at være i mål. Måden, hvorpå vi selekterer i talent og kompetencer på baggrund af køn, lever i bedste velgående. Også på kunstscenen er den helt gal – og ganske ufatteligt er kvinder stærkt underrepræsenterede på museer. I 2019 mine damer og herrer… Det er ikke bare pinligt, men dumt og gør os alle meget fattigere.

Den 8. marts er kampdag, og den er blevet brugt flittigt af fremragende og modige kvinder gennem tiderne. Mange af dem har været kunstnere, og adskillige har været her fra Danmark. Det ville have været skønt, hvis vi skulle have lavet en udstilling med udvalgte navne fra historien, takket dem for deres arbejde, og så fortalt vores børn: “At der var engang, hvor kvinder ikke havde samme muligheder som mænd, men sådan er det da heldigvis ikke længere.” Og det ville være fedt, hvis børnene var brudt sammen af grin over denne “historiske absurditet”. Men sådan er det bare ikke – endnu.

Med denne udstilling ønsker vi, at gøre brug af et af de greb der rent faktisk virker i ligestillingskampen. Positiv særbehandling. Affirmative Action. Kønskvotering. Kært lovforslag har mange navne, men hvis ikke man håndhæver, kan det jo være ret ligegyldigt.

Derfor viser vi følgende udvalgte kunstnere: Cathrine Raben Davidsen, Samina Bazai, Maiken Bent, Rose Eken, Lea Guldditte Hestelund, Klara Lilja, Astrid Myntekær, Lea Porsager, Trine Søndergaard, Evren Tekinoktay og Lulu Kaalund.

De er ikke valgt med kvindekampen som agenda, men tværtimod for deres diversitet og stærke bidrag. De arbejder med vidt forskellige temaer, i forskellige medier, genrer og udtryk. Performance, fotografi, grafik, keramik og objekter.

Det er måske lidt ironisk, eller frelst om man vil, at lave en udstilling med denne dato som bagtæppe og samle kunstnerne under én kategori som værende kvindelige kunstnere, da deres køn egentlig ikke fortæller ret meget om deres værker. De har klaret sig på trods af vilkårene. Men sådan er det blevet, og lad nu disse kvinder stå til inspiration, velvidende at ingen er med på denne udstilling fordi de er kvinder. Alle er med, fordi de er fantastiske kunstnere – og kvinder. Deres køn og deres erfaringer kan sagtens spille en rolle i deres kunst, men deres værker står målt og vejet, som kunstværker i egen ret.


Go’ kampdag.

Med venlig hilsen

Thomas Asbæk





Store Kongensgade 118

1264 København K

Åben ons-fredag 12-18, lørdag 12-16

+ 45 51808054




Artist Cathrine Raben Davidsen Collaborated With Royal Copenhagen to Make Ceramics With Spirit

Here, the artist talks Vogue through her process and motivations.

by Laird Borrelli-Persson

240-year-old ceramics company Royal Copenhagen “is very much a sort of Danish DNA,” says artist Cathrine Raben Davidsen, who grew up around the brand’s iconic blue and white dishes. It’s not only locals, though, who like the heritage house’s wares. In recent years it has increased its offerings, exploding the signature Flora pattern into a “Mega” range and experimenting with patternless plates in different glazes. Meanwhile, Raben Davidsen, well known for her haunting paintings, has been working behind the scenes, continuing the company’s tradition of artist collaborations that dates back to the 19th century. The fruits of the artist’s labors will be shown in a multimedia exhibition, “Totem,” presented at the company’s Copenhagen flagship.

Don’t expect florals. Raben Davidsen spent her time digging into the archives, experimenting with historical glazes and oxides from Royal Copenhagen’s vast archives to create pieces that tell a sort of origin story. “With ‘Totem,’” Raben Davidsen tells Vogue, “I wanted to explore the spiritual and mythological tradi­tions that have existed for millennia. Traditions dealing with the interconnections among culture, nature and the cosmos.” The artist’s deep dive into history has resulted in artful pieces that have an organic feel; which is not to say that they are naive, but there is a sense of hand and texture more akin to pottery than the smooth perfection of porcelain. Raben Davidsen is clearly aware that we live in a constant state of movement and becoming where “nothing is ever still or quiet.” “Totem” is offered as an antidote to the sensory overload and frantic pace of today; her pieces material equivalents of om.

How did you become an artist?
I lost my father very suddenly when I was 13 years old. He was a fashion designer. I began making fashion illustration drawings as a way to connect with him. Since then my work has always been about transformation and about stages beyond what we know and about what we cannot see.

You are best known as a painter; how would you describe your work?
I am interested in the layering of paint, and I use materials that don’t work well together. I mix oil with water, turpentine with ink, and in my new drawings I have used a lot of Coca-Cola mixed with ink, which reacts very interestingly on the paper. In a way it is a process very much like working with glazes, because you cannot predict how the materials will react, they sort of have a life of their own. I very much like this idea of not being able to control what I do. I have always used strong colors connected to chakras. My figures are often in process, floating, transforming in a never ending process, just as we as humans are changing constantly.

When did you start working with ceramics?
About ten years ago I began exploring with ceramics when I was invited to work with Royal Copenhagen. I began by painting directly onto the porcelain. After travels to Mexico and Japan over the past years I have become more interested in glazes.

What do you like about this new medium?
I really love its unpredictable aspects. In a way I work in complete blindness, as the colors of the wet glazes are not the same colors as when they come out of the oven after the firings at all. For instance, the Oxblood glaze (which is a very famous glaze the has been developed by Patrick Nordström and used by Axel Salto), is a light green color when you apply it to the unglazed work. I have also used 24-carat gold on some of the pots. Before firing, the 24 carat gold is a very dark brown color; when it comes out of the oven it is siena brownish. You need to rub it very delicately before the gold appears. It is a beautiful process. As I haven’t trained as a ceramicist I use the glazes in a painterly manner, I mix them together not knowing how they will react in the firing. I also re-glaze and re-fire the works several times. In this way it very much differs from when I am applying paint to my canvases.

Can you tell us about the work you’ll be exhibiting?
For the past two years I have been working on creating a large number of ceramic works, all unique, in collaboration with the Royal Copenhagen using historical glazes and oxides from their vast archives. This has resulted in more than 150 unique ceramic works. [Some of these will be shown in the exhibition along with] paintings, drawings, and an animation film. The title of the exhibition is “Totem;” it refers to traditions in cultural history and religion such as animism and totemism which center on an extended understanding of spirituality. With “Totem” I wanted to explore the spiritual and mythological tradi­tions that have existed for millennia. Traditions dealing with the interconnections among culture, nature, and the cosmos. With my new ceramic work for the exhibition I feel that I have been able to have all of my work come from the same place. In a way both paintings, drawings, and the ceramics speak the same language. I have learned a lot from the glazing process that I have been able to transfer to the paintings and drawings.

Your work is a departure from the house’s traditional blue and whites…
In the course of its almost 250-year history, Royal Copenhagen has built up leading expertise in porcelain and stoneware production. Most people are not aware of the fact that they have been inviting artists in to develop and experiment with creating unique ceramic works at their factory since the 1820s. It is a tradition that is carried on today. This is also the reason that we have chosen to make this collaboration visible in “Totem,” which will be shown at the flagship store here in Copenhagen from 7 February – 31 March 2019.

What’s the takeaway from “Totem?”
We do live in a very confusing world, with so much we have to relate to on a daily basis. I believe that nature, history, the spiritual and art can help us to reflect and find peace. Maybe it can even give us an understanding of where we come from and what happens to us when we’re no longer here.Febray

read the interview online at


Totem Film

Portrait Film by Alexandre Archimbaud made in connection with the exhibition TOTEM at Royal Copenhagen, Amagertorv 6 in Copenhagen. The exhibition runs until 31 March 2019.

Watch the film in its full length here







8 February – 31 March 2019

Royal Copenhagen is proud to present the exhibition Totem by the Danish visual artist Cathrine Raben Davidsen. With this exhibition Royal Copenhagen launches a new chapter in an old tradition of the company: inviting recognized talented artists to develop new unique works. Totem is the result of Cathrine Raben Davidsen’s two-year artist residency at Royal Copenhagen’s factory in Glostrup. In close collaboration with the factory’s experts she has experimented with new shapes, glazes and firings. The collaboration has resulted in more than 150 unique ceramic works comprising vases, jars, jugs and plates. A selection of these is on display in the exhibition.
For the ceramics Raben Davidsen has been inspired by prehistoric Mexican terracotta, Danish Bronze Age stoneware and German Bartmann ceramics from the 16th and 17th centuries. The characteristic feature of these styles, later known as Bellarmine vases or face urns, was the embedded motif of an old man’s bearded face on the neck of the bottle. In some regions, these containers were also used in occult rituals with the purpose of expelling evil spirits. By playfully adapting this stylistic expression to her own vases, Raben Davidsen introduces the association to the ghostly and spiritual in her work, juxtaposing the old tradition with a modern mystique.

In glazing the ceramics, Raben Davidsen has mixed various glazes and even 24-carat gold on selected pieces. She has treated some of the glazes with oxides, while others have undergone a salt firing in the kiln. Among the most famous historical glazes used from the Royal Copenhagen archive is Patrick Nordström’s famous Oxblood, which can be seen in the red colored series Totem Clan.
In addition to the ceramic body of work, Raben Davidsen is presenting a series of new paintings, drawings, prints and an animation film. The motivic world is populated with human figures, animals and plants. In the paintings, one can glimpse human faces and bodies emerging from the saturated colour field surfaces.

In the drawings and prints, one encounters shadowy images of floating bodies, owls, deer, whales, and jellyfish move around in fluid, formless spaces, seemingly in constant flux – in a state of dissolution towards a new dimension. By portraying this mix of living organisms inside a fluid space, Raben Davidsen explores the organic synthesis of humans, animals and the cosmos.

A core theme of Cathrine Raben Davidsen’s practice is a strong interest in mankind’s relationship with nature and our understanding of the spiritual world. In particular she sees the concept of transformation as an omnipresent precondition of humanity – a continuum that connects us with our surrounding environments. The title – Totem – stems from ancient traditions in cultural history and religion such as animism and totemism. These are belief systems practiced by indigenous peoples that consider the connection between culture, nature and the cosmos as holistic. Animism is the belief that everything in nature, both the organic and the inorganic, has a soul in the same way as human beings. Among the animistic believers, a totem is an object, subject or place of worship that aims to gather and strengthen the group’s identity and cohesion. A totem can be either a tree, an animal, a mountain or a river.

By exploring various elements of the spirituality and mythology and embedding these notions within her own work, Raben Davidsen asks how we can view and re-appreciate the meaning of these ancient traditions and belief systems anew.
In connection with the exhibition, the catalog TOTEM has been published with texts by art historian Lone Rahbek and art historian and curator Aukje Lepoutre Ravn. The catalog can be purchased in Royal Copenhagen’s store.

The exhibition is curated by Aukje Lepoutre Ravn.

You can read more at the website:


Et Kongeligt samarbejde

Tilfældets Kunst




NOMAD st moritz returns to the heart of the swiss alps, inviting collectors, interior designers, architects and the art world’s glitterati to experience its nomadic concept.

Conceived by Giorgio Pace and Nicolas Bellavance – Lecompte, the showcase mixes high-end modern and contemporary art and design, redefining the classic idea of events and fair exhibitions by placing works in incredible architectural locations. Exhibited over two floors of ‘chesa planta’, a 16th-century stately patrician house, until the 11 february visitors to NOMAD st moritz can experience rooms in line with their classical settings: beautiful tapestries and painted wood panels contrast more minimal spaces with white walls, stone flooring or parquet.



For this year’s edition of NOMAD St. Moritz, Nilufar Gallery’s director Nina Yashar proposes an exploration of the work by Milanese designer Osanna Visconti di Modrone. A tribute to established relationship, celebrating Osanna’s expertise in conveying unique character to bronze castings. Yashar’s flair for blending the unexpected sees such rich conversation through a tribal lens, which becomes the main leitmotiv as the whole selection of pieces is enhanced by the all-over screenwork of newly commissioned luxury fabrics by Tibor UK.

NOMAD st moritz has collaborated with 25 of the world’s leading galleries to create immersive installations, inviting each one to curate pieces in the context of the ‘chesa planta’ space. in a very personal context, the event establishes a unique dialogue between gallery works and a community of individuals looking for an unusual experience.

NOMAD founders giorgio pace, an art and luxury brand specialist, has worked with fashion companies and museums, such as garage museum in moscow, and architect and curator nicolas bellavance-lecompte is the co-founder and art director of beirut’s carwan gallery.

‘we are proposing intimate showcases in special architectural locations, places that aren’t usually open to the public‘, explains giorgio pace. ‘we both understood that there is a need for an alternative to the traditional model of fairs and the benefits of NOMAD are that the objects are not presented in a big tent, instead you see them in a beautiful house in daylight, which is ultimately where they will end up. the travelling nature of the event allows galleries to meet collectors in places where they might live or are on holiday.’


Participating Galleries:

Where and When
Chesa Planta, Samedan
7.2.2019 – 11.2.2019


Cathrine Raben Davidsen

Royal Copenhagen, Amagertorv 6, Copenhagen
February 8th – March 31th, 2019

Opening February 7th, 2019, Danish visual artist Cathrine Raben Davidsen is presenting her new solo exhibition Totem in the recently refurbished Royal Copenhagen flagship store at Amagertorv in Copenhagen. Totem is a product of Raben Davidsen’s two-year artistic collaboration with Royal Copenhagen. Staged as a total installation the exhibition presents a completely new body of work consisting of ceramics, drawings, paintings and an animation film, that are thematically inspired by prehistoric ceramics, animistic spirituality and totemism.

Royal Copenhagen has a long-standing tradition of working with artists dating back to the 1820s. In 1885, when the young architect Arnold Krog was appointed as the artistic director, Royal Copenhagen became eminently successful in its association with painters and sculptors who created both unique works and reproducibly works; a range of products which besides porcelain also came to encompass works in stoneware. Today the tradition lives on. Each year Royal Copenhagen invites Danish and international artists to experiment with the artistic potential and scope of ceramics in the company’s workshops at the factory in Glostrup. In the course of its almost 250-year history Royal Copenhagen has built up internationally leading expertise in porcelain and stoneware production; this is the legacy that the factory makes available to the artists, and the collaboration often leads to development for both parties.

“I am always moved when I see an artist’s work being modelled, painted and glazed in clay and then transformed in the firing process. The often imperfect life of a unique artwork thus acquires a distinctive power that moves me in the same way as a painting or a sculpture. All our collaborations with artists have their own soul although each of them works with the same basic materials and is supported by our own able craftspeople. This development work is a responsibility that has always been inherent in Royal Copenhagen, and the company has stood by it for centuries; we continue to support it and it thrives in the contemporary art world today,” says Creative Director Niels Bastrup.
Over the past two years Danish visual artist Cathrine Raben Davidsen has been associated with Royal Copenhagen, where she has experimented in close collaboration with the factory’s specialists on a variety of techniques, glazes and firing methods. Raben Davidsen has used modified versions of several of Royal Copenhagen’s historic glazes, for example Patrick Nordström’s “Oxblood glaze”. She has treated the glazes with oxides, and others have undergone a salt-firing in the thrower’s own kiln. The collaboration has resulted in an extensive range of unique ceramic works comprising vases, jars, jugs and plates. A selection of these works is now on show at the exhibition Totem.
As an entry point to the collaboration with Royal Copenhagen, Raben Davidsen has found inspiration in German Bellarmine stoneware from the 16th and 17th centuries and face-mask urns from the late Bronze Age. The characteristic feature of the ceramics, later known as Bartmann vases, was the vessel’s embedded motif of an old man’s bearded face on the neck of the bottle. Often, these containers were also used as occult witch bottles with the purpose of expelling evil spirits. By playfully adapting this stylistic expression to her own vases, Raben Davidsen introduces the association to the ghostly and spiritual in her work, surrounding the old tradition with a modern mystique.

The notion of transformation is a recurring concept in Raben Davidsen’s recent work. She sees the process of transformation as a basic condition of humanity – a continuum that connects us constantly and at multiple levels with our surrounding environments. What particularly interests Raben Davidsen is how we perceive and understand mankind’s relationship with nature and the spiritual world, drawing from how these relations are embedded in the ancient traditions of animistic religion. Animism is the belief that everything in nature, both the organic and the inorganic, has a soul in the same way as human beings. Thus, man can communicate with the contemplated nature and cultivate it. Among the animistic believers a totem is a worship that aims to gather and strengthen the group’s identity and cohesion.

While the ceramic works in the exhibition clearly reference the historic Bartmann tradition, the drawings and paintings unfold a new, mysterious world of organisms, animals and other spiritual beings. Shadowy images of floating bodies, owls, deer, whales, and jellyfish move around in fluid, formless spaces, seemingly in constant flux, towards a new dimension.

By intuitively combining disparate pieces of knowledge taken from ritual practices, animistic belief systems, scientific research, anthropology, philosophy, etc. Cathrine Raben Davidsen explores the holistic connections having shaped relations of belief for millennia. Questioning the dualisms between nature and culture, physical and metaphysical, material and spiritual, real versus fiction, she asks how these relations can be examined anew in the modern society of our time.


Press material
Additional press material, artist resume, and high res images can be downloaded at CRD Totem 

Exhibition curator: Aukje Lepoutre Ravn

Photo credit: Anders Hviid

For more information please contact:
Aukje Lepoutre Ravn, Curator / +45 20989423
Stine Holte Jensen, PR Manager Royal Copenhagen / / +45 21188304




Architectural Digest

True Blue Lamp is featured in The Blue Issue of Architectural Digest, India, November 2018


Blå og Mørke Spor

Blå og mørke spor er en bog, der skaber forbindelser – mellem digte og billeder, menneske og natur, kærlighed og død, det voldsomme og det sarte. Bogen, der er blevet til i et ti-årigt samarbejde mellem digteren Naja Marie Aidt og billedkunstneren Cathrine Raben Davidsen, samler og reviderer for første gang de to mindre kunstudgivelser Voice of the Shuttle (Schäfer Grafisk Værksted, 2007) og Blå spor (CRD Studio og Officin, 2018). Blå og mørke spor afsluttes med en brevveksling fra september 2018 mellem Naja Marie Aidt og Cathrine Raben Davidsen – illustreret med nye værker.

Blå og mørke spor udkommer på Gyldendals Forlag torsdag den 22 november og der holdes bogudgivelse i Stilleben No 22 fra kl 16.00-18.00, hvor både Naja Marie Aidt og Cathrine Raben Davidsen vil være tilstede. Til bogudgivelsen vil der være udstillet nogle af de originale værker fra bogen samt en ny plakat, som vil være til salg. For mere info om originale værker fra bogen send en mail til

Stilleben No.22
Frederiksborggade 22
1360 Copenhagen
+45 22 45 11 31

Opening hours
Mon – Fri – 10 AM – 6 PM
Saturday – 10 AM – 5 PM

Anima Mundi


The new series of original lithographs titled Anima Mundi have been made in collaboration with Edition Copenhagen, a lithographic workshop and gallery space located in a 1000m2 characteristic building in the Christianshavn district of Copenhagen established in 1959. For inquiries about available prints please contact us at crd studio.

Design Awards 2018

Hvert år bliver de bedste danske designere og designtalenter hyldet og hædret ved et stort anlagt show. Design Awards arrangeres af BO BEDRE, Bolig Magasinet og Costume Living.

Design Awards 2018:

De nominerede i kategorien Årets Design. Prisen gives til design, der manifesterer nytænkning, kreativitet og omtanke i forhold til livet og hverdagen i boligen i dag og i fremtiden.

De nominerede for Årets Design er:

The Foster Collection-stel




Reflect Wall Lamp


Triangle Table



En kunstner krydser grænser og bevæger ind på nyt terræn. Nøjagtig som det sker overalt idag. Cathrine Raben-Davidsen viser med sit bord at hun kan omsætte sit kunstneriske virke til contemporary design. Hendes lille bord et et spændende miks af materialer, og med en form, vi på ingen måde har set før. Et gallery piece, som vi ser masser af potentiale i. Vi glæder os til at se mere fra hendes hånd!


Homo Faber


Welcome to the first major exhibition showcasing the very best European craftsmanship and its link to the world of design. As today’s technology-driven society pushes us to move faster, consume more and think less, Homo Faber invites you to slow down, take a breath, and meet the people choosing a different approach. Discover the unique contribution to our modern world made by master artisans, the remarkable craftsmen and women using their hands and minds to create exceptional objects of lasting excellence. Come and experience the human spirit and talent of man the maker: Homo Faber.

“Showcasing what human beings can do better than machines”

The exhibition Homo Faber celebrates European craftsmanship in the beautiful Fondazione Giorgio Cini in Venice. The building’s galleries, library, cloisters and even its 1960s-designed swimming pool will host masterpieces, exhibitions, installations and workshops presenting the work of European artisans at the top of their game. Italian architect Michele de Lucchi, London-based professor of fashion Judith Clark, gallerist Jean Blanchaert, acclaimed architect Stefano Boeri and Parisian interior designer India Mahdavi are among the world-class names creating the 16 exhibition spaces. Together, the exhibits showcase a vast array of materials and expertise, from rare traditional skills on the brink of being lost to the most cutting-edge contemporary techniques.

An immersive experience, the exhibition offers visitors an unprecedented opportunity to meet artisans and watch them work: observe contemporary and antique artworks being restored, see bespoke bicycles being made and watch master artisans creating something gorgeous right in front of your eyes. The use of photographs, Go Pro footage and virtual reality will transport visitors straight to the heart of artisanal workshops, giving them a real understanding of the connection between hand, head and heart that is crucial for creating exquisite objects of lasting value.

“Homo Faber is an expression that was first coined during the Renaissance and it captures and celebrates the infinite creativity of human beings,” says Johann Rupert, co-founder of the Michelangelo Foundation, which is organizing the exhibition. “The exhibit will provide a panoramic view of European fine craftsmanship but it will nevertheless have a singular undercurrent: what human beings can do better than machines.”

An artwork in itself and a center of cultural and humanistic studies, the Fondazione Giorgio Cini is the perfect location for Homo Faber, and visitors will get the chance to explore spaces that are not usually open to the public.

“We chose Venice for this exhibition not only because it is a bastion of culture and a place of unequalled beauty,” Franco Cologni, co-founder of the Michelangelo Foundation, explains, “but also because Venice is today and has always been a European hub for exchange and connection internationally.”

Homo Faber is the premier event organized by the Michelangelo Foundation, an international non- profit organization based in Geneva, Switzerland, which was set up to celebrate and preserve master craftsmanship around the world and strengthen its connection to design. Rooted in a tradition of culture and excellence and in the realities and challenges of today’s global economy, the Foundation aims to support those who dedicate themselves to the pursuit of master craftsmanship and to foster a new cultural movement built around the values that are essential for their work.

The Foundation focuses on Europe as a starting point for its activities, in recognition that craftsmanship has been a vital part of the economic and cultural fabric of the region for centuries, providing both a rich heritage and a competitive advantage in a global world.

Collaborating on Homo Faber with the Michelangelo Foundation are partner organizations that share its vision including: the Fondazione Cologni dei Mestieri d’Arte, the Fondation Bettencourt Schueller, the Fondazione Giorgio Cini, and the Triennale di Milano Design Museum.



As a part of the celebration of Tivoli’s 175th anniversary, Cathrine Raben Davidsen has been granted the honor of curating the garden’s magnificent firework-show, which can be experienced all saturdays in June at midnight. The fireworks are a mixture of fireworks, lighting and music.

From May to September 2018 Tivoli will host the fireworks show, which will be curated by five Danish artists. In collaboration with Tivoli’s Firework Master they will curate their own firework-show and choose the accompanying music. Cathrine Raben Davidsen has collaborated with musicians Peder & Asger Baden to create the sound piece to accompany her firework-show, which can be experienced in Tivoli every Saturday in June.

NY FYRVÆRKERI DESIGNER I TIVOLI Den 2. juni 2018 tages der hul på en ny omgang lørdagsfyrværkerishows med stemningsfulde lyde fra Koncertsalens tag. Juni måneds fyrværkeridesigner er billedkunstneren Cathrine Raben Davidsen, der afløser tøjmanden Mads Nørgaard. Den anmelderroste billedkunstner Cathrine Raben Davidsen har sammen med de to musikere Peder & Asger Baden og Tivolis fyrværkerimester, skabt et særligt lydværk til at ledsage hendes midnats-fyrværkerishow, som kan opleves i Tivoli alle lørdage i juni måned kl. 23.45.

VIL NOGET HELT ANDET Cathrine Raben Davidsen vil med sit fyrværkerishow i Tivoli skabe en ramme for reflektion med stærke referencer til det ukendte og til menneskets søgen og tro. Lydværket er dunkelt og mystisk og bæres af spøgelseslignende vokaler, som bl.a. samples med lyden af flyvende fugle og lydoptagelser fra Vor Frue Kirke i København. Fyrværkeriet iscenesættes af en lys-scenografi, som benytter sig af både rytmer, farver, og kontraster, og derudover bruges langsomheden som et særligt greb ved at give plads til små ophold med komplet mørke og ved at lade enkelte raketter stå alene over længere tid. Hvordan det spiller af må publikum og fyrværkerifans selv ind og erfare. Billedkunstner Cathrine Raben Davidsen skal designe fyrværkeriet i juni måned.

Hun siger: “Jeg synes, det er en fantastisk mulighed af få lov til at designe et fyrværkerishow. Og med en baggrund som billedkunstner, så tænker jeg, at jeg kan gribe det an på en helt anden måde. Jeg ser det som et levende værk, hvor jeg kan trække på nogle af de ting, som berører mig i mit eget arbejde. Det, der interesser mig i mine værker, vil helt sikkert afspejle sig i fyrværkeriet.”

FYRVÆRKERI ROTATION I årets sommersæson i Tivoli sætter fem kendte københavnere deres personlige præg på lørdagsfyrværkerierne. Hver måned får sit eget fyrværkerishow og bliver designet af en københavner, der vælger musikken og i samarbejde med Tivolis fyrværkerimester Gunnar B Knudsen sammensætter fyrværkeri og farver.

PROGRAM FOR FYRVÆRKERI I TIVOLI Maj – Mads Nørgaard, tøjdesigner Juni – Cathrine Raben Davidsen, billedkunstner Juli – Jesper Binzer, musiker August – Den Sorte Skole, sampler duo September – Mette Lindberg, sanger Der er også festfyrværkeri den 15. august, hvor Tivoli officielt fejrer sin 175 års fødselsdag. Sommersæsonen lukkes og slukkes med fyrværkeri den 23. september.

TIVOLI: HISTORISK LANG FYRVÆRKERI TRADITION Fyrværkeri har en lang tradition i Tivoli. Havens grundlægger, Georg Carstensen, arrangerede forestillinger med ”bengalske flammer” som trækplaster før Tivolis første sæson i 1843. Dengang lå der en fyrværkerifabrik ved Stadsgraven lige bag Divan 2. Selve afbrændingen af fyrværkeriet foregik på en estrade lige uden for Haven. Grunden til det arrangement var, at man ikke kunne transportere fyrværkeri over store afstande, men man kunne på den anden side heller ikke skyde det af midt imellem folk; kemikalierne var ikke sikre nok. Fyrværkerierne fandt sted på særlige festaftener, hvor der også var såkaldt brillant illumination. Det indebar, at der blev tændt lys på bygninger og i træer og bede. Dette var ingen enkel sag, for der var tale om glas fyldt med olie med en lille flyde-væge monteret i forskellige holdere. Hver eneste lampe skulle altså tændes manuelt. En aften med festbelysning sluttede med fyrværkeri.

Tivolis første og faste fyrværker var Gaëtano Amici, som Carstensen havde inviteret fra Italien. Det er ham, der har givet navn til Amicisvej på Frederiksberg.

True Blue Lamps

True Blue Lamps is a series of new ceramic lamps available at The Future Perfect and at CRD studio. The True Blue ceramic lamps are beautiful utility objects and works of art. The monochrome ultramarine pigment used for the lamps bears resemblance to Yves Klein. Every lamp is unique and vary slightly in color and size while the lampshades are made from hand-painted fabric. The inspiration comes from among other sources Pre-Columbian terracotta works and ancient Japanese craft traditions, including special glazing techniques and raku firing.

Fri Kunst – Frie Børn

Årets udstilling med kunstnersammenslutningen Den Frie Udstilling er en tobenet størrelse med et helt særligt kuratorisk fokus på barndommen, barnet, det barnlige og børn i kunsten. Som en del af den traditionelle udstilling, hvor medlemmerne af sammenslutningen hvert år viser egne værker, indvæves nøje udvalgte værker af kunstnere som Kai Nielsen, J.F. Willumsen, Sven Dalsgaard, Anne Marie Carl-Nielsen og Wilhelm Freddie. Værkerne på udstillingen vil derfor spænde fra ældre til helt nyproducerede værker, hvor den tematiske del forholder sig til ideen om det frie menneske og barnet, både som motiv og som kunstnerisk udtryk. Som eksempel på spændvidden kan man bl.a. opleve eller genopleve værker som Henrik Plenge Jakobsens Laughing Gas House for Children og Kai Nielsens Træet og børnene. Titlen Fri Kunst, Frie Børn, Den Frie Udstilling 2018 danner således ramme om begge udstillingsdele og peger samtidig på den idehistoriske sammenhæng om det frie menneske som forudsætning for fri kunst.

Bag årets udstillingskoncept er de to billedkunstnere og medlemmer af sammenslutningen Søren Jensen og Lars Bent Petersen. Med udstillingen ønsker de at se på, hvordan børn ideologisk og filosofisk er blevet fremstillet i kunsten, og hvordan uddannelse og opdragelse har forandret sig gennem tiden. Synet på, hvad det vil sige at være barn, har ændret sig i takt med kulturelle omvæltninger, og selve betydningen af begrebet ’barndom’ har forandret sig over tid. Først med filosoffen Jean-Jacques Rousseau (1712-1778) blev barndommen anset som en livsfase med værdi i sig selv. Netop med inspiration hentet fra Rousseaus ideer om barndommen, formuleret i romanen Émile ou de l’éducation fra 1762 (da. Emile eller Om opdragelsen), er det intentionen med udstillingen at undersøge udgangspunktet for det frie og moderne menneske. Med udvælgelsen af værker vil Søren Jensen og Lars Bent Petersen desuden pege på den udvikling, som har fundet sted fra oplysningstidens idealer om frihed og fri leg til den helt aktuelle ”konkurrencestats idealer om produktivitet”, som de formulerer det.

Alle inviterede kunstnere på årets udstilling er derfor valgt på baggrund af helt specifikke værker, som på forskellig vis relaterer sig til tematikken omkring barndommen, barnet og det barnlige: Agnete Bjerre, Albert Mertz, Ana Pavlovic, Anette Abrahamsson, Anne Marie Carl-Nielsen, Cathrine Raben Davidsen, Christian Schmidt Rasmussen, Einar Utzon-Frank, Ejler Bille, Hanne Nielsen og Birgit Johnsen, J.F. Willumsen, Jesper Carlsen, Johannes Hofmeister, Johannes Sivertsen, Kai Nielsen, Knud Nellemose, Lilibeth Cuenca Rasmussen, Maiken Bent, Malthe Engelsted, Paul Høm, Randi & Katrine, Storm P., Sven Dalsgaard og Wilhelm Freddie. Tanken bag inddragelsen af værker af de afdøde medlemmer er at aktivere og reaktualisere sammenslutningens historie og markante betydning i dansk kunst.

Deltagende kunstnere på Fri Kunst, Frie Børn, Den Frie Udstilling 2018:
Bjørn Nørgaard, Ebbe Stub Wittrup, Elle Jørgensen, Elsebeth Jørgensen, Finn Reinbothe, Freddie A. Lerche, Hein Heinsen, Henriette Heise og Ferdinand Ahm Krag, Henrik B. Andersen, Henrik Plenge Jakobsen, Jytte Høy, Jørgen Michaelsen, Kristine Kemp, Lars Bent Pedersen, Leif Kath, Lis Nogel, Margrete Sørensen, Maria Finn, Martin Erik Andersen, Mikkel Carl, Mogens Møller, Morten Stræde, Niels Andersen, Pernille With Madsen, Peter Holst Henckel, Poul Pedersen, Signe Guttormsen, Simon Starling, Sophia Kalkau, Søren Elgaard, Søren Jensen, Thorbjørn Lausten, Torben Ebbesen, Ulrik Heltoft og Yvette Brackman.



Den Frie er Kunstnernes Hus og ser det som sin fornemste opgave at vise udstillinger med rod i bygningens kollektive tradition. Her er særligt fokus på samtidskunstneriske fællesskaber, kunstnersammenslutninger samt eksperimenterende grupperinger og netværk.

Den Frie er bygget og ejet af kunstnere med det grundlæggende formål at præsentere publikum for det sidste nye inden for samtidskunsten. Her præsenteres et interessant og varieret udstillingsprogram bestående af ca. 10 udstillinger årligt med både danske 
og udenlandske kunstnere, der
 alle forholder sig til tidens aktuelle emner. Huset er
 en platform for den levende kunst og ny kunstproduktion med deltagelse af mange kunstnere og tæt dialog kunsten, kunstneren og publikum imellem.

Den Frie har til huse i et af Københavns mest bemærkelsesværdige, arkitektoniske bygningsværker tegnet af J. F. Willumsen i 1898. Bygningens frontrelief forestiller Pegasus med en yngling på ryggen – et symbol på at her vises den frie kunst. Mantraet var dengang, som 
i dag, at Den Frie er ”vanvittigt optaget af sin samtid”.


Den Frie Udstillingsbygning har en betydelig plads i dansk kunsthistorie og på den aktuelle kunstscene. Bygningen blev oprindeligt opført i 1898 ved Vesterport af den banebrydende kunstner, fotograf, keramiker og arkitekt J.F. Willumsen. Willumsen var fader til den danske skønvirketradition, hvilket den fredede udstillingsbygning er et unikt eksempel på.

Bygningen er ejet af kunstnersammenslutningen Den Frie Udstilling, der blev stiftet i 1891 af kunstnerne Johan Rohde, J.F. Willumsen, Vilhelm Hammershøi, ægteparret Harald og Agnes Slott-Møller, Christian Mourier-Petersen og Malthe Engelsted. Målet var at skabe et alternativ til den censurerede forårsudstilling på Charlottenborg med forbillede i den franske Salon des Refusés.

I 1893 lejede Den Frie Udstilling en grund ved Rådhuspladsen, og store internationale kunstnere som Paul Gauguin og Vincent van Gogh bidrog med værker til udstillingen. Den Frie Udstilling flyttede til Aborreparken i 1898, og en træpavillon blev bygget med Willumsen som arkitekt. Han hentede blandt andet inspiration fra ægyptisk arkitektur og græske templer. Ligesom i dag var bygningens facade pyntet med et frontrelief, der portrætterer en pegasus, som i græsk mytologi er symbol på den frie kunst og digternes inspiration.

I 1913 blev bygningen skilt ad, hvorefter kunstnerne genrejste bygningen på dens nuværende placering på Oslo Plads. Bygningen er sidenhen blevet udvidet af flere omgange, og i 1986 blev Den Frie fredet som et historisk monument.

I perioden 2012-2014 blev J.F. Willumsens bygningsværk tilbageført til sin originale udformning, hvor tilbygningen fra 1954 blev fjernet. Derudover blev bygningen udvidet med en ny underetage, som huser et udstillingsrum og Café Polykrom. Arkitekten på ombygningen er MAA PhD Bente Lange, som tillige står bag Tolbodbygningen, Marienlyst Slot samt Tuborg Bryghus og modtog i 2015 forskønnelsesprisen for den gennemgående restaurering og fornyelse. Underetagen blev muliggjort af A.P. Møller og Hustru Chastine Mc-Kinney Møllers Fond til almene Formaal, som med deres betydelig donation fremtidssikrede Den Frie.

I 2016 åbnede Københavns Kommune en have omkring huset, så bygningen ville stå som en skulptur på en grønning – akkurat som J.F. Willumsen ønskede. Haven har åbnet Den Frie op mod sine omgivelser og kan benyttes af husets besøgende, nysgerrige forbipasserende og caféens gæster.


Kunstnersammenslutningen – Den Frie Udstilling

Den Frie Udstilling er Danmarks ældste kunstnersammenslutning, og af samme grund har sammenslutningen en betydelig plads i dansk kunsthistorie og kulturliv, hvor summen af de mange årlige udstillinger vidner om udviklingen i dansk kunst over et århundrede. Den Frie Udstilling har i dag 53 medlemmer, og sammenslutningen arrangerer årligt en udstilling i Den Frie, der giver medlemmerne mulighed for at vise deres nyeste værker.

Den Frie Udstillingsbygnings bestyrelse

Den Frie Udstillingsbygnings bestyrelse består af en formand og fire medlemmer, som sidder i en 4-årig periode: Bestyrelsen udpeges af Den Frie (Formanden samt et bestyrelsesmedlem med økonomisk/juridisk kompetence), Akademirådet, AICA samt BKF/UKK på skift. Bestyrelsen har ansvaret for Den Frie, og her findes kunstfaglige, bygningskyndige og økonomiske kompetencer.

Søren Jensen (Formand)
Poul Flemming Hansen
Katja Bjørn
Peter S. Meyer
Søren Martinsen



Mandag: Lukket
Tirsdag – Fredag: 12 – 18
Torsdag: 12 – 21
Lørdag – Søndag: 12 – 18

Kilde: Den Frie Udstillingsbygning

Velvet Ropes

Velvet Ropes is a 5 hour sale featuring A3 works by around 80 international artists. All works will be priced at 1000 DKK. The works will be sold on a first come, first served on Saturday 21st at the gallery, doors will open at 12 noon.

Velvet Ropes gives collectors and fans, who are otherwise priced out of the market, an opportunity to purchase works from some of today’s most exciting talents, and gives artists a chance to widen their collector base and connect with their peers around the world.

Artists include: John Kørner, Constance Tenvik, Dexter Dalwood, Malene Landgrene, Michael Simpson, Jenny Källman, Richard Woods, Camilla Thorup, Mike Silva, Ryan Gander, Anna Bjerger, Cathrine Raben Davidsen, Ditte Gantris, Dickon Drury, Thomas Hylander…

Velvet Ropes is organised by Charlie Roberts and Chris Rexroad, Director of 0-0 LA gallery with David Risley Gallery.

The works will be displayed in the Furniture by Artists environment that is currently up at the David Risley Gallery.


David Risley Gallery
Bispevej 29
2400, Copenhagen NV
+45 26 16 36 71


Saturday April 21st

Doors open at 12 sharp


Cathrine Raben Davidsen og Naja Marie Aidt er aktuelle med et nyt håndlavet bogværk lavet i samarbejde med forlaget Officin. Bogen er trykt i 250 eksemplarer og hver bog er nummereret og signeret. BLÅ SPOR indeholder 9 digte og en række private fotografier, nye cyanotypier (blåprints) og litografier. Motiverne er bl.a. hentet fra naturen omkring Cathrines hus i Sverige og indeholder motiver af hendes to børn, mens billederne af fjer er fra hendes afdøde fars samling af håndlavede hattefjer, trykt med den såkaldte fotografiske blåprint teknik. Digtene kredser om natur, tid, liv, død, tab, det synlige og det skjulte.

I anledning af udgivelsen udstiller Cathrine Raben Davidsen nogle af de originale cyanotypier, og der udgives desuden et særtryk i et nummereret begrænset oplag.

Fernisering og boglancering finder sted lørdag den 24 marts 2018 i Officin kl. 15-17, hvor både Cathrine Raben Davidsen og Naja Marie Aidt vil være tilstede. Bogen koster 550 kr og kan købes hos udvalgte boghandlere bl.a i Louisiana Shop og Butik Stilleben eller på CRD studio shop. Bogen er gavmildt støttet af Statens Kunstfond.

Vesterbrogade 75
1620 Kbh V 

Tirsdag–Fredag: 11–17 / Lørdag: 11–14


Furniture by Artists

A chair is a chair is a chair. Chair, chair, chair. Richard Woods made a chair. Matt Calderwood took a ‘For Sale’ sign and made it into a chair. Anna Bjerger found a chair and used it as a surface for painting. Where does sculpture end and furniture start. Where do art and design meet. This show includes chairs, sculptures of chairs and sculptures that use chairs as material.

What about Scandinavian design. What we do we think of when we think of Danish design? Wood, nature, harmony, candle light, calm, coziness. What about Verner Panton, one of the great Danish designers of the mid 20c. Somehow his brightly coloured, plastic, pop influenced work doesn’t fit the Danish image of itself. The Nordic brand that has been retrospectively packaged and sold to the world has become a self fulfilling prophecy adopted and believed by the Danes themselves. This show examines all this. We’ve made a twisted, surreal furniture store to take a look at alternative histories and realities. A place where Verner Panton is as Danish as Hans Wegner. Hygge is not the only option.

Simon Starling’s has remade Gerrit Rietveld’s Zig Zag chair, an icon of modernism, using 45,910 year old wood which was found preserved and workable in a bog in Africa. Starling’s chair is placed on a plinth by Malene Landgreen, which sits on Maiken Bent’s carpet, all of this is lit by a Richard Woods lamp and positioned in front of Lothar Götz’s wall painting.

We made this furniture store using around 20 chairs, 18 lamps, 2 beds, 1 problem, a tv, a couple of benches, 6 tables, a hammock, a fireplace, lots of ceramics, bookshelves, framed pictures and lots more, by 28 artists. More will be added throughout the show.

During the exhibition we will invite furniture experts – curators, shop owners and designers to reconfigure the displays. This is a furniture store, not a fixed, static exhibition. The Helen Frik ceramics sitting on the FOS table can be bought and carried away. So can the FOS table. We might even have a closing sale.

Maiken Bent, Anna Bjerger, Milena Bonifacini, Ib Braase, Matt Calderwood, Desmond Church, Alex Da Corte, Cathrine Raben Davidsen, Graham Dolphin, FOS, Helen Frik, Ryan Gander, Ditte Gantriis, Poul Gernes, Lothar Götz, James Hyde, John Kørner, Malene Landgreen, Albert Mertz, Maria Nepomuceno, Opavivará!, Torben Ribe, Charlie Roberts, Simon Starling, Superflex, Daniel Svarre, Evren Tekinoktay, Pernille Kapper Williams, Richard Woods

David Risley Gallery
Bispevej 29
2400, Copenhagen NV
+45 26 16 36 71

Opening hours:
Wed-Fri 12.00-17.00, Sat 12.00-15.00

End of The Line




Andreas Albrectsen, Cathrine Raben Davidsen, Mette Nisgaard Larsen, Fie Norsker, Ahmad Siyar Qasimi, Nils Elvebakk Skalegård og Morten Schelde.

Morten Schelde og Nils Elvebakk Skalegård har sammensat kunstnere til udstillingen End of the Line, ud fra et ønske om at sætte tegningen og det figurative i centrum. Alle kunstnerne på udstillingen arbejder med tegningen som en central del af deres produktion.

Tegningen kan noget særligt. Der er en særlig intimitet forbundet med at se stregen på et papir. Det kunne næsten ligeså godt være et notat fra en dagbog, vi ser på. På den måde er tegningen nem at relatere til. Den er så direkte. Måske kan man endda påstå, at der er noget ligheds-skabende over tegningen, altså som et nærmest demokratisk projekt, da alle, der kan sætte en blyant på et papir, i teorien har lige mulighed for at byde ind. Det kræver egentlig ingen særlige forudsætninger, andet end ønsket om at manifestere sig.

På End of the Line er tegningen en omsætning af virkeligheden. Verden opleves indefra, gennem sanserne. For tegningens vedkommende er synet selvfølgelig vigtigt. Men hvad sker der, når vi ikke ser på verden, som noget uden for os selv? Man kan fylde netop det på, som øjnene ikke ser, altså synliggøre en indre verden samtidig – som en slags meditation, hvor man får sten til at flyve.


Velkommen til fernisering torsdag d. 18. januar kl 18-22


18.01 – 03.02.2018

torsdag – lørdag kl. 14-18 (eller efter aftale)



Den Nordiske Ambassade

non-profit exhibition space

Hillerødgade 83

2200 København N





Elle Decoration






Mater Lithographs

The new series of original lithographs titled MATER have been made in collaboration with Edition Copenhagen, a lithographic workshop and gallery space located in a 1000m2 characteristic building in the Christianshavn district of Copenhagen established in 1959. Learn more about Edition Copenhagen here. For inquiries about available prints please contact crd studio.




Cathrine Raben Davidsen har med SWOON (på dansk SVIME) skabt en række nye værker, hvor hun udforsker den menneskelige figur som en metafor for transformation. Værkerne befinder sig i et krydsfelt imellem tegning og maleri, og deres lethed og transparens balancerer side om side med den alvor, der ligger i både kunstnerens personlige erindringer, såvel som i de temaer, hun inspireres af.

I forbindelse med udstillingen udgives den konceptuelle artist book SWOON – A Play for Cathrine Raben Davidsen; et skuespil skrevet af den engelske forfatter Charlie Fox, hvori Cathrine Raben Davidsens værker væves ind og ud. Charlie Fox lader malerier og tegninger agere i samspil med både lyriske og musikalske værker og trækker på denne måde tråde mellem forskellige kunstneriske udtryk via temaerne liv, død, identitet og væren. Cathrine Raben Davidsens temaer; alt sammen skabt i Charlie Fox’s egen særprægede form. Og i dette tilfælde favner det dramatiske udtryk disse eksistentielle emner og lader transformationen ske gennem karakterernes (selv)erkendelse i løbet af historien.

Cathrine Raben Davidsen skildrer kompleksiteten mellem det sårbare og det brutale gennem sine maleriske personskildringer, hvor hun balancerer minutiøs stregtegning og detaljerigdom med opløste, udviskede konturer og mættede billedflader. Alle disse lag anes kun umiddelbart, men er samtidig stædigt tilstedeværende i værkerne i udstillingen SWOON.

Cathrine Raben Davidsen (f. 1972 i København) er uddannet på Det Kongelige Danske Kunstakademi i København og på akademier i Holland og i Italien. Hun har udstillet bredt i Danmark og i udlandet, og er repræsenteret i betydelige danske og internationale kunstsamlinger. Cathrine Raben Davidsen har skabt kostumer og set design for Den Kgl. Danske Ballet og har modtaget et flertal af prestigefulde legater herunder Anne Marie Telmanyi født Carl-Nielsens Fond, Niels Wessel Bagges Hæderslegat og H.H. Bruuns Hæderslegat samt legater fra Statens Kunstfond og Kunstrådet.





Galleri Jacob Bjørn
Thorvaldsensgade 33a
DK-8000 Aarhus C
+45 6018 0151

Thursday 12.00-17.00
Friday 12.00-17.00
Saturday 11.00-15.00
Or by appointment







Ceramic Creations



Cathrine Raben Davidsen began making ceramic lamps as a playful project

outside her art practice.They’re now on their way out into the design world via

a collaboration with Milan’s trendsetting Nilufar Gallery.


We met the artist somewhere in the process.

Prototypes. Experiments. Artist Cathrine Raben Davidsen’s studio is filled with lamps. On the long work table beneath the window where she sits are handmade shades using silkscreened prints, and ceramic bases, matt, smooth, and patterned, side by side like little sculptures – some small and chubby, others tall and cone-shaped. In a corner are two large, floor lamps that are still being worked on. Their ceramic bases are glazed bronze, and when you get close enough, you can see a fine crackle.

I dream in lamps, Cathrine Raben Davidsen jokes  when RUM pops by for a talk  on a cold day in January. A talk about her collaboration with Milanese design guru Nina Yashar, the woman behind the trendsetting Nilufar Gallery, which will result in a small, exclusive collection of floor lamps and unique ceramic vessels.

It is a rather different kind of process for the artist who’s used to the solitary nature of drawing and painting. For the time being, headphones and ­canvasses have been replaced with a phone that keeps her in contact with a small team of skilled artisans. The blacksmith who made the  lamp stand of solid bronze calls with an important message. The fabric supplier calls to give a heads-up on the 12 metres of bronze woven wire mesh her assistant needs to sew the lampshades. Everything is made by hand individually for each lamp.

The bronze coloured floor lamps are going to ­Milan’s annual design event in April where they will be shown to the huge international audience that each year converges on the city to seek inspiration and spot talent. They are the result of more than six months of work and three visits to Nina Yashar in Milan.

 We’ve been working on this project since August and it has really tested my patience. We quickly discovered a number of challenges and obstacles – just finding out how to construct a frame that fits the shades. It has really taken a lot of time, because we depend on so many people through the entire process, and I’m not used to that at all. I’ve had to learn that. Now I understand  why a design process may take years. When I work on my paintings, I don’t have a template, and that’s awesome – I’ve realised that much in this very ­different ­process. When I paint, it’s just me and the works, says Cathrine Raben Davidsen.

The collection for Nilufar Gallery is the provisional culmination of Cathrine Raben Davidsen’s ceramic adventure. Only 18 months ago she made her first lamp collection exhibiting it at The Apartment design gallery in Copenhagen. That has opened the doors to the upper echelons of the design business.

 At the time I thought it would be fun to do something that could be used, something functional. Not just art to look at and contemplate. The lamps began as a playful, lighthearted kind of project, and I had no expectations it would amount to anything major, and then I’ve just seized the opportunities that presented themselves along the way. I think perhaps that attitude paved the way, says the artist, who one day, prompted by people who had seen her collection, sat down and wrote a letter to Nina Yashar attaching her exhibition catalogue. That was during design week in Milan last year. She received a standard e-mail reply stating that Nina Yashar was busy, but would look at the material at a later date.

A couple of weeks went by, and then I got a mail from them, asking if I could come to Milan. I was totally taken aback, says Cathrine Raben Davidsen.

Although working with ceramics is new to her artistic oeuvre her interest dates back many years and was heightened by trips to Mexico and Japan.

 I’m very much inspired by Japanese firing techniques, where it’s all about the process and the things that might happen with the glazing. That’s also reflected in my more recent drawings and paintings. Over the past two years I’ve  focused on materiality and tangibility and experimented with materials, which together create a chemical reaction. It’s a process that can’t be controlled, and I like that. It’s the same when I work with the glazing for my ceramic objects. I haven’t trained as a ceramicist, and glazing is something I’ve taught myself to do, so a lot of mistakes happen, but they’re beautiful mistakes and imperfections. In Japan they think that something divine has blown on the ceramics when little bubbles appear or the glaze has run in places, she says.

She and her husband, Jens Lindegaard, have a raku-oven in their country house in Sweden, where they burn their own ceramics.

 There’s a crazy amount of technique involved, and Jens is extremely good at it.

For the first time in their 18 years together, her husband has joined one of her projects as co-designer on the Nilufar collection, the artist says. They met Nina Yashar as a couple the first time.

 I think Nina thought it was interesting that Jens is an ophthalmologist and I’m an artist. I told her that I’m neither a ceramicist nor a designer. I don’t perceive myself in that way. For me, it’s more of a sculpture than a lamp we’re creating. It’s an entire universe we make. If it hadn’t been for her, we would have never taken this on. Nina Yashar calls herself a talent scout, and that’s what she’s into. For her it’s a very personal process to find new designers, and it’s something that she really loves and cultivates. Each year she brings in some complete unknowns. It’s a big gamble on her part, says Cathrine Raben Davidsen adding:

As an artist I think it’s about not being afraid of doing it. Several painters and artists have taken a chance with furniture design. It’s easier for artists to enter the world of design than the other way around. 



SWOON – by Charlie Fox


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The conceptual artist book SWOON – A Play for Cathrine Raben Davidsen is written by the English writer Charlie Fox and in the book, the drawings and paintings of Cathrine Raben Davidsen are juxtaposed with both lyrical and musical works, drawing in this way threads between different artistic expressions through the themes of life, death and identity. All created in Charlie Fox’s own distinctive form. All works reproduced are renderings of original artworks and exist only in this form in the book.

Charlie Fox is a writer who lives in London. He was born in 1991. His work has appeared in many publications including frieze, Cabinet, Sight & Sound, ArtReview, The Wire and The White Review.


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Human Nature



Human Nature is a group show featuring new ceramics by

Cathrine Raben Davidsen

Fie Norsker

Mette Winckelmann

Ursula Nistrup

HUMAN NATURE shows new ceramics by four Danish contemporary artists: Cathrine Raben Davidsen, Fie Norsker, Mette Winckelmann and Ursula Nistrup. They differ greatly in terms of their overall idioms, but come together in a shared interest in humanity and the human body. Their imagery ranges from the simple and disturbing feel of Raben Davidsen´s work to the playful and expressive qualities of Norsker to the combination of sheer physicality and stringent formality in Winckelmann. Their distinctive ceramic works explore the nature and processes of ceramics even as the artists also work with the symbolic language underpinning the works. Ceramics has increasingly gained ground within the field of contemporary art in recent years, blurring the boundaries that previously separated applied and fine art. The fact that an ever-growing number of artists choose to explore this medium in addition to their other practices is partially prompted by a desire to express oneself in a medium that is immediate, sensuous and tactile. The working process is playful in itself, and it is easy to be seduced by the end result. Quite simply, you want to touch it. To feel the traces left behind by the artist’s shaping of the clay and the smooth, varied surfaces created by the glazes. The material is also familiar to us observers: we know it from objects of everyday use, and so we may have a more immediate, down-to-earth response to ceramics compared to more traditional fine-art modes of expression.

Cathrine Raben Davidsen shows ceramic clay pots and lidded containers with facial features that seem to break through the skin of the clay. Her pots have been fired using the ancient Japanese raku technique. A simple, but unpredictable technique that can, as is the case in Raben Davidsen’s work, result in a vibrant play of lines in the glaze. She draws inspiration from predecessors such as pre-Columbian terracotta and the late Danish Bronze Age, where urns with facial features were commonly used for funeral rites. Full of life, the sensuous surfaces of these face-pots accentuate the impression that they are inhabited by creatures who try to break through the shell of their containers. These are simple, classical ceramics that seem to be coming alive to eerie, disturbing effect. Raben Davidsen’s face-pots combine a fascination with ancient craftsmanship with studies of identity and of the beauty of the imperfect.

Fie Norsker’s ceramics share the anthropomorphic features of Raben Davidsen’s work, but Norsker eschews subdued, subtle beauty in favour of a vivid playfulness, conjuring up a motley crew of imaginary figures. Widely different, the array of figures includes owls, skull-men, furry animals and crooked vases with happy faces on them. Among the creatures on display we also find loose limbs such as a hand and a pair of legs walking on their own. The humorous impishness of these figures is accentuated by a playful approach to the clay itself and to its shaping. Together, Norsker’s figures make up a colourful mixed family, a gallery of offbeat individuals, thereby representing a different, more diverse narrative about individuality than the one found in Raben Davidsen, both in terms of form and content.

Mette Winckelmann’s contribution to the exhibition consists of a selection of the ceramic objects featured in her installation Blood, Phlegm and Bile at Esrum Kloster in the summer of 2016. Her ceramic dishes, cups, bottles and jugs take their starting point in the Cistercian monks’ belief that the human body is governed by humours. From the medieval period onwards, the monks’ endeavours to heal diseases were based on the philosophy that the balance of the human body is defined by its four cardinal humours: blood, phlegm, yellow bile (choler) and black bile (melancholy). Referencing humoural pathology and its perception of the four fundamental elements of the human body, Winckelmann has worked systematically and mathematically with red, white, yellow and black glazes on the unfired clay, allowing the inherent randomness of the firing process to determine the final appearance of her ceramics. As the monks worked with the human body, so Winckelmann works with the life and processes of ceramics.

In her contribution to Human Nature, Ursula Nistrup exhibits three new ceramic sculptures inspired by Chinese science fiction. The sculptures take their starting point in – and were produced to the accompaniment of – Chinese author Cixin Liu’s The Three-body Problem. Thus, the three large, black floor-standing jars were shaped with narrative and the imagination as an underlying creative principle. At the private view the jars will form part of a performance where dancers enact a choreography based on Liu’s idea of the positions and interrelationships of the titular three “bodies”. Nistrup’s performative ceramic sculptures will be brought to life through a dialogue with the dancers, the room and the observer. This is the first time that Nistrup explores the properties and potential of dance in terms of forging new links between her ceramic sculptures and their surroundings.




Exhibition period April 1st – May 14th 2017

For appointments and requests don’t hesitate to email us at

You are more than welcome

Les Gens Heureux
Store Strandstræde 19 5.
1255 Copenhagen



Triangle Collection


TRIANGLE collection for Nilufar Gallery includes a series of hand-crafted ceramic pots / Vessel Heads and two geometric lamp designs: Triangle Lamp and Hexagon Lamp. The Triangle Lamp has a cylindrical handmade shade and the Hexagon Lamp is available with two different handmade hexagonally formed shades. All of the shades are made of bronze woven wire mesh. The collection is a blend of sculpture and textile work with a particular emphasis on simple formal expression and the beauty of the imperfect. The Triangle collection is the first collection signed by Cathrine Raben Davidsen / CRD studio exclusively for Nilufar Gallery on the occasion of Milan Design Week 2017.

Working alongside Swedish-born husband Jens Lindegaard / CRD studio brings together a collection of sculptural pieces that explore an intriguing dialogue between art and design. The couple work from their Copenhagen studio, while the ceramics are glazed and fired piece by piece at their cottage in the Swedish countryside. The inspiration comes from among other sources Pre-Columbian terracotta works and ancient Japanese craft traditions, including special glazing techniques and raku firing. The ceramic side table is by CRD studio.

“As an artist doing mostly two-dimensional work I am not usually concerned with creating useable objects and therefore the collaboration with Nilufar Gallery is something very new and exciting. A particular sense for the material and the processual is characteristic of my working method, as my works are often built up of many layers in a variety of materials and techniques. But unlike my two-dimen­si­onal paintings and drawings the ceramics involve a higher degree of loss of control and unpredictability, as the firings and glazes vary and react differently from time to time. At the same time the curved surfaces of the ceramics pave the way for different kinds of narratives without a beginning or ending”. Cathrine Raben Davidsen, Copenhagen, 2017


For inquiries about the Triangle lamps contact:

Via della spiga, 32
20121 Milano,
tel. +39 02 780193

Nilufar Depot
viale Vincenzo Lancetti, 34
20158 Milano,
tel. +39 02 36590800



Martina Gamboni
via Edmondo De Amicis, 19
20123 Milano (MI) Italy







Paintings of Loss

The loss of her parent was the catalyst for Raben Davidsen’s entry into art. Unconsciously, “it was a way of connecting with my father,” says the artist. While she has moved away from her personal loss in her work, it remains a driving factor in a wider, global sense. Raben Davidsen’s later work builds on images of victims of conflict, remediating media images of death and loss. “I do have an ability of channeling into the feeling of loss,” explains the artist. “But what interests me today isn’t what happens when we die … It’s a transformation of form and includes the difference between body and soul and form and non-form.”

watch the video

Cathrine Raben Davidsen (b. 1972) is a Danish artist working primarily in painting, although her practice also includes drawing, ceramics, textile work and printmaking. She was partly educated in Florence, Italy and this classical training is clearly visible in her work, which combines art historical imagery with personal recollection to create fragile, dreamlike pieces. She has designed set and costumes for The Royal Danish Ballet and her work has been shown internationally, among others at SHOWstudio, London, UK and the Museum of Art and Design, New York.

Cathrine Raben Davidsen was interviewed by Kasper Bech Dyg at her studio in Copenhagen, Denmark in August 2016.

Camera: Klaus Elmer
Produced and edited by: Kasper Bech Dyg

Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2016

Supported by Nordea-fonden


About Louisiana Channel 

Louisiana Channel is a non-profit website based at the Louisiana Museum of Modern Art in Humlebæk, Denmark. With Louisiana Channel as a platform, Louisiana supplies culture to the Net that extends beyond the museum’s own events. The Louisiana team produces videos about art and culture on an ongoing basis, and new videos are posted at the site every week.

Louisiana Channel contributes to the permanent development of the museum as a cultural platform and wants to enhance the sense of the importance of art and culture. We see Louisiana Channel as a proposal for a part of a museum in tune with the 21st century, which is also able to hold the attention and interest of a new generation in cultural heritage, an intelligent present and an ambitious future.

It has always been Louisiana’s role to stimulate discussion of our society through the insights of art and the artists and the same goes for Louisiana Channel.

Kenosis Book



Kenosis is published on the occasion of the exhibition Cathrine Raben Davidsen – Kenosis, Horsens Art Museum 2016-2017. The book includes a total of 50 color reproductions of her paintings and drawings and features texts by Museum Director Claus Hagedorn Olsen and Julie Horne in both english and Danish.

For further inquiries or to order your own copy of the book go to online shop

© 2016 Horsens Kunstmuseum og forfatterne/Horsens Art Museum and authors

Alle billeder/All images © Cathrine Raben Davidsen

Redaktion/Editor: Claus Hagedorn Olsen, Julie Horne Møller, Cathrine Raben Davidsen

Layout og grafisk design/Layout and graphic design: Claus Hagedorn-Olsen

Fotografi/Photography: Anders Sune Berg

Tekst/Text: Julie Horne Møller

Oversættelser/Translations: James Manley

Printet af/Printed by: Narayana Press, Denmark ISBN: 978 87 88985 90 0

Tak til Marie Nipper for råd og gennemlæsning af katalogets artikel / Thanks to Marie Nipper for advice and for reading of the catalogue text.

For gavmild støtte vil vi gerne takke/For great support we would like to thank: Juni Fonden,Tove og Carsten Løvbjergs Almene Fond,
Konsul George Jorck og Hustru Emma Jorck ́s Fond, Grosserer L. F. Foghts Fond, Statens Kunstfond, Statens Værksteder for Kunst og Design og / and Beckett Fonden.



















Horsens Art Museum has followed Cathrine Raben Davidsen’s artistic work since 2003, when she was awarded the Artist’s Prize of the Friends of Horsens Art Museum and respon­ded with the exhibition ‘Pen Pencil Poison’ – an acquaintance which over time has given Cath­rine Raben Davidsen a prominent place in the collections of Horsens Art Museum.

With the exhibition Kenosis Cathrine Raben Davidsen presents a number of new paintings and drawings that explore the human figure as a metaphor of transformation. The exhibition title, Kenosis, is the Greek word for renunciation and means emptying or purging oneself as a human being. The classic instance is Christ renouncing his divinity to become human. In the works Cathrine Raben Davidsen fundamentally explores the movement from spirit to matter, and she sees the kenosis concept as an image of the artistic process. The works occupy a landscape midway between figuration and abstraction – between drawing and painting.

In the artistic process Cathrine Raben Davidsen has worked to loosen up the composition of the works by pouring pigments mixed with a binder out on the surface in an uncontrollable chemical process, after which she has intuitively drawn and painted on the basis of the structures that have arisen. In the exhibition we also see a number of works created with a background in contemporary images of war. The works are light and transparent in their colour scheme, but the origins and messages of the images are anything but easy to relate to. She herself explains: “My starting point is in the contemporary, especially in the smaller oil works that are painted on the basis of present-day photographs. I mix this with my own draw­ing style to express the relation between body and spirit.””

Over the years Cathrine Raben Davidsen has worked in a broad artistic practice that encompasses painting, drawing, ceramics, photography and printmaking, often with a recurring, figurative theme. She challenges the possibilities of the media, and has created her own distinctive language. With a repeated focus on historical figures and spiritual issues she has been absorbed throughout her career in questions of identity and how identity is tied to memory and history. Themes from the history of art, and a range of textual references associated with Western and Eastern mytho­logy and literature, are a constant source of inspiration for her choice of both subjects and techniques. But the works draw their underlying material as much from deep-seated memories and dramatic images taken from the contemporary mediascape, where she works with a point of departure in issues of human identity and what is perhaps the very greatest mystery and question in life – death.

The exhibition is made possible by: 15. Juni Fonden, Statens Kunstfond, Tove og Carsten Løvbjergs Almene Fond, Statens Værksteder for Kunst, Beckett-Fonden and Konsul George Jorck og Hustru Emma Jorck’s Fond.

For further press information please contact: Horsens Art Museum, Museum Director Julie Horne Møller, or +45 76292381 / +45 53382439

Visit the Horsens Art Museum here



Cathrine Raben Davidsen på Horsens Kunstmuseum

Lørdag den 17. September 2016 – Søndag den 15. Januar 2017

Horsens Kunstmuseum har fulgt Cathrine Raben Davidsens kunstneriske arbejde siden 2003, hvor hun modtog Horsens Kunstmuseums Venners Kunstnerpris og kvitterede med udstillingen ’Pen Pencil Poison’. Et bekendtskab der med tiden har givet Cathrine Raben Davidsen en stor og betydningsfuld plads i Horsens Kunstmuseums samlinger.

Med udstillingen Kenosis præsenterer Cathrine Raben Davidsen en række nye malerier og tegninger, som udforsker den menneskelige figur som en metafor for transformation. Udstillingens titel, Kenosis, er græsk og betyder at tømme sig selv menneskeligt. Begrebet refererer til det stadie, hvor Kristus opgiver sin guddommelighed og bliver menneske. I værkerne undersøger Cathrine Raben Davidsen bevægelsen fra ånd til materie, og hun ser kenosis-begrebet som et billede på den kunstneriske proces. Værkerne befinder sig i et krydsfelt mellem figuration og abstraktion – imellem tegning og maleri. I den kunstneriske proces har Cathrine Raben Davidsen arbejdet på at løsne op for kompositionen i de monumentale malerier og tegninger ved at hælde pigmenter, olie og vand blandet med bindemiddel ud på fladen i en ukontrollérbar kemisk proces, hvorefter hun intuitivt har tegnet og malet med udgangspunkt i de strukturer, der er opstået.

På udstillingen ses desuden en række værker skabt med baggrund i samtidens krigs- og terrorbilleder. Værkerne er lette og transparente i deres farveholdning, men værkernes forlæg og budskaber er alt andet end lette at forholde sig til. Selv forklarer hun: “Jeg tager udgangspunkt i samtiden, særligt i de mindre olieværker, der er malet ud fra nutidige fotografier. Dette blander jeg med min egen, indre streg for at udtrykke forholdet mellem krop og ånd.”

Igennem årene har Cathrine Raben Davidsen arbejdet ud fra en bred kunstnerisk praksis, der omfatter maleri, tegning, keramik, fotografi og grafik ofte med et gennemgående tema i figurationens univers. Med et tilbagevendende fokus på historiske figurer og åndelige spørgsmål har hun igennem hele sit virke været optaget af forhold vedrørende identitet, og af hvordan identitet er knyttet til hukommelse og historie. Kunsthistorien og en lang række tekstuelle referencer forbundet med den vestlige og østlige mytologi og litteratur er en konstant kilde til inspiration for hendes valg af både motiver og teknik. Men værkerne henter ligeledes sit underliggende materiale i egne erindringer og i dramatiske billeder hentet fra samtidens mediebillede, hvor Raben Davidsen arbejder med udgangspunkt i spørgsmål om menneskets identitet og livets måske allerstørste mysterium – nemlig døden.

I forbindelse med udstillingen udgiver Horsens Kunstmuseum et katalog med tekst og billeder omkring udstillingen.

Udstillingen er gavmildt støttet af: Juni Fonden, Statens Kunstfond, Tove og Carsten Løvbjergs Almene Fond, Statens Værksteder, Beckett-Fonden og Konsul George Jorck og Hustru Emma Jorck’s Fond.

For yderligere information kontakt: Museumsinspektør Julie Horne Møller, eller 76292381/53382439






















Wall Hangings







02_32788-682x1024Following a successful collaboration last year, Tina Seidenfaden Busck, founder of The Apartment in Copenhagen, journeys to the exclusive Swedish seaside resort of Båstad to curate a summer exhibition for the legendary weaving studio, Märta Måås-Fjetterström. Organised under the theme of wall hangings, Tina Seidenfaden Busck will focus her practised and considered eye on exquisite examples from Märta Måås-Fjetterström herself, Barbro Nilsson, Marianne Richter, Ann-Mari Forsberg and Karin Mamma Andersson, mixing these with beautiful items of furniture and works of art by her own roster of internationally renowned designers and artists, as well as vintage pieces, for a unique and inspiring environment. Participating designers and artists include Muller Van Severen, Michael Anastassiades, Ilse Crawford, McCollin Bryan, Azucena, Cathrine Raben Davidsen and Rune Bruun Johansen.




Since its opening in Copenhagen in 2011, The Apartment has become a must-visit space of art and design, esteemed for its inventory of tasteful, colorful and timeless design pieces, ranging from lighting to objects and soft furnishings. Its ethos perfectly complements that of Märta Måås-Fjetterström’s, founded in 1919, which is celebrated around the world for producing variegated, hand-woven and utterly distinct designs. Last year The Apartment presented a joint exhibition with MMF, pairing elegant, spare lighting by London designer Michael Anastassiades with 10 rugs from the Märta Måås-Fjetterström Studio, including one by the artist Karin Mamma Andersson. Between 2002 and 2014, the Swedish studio emphasized its links to contemporary art by realizing unique textile works with contemporary artists, among them Olafur Eliasson and Queen Margrethe II.

“I am delighted to be curating Märta Måås-Fjetterström’s summer exhibition at its home in Båstad this year, following our happy collaboration last year at The Apartment in Copenhagen. Märta Måås-Fjetterström produces extraordinary woven textiles in addition to the rugs for which it is famous. I am excited to be revealing beautiful examples of vintage wall hangings and combining them with selected pieces of art and furniture by the designers and artists, I work closely with.”

“After the successful exhibition last year – when Märta Måås-Fjetterström visited The Apartment in Copenhagen – we know that Tina Seidenfaden Busck at The Apartment, with her strong sensibility and professional eye, can shine new light on MMF wall hangings – and with a modern twist pair them with selected internationally recognized art and design. We are very happy to offer this beautiful coalition to our many visitors at the Märta Måås-Fjetterström Studio in Båstad this summer.”

The exhibition opens on the 27th of June and closes on the 27th of August, 2016


The Apartment is an interior design gallery housed in an elegant eighteenth-century house in the heart of Copenhagen. Tina Seidenfaden Busck opened the space in 2011. Formerly she worked with Sotheby’s for more than 10 years in both London and Copenhagen. Her lifelong passion for design and contemporary art is evident in her interiors.

The Märta Måås-Fjetterström Studio was founded in 1919 in Sweden by Märta Måås-Fjetterström, one of the leading textile artists of the early twentieth century. Märta Måås-Fjetterström bequeathed 700 designs that form the studio’s heritage after her death in 1941. Starting in 1942, contemporary artists, including Barbro Nilsson, Marianne Richter and Ann-Mari Forsberg, have continuously contributed with many new works. Today 15 artisan weavers create hand-woven rugs in the MMF studio that adorn homes, public institutions, companies, embassies and churches.

Märta Måås-Fjetterström
Märta Måås-Fjetterström | Tel. +46 431 701 83 |
Agardhsgatan 9 | 269 33 Båstad | Sverige |

New Ceramic Works


Historical accounts, works of fiction and mythological material combined with personal memory often form the point of departure for the work of Danish artist Cathrine Raben Davidsen. Her activities are characterized by a strong fascination with the material and the urge constantly to experiment with and explore different artistic techniques. The traditional hierarchies among art, artist-craftsmanship and design are negated in an artistic oeuvre that ranges wide from painting, drawing and ceramics to costumes and stage design.

Over the past few years ceramics has been given an increasingly prominent role in her work. The inspiration comes from among other sources Pre-Columbian terracotta works and ancient Japanese craft traditions, including special glazing techniques and raku firing. In the ceramics there is a particular emphasis on simple formal expression and the beauty of the imperfect. A particular sense for the material and the processual is characteristic of Raben Davidsen’s working method, in which the works are often built up of many layers in a variety of materials and techniques. But unlike the two-dimen­si­onal works the ceramics involve a higher degree of loss of control and unpredictability, as the firings and glazes vary and react differently from time to time. At the same time the curved surfaces of the ceramics pave the way for different kinds of narratives without a beginning or ending.

Other important influences are Frida Kahlo’s “Casa Azul” in Mexico and the artist Vanessa Bell’s home, “Charleston”, in England. Kahlo and Bell, who were both associated with the Bloomsbury group, carefully chose artist-craftsmanship, furnishings, arts and crafts, colours and decorations and created a meticulously orchestrated and staged totality in the home. “Casa Azul” and “Charleston” nevertheless became rallying points for some of the most prominent artists and intellectuals of the time, cradles not only of new political thoughts and ideas, but also of alternative lifestyles and the play of identities.

In Raben Davidsen’s investigation of identity as something associated with memory and history, the home in fact plays an important role as the place where our identity has its foundations. Her own memories of her childhood home often feature in the works on an equal footing with myth and litera­ture. This is also the case in the ceramic lamps, where curtain material from her childhood home is used in some of the shades. The lamps are at one and the same time beautiful utility objects and works of art. While their function is immediately evident, it is a different matter with the lidded jars, which seem unsettling and ominous compared with the domesticated aura of the lamps. The jars recall the lost rites and mysterious religious ceremonies of our ancestors – like relics whose meaning has been lost in time.

In her well known essay A Room of One’s Own from 1929, Vanessa Bell’s sister, the writer Virginia Woolf, argues for a woman’s right to a room where she can express herself freely, beyond the influence of the usual norms. For Woolf the room is a concrete working room, but also a more metaphorical, spiritual space for the woman’s emancipation from conventional demands for femininity. Raben Davidsen’s mission is perhaps not decidedly feminist; nevertheless, through her now all-encompassing practice and personal idioms, she has been able to create an artistic place to stand – her own room, one could say – from which she can act freely. By alternating among different forms of artistic expression she breaks down the dogmas and hierarchies that still prevail between design / artist-craftsmanship and art.

In recent years Raben Davidsen has collaborated closely with Royal Copenhagen, a collaboration with origins in the firm’s tradition for working with prominent artists such as Axel Salto and Eva Stæhr-Nielsen in the development of one-off works. This now century-old tradition began in 1821, when G.F. Hetsch was appointed artistic director.

Cathrine Raben Davidsen (b. 1972) trained at the Royal Danish Academy of Fine Arts in Copenhagen and at academies in Holland and Italy. Behind her she has a succession of museum exhibitions in Denmark and internationally. Raben Davidsen is represented in a wide range of museums and well reputed private collections. She has made costumes and sets for the Royal Danish Ballet and has been awarded many pres­ti­gious prizes and grants.

By Sara Hatla Krogsgaard, Ordrupgaard



Cathrine Raben Davidsen and The Apartment

We are pleased to invite you to an exhibition with selected ceramic works by
Cathrine Raben Davidsen at The Apartment.
Saturday the 16th of April 2016 from 11 am – 4 pm

We look forward to seeing you

The Apartment is a liaison of 20th century furniture, contemporary art and design, showcased in the elegant setting of a beautifully restored 18th century apartment in Christianshavn, a charming district of the old Copenhagen.

The Apartment was conceptualised with a desire to create a unique platform for exceptional decorative arts and design. Our interior is edited with an international scope, and we are proud to feature unique design pieces, usually produced in a limited edition or as a one-off commission, from a diverse group of distinguished designers such as Michael Anastassiades, Ilse Crawford, McCollin Bryan and Larusi rugs. The gallery does not have a fixed manifesto, but sources both emerging and established designers alongside handpicked vintage furniture. The Apartment is consequently a source of extraordinary stories and objects.

Tina Seidenfaden Busck is part of a tight network of the region’s most compelling galleries, allowing The Apartment to showcase and sell works by renowned, international artists. Moreover The Apartment has a longstanding relationship with auction houses like Sotheby’s, Christie’s and Phillips de Pury, enabling the gallery to operate both on the primary and the secondary art market. The Apartment has been appointed a 1stdibs dealer.

Tina Seidenfaden Busck has worked with contemporary art, design and antiques her entire career. Most recently, she was with one of the regions leading galleries, Andersen’s Contemporary, representing such artist as Olafur Eliasson, Anselm Reyle and Tomas Saraceno. From 2000 to 2010 she worked at Sotheby’s – first in London and since in Copenhagen as the co-representative for Denmark.

The Apartment was founded in 2011 by Tina Seidenfaden Busck and Pernille Hornhaver.

For inquiries please contact:

Tina Seidenfaden Busck
+45 25 37 04 02















Laying on of Hands

lowresSide 58-59CRD Laying on of hands opslag 03CRD Laying on of hands s54-55

lowresCRD Laying on of hands opslag 01

CRD Laying on of hands s58-59

lowresSide 20-21Cathrine Raben Davidsen / Laying on of Hands is a new artist book published by Lubok Verlag, Germany. 

The title Laying on of Hands refers to the transfer of divine life-force through ritual touching. In many religions the laying on of hands takes place in connection with consecration, initiation and sacrificial rites, the exorcism of evil spirits and the healing of the sick. The action marks a transition from one state to another, where matter is connected with the spiritual world through physical touch. The concept Laying on of Hands can thus be seen as a  metaphor of the artistic process, where the spirit is manifested in the physical world through the work of the hand.

Lubok Verlag developed as publishing project following the encounter of artist Christoph Ruckhäberle with graphic designer and printer Thomas Siemon. Out of the shared fascination with artist books and the enthusiasm about graphic art arose the idea to publish graphic books with original linocuts by contemporary artists in high editions.

Lubok books are part of numerous libraries and graphic collections, including the National Library of Germany, the New York Public Library, the Bibliothèque Kandinsky of Musée National d’Art Moderne/ Centre Pompidou, the Centre d’Illustration Tomi Ungerer Strasbourg, the library of Museum für Kunst und Gewerbe Hamburg as well as the Staatliche Museen zu Berlin, the Städtisches Kunstmuseum Spendhaus Reutlingen, the Stiftung Museum Kunst Palast Düsseldorf, and many others.

Laying on of Hands is an artist book illustrated throughout with 72 coloured images in offset print designed by Mintstudio, Copenhagen. It is a limited edition artist book and each copy is signed by Cathrine Raben Davidsen.

Christoph Ruckhäberle – Publisher
Henriette Weber – Distribution and press

Lubok Verlag
Christoph Ruckhäberle
Floßplatz 8
D-04107 Leipzig

+49 (0) 341 999 98 90

For further inquiries or to order your own copy of the book please contact CRD studio

Hemlock Lithographs











The new series of original lithographs have been made in collaboration with Edition Copenhagen, a lithographic workshop and gallery space located in a 1000m2 characteristic building in the Christianshavn district of Copenhagen established in 1959. Learn more about Edition Copenhagen here. For inquiries about available prints contact crd studio here



Cathrine Raben Davidsen udtrykker sig i mangfoldige medier og altid med en stærk fornemmelse for materialet uanset om det er maleri, tegning, grafik, keramik,  kostumedesign eller objekter i pels eller broderi. Med et tilbagevendende fokus på historiske figurer og åndelige spørgsmål har Cathrine Raben Davidsen igennem hele sin karriere været optaget af spørgsmål om identitet og hvordan identitet er knyttet til hukommelse og historie.

Hemlock er både titlen på det værk, som danner baggrund for det nye grafiske særtryk til Politikens Galleri samt på denne udstilling. Den giftige myte omspundne plante Hemlock skarntyde blev indført til Norden af munke og nonner i middelalderen, og oldtidens grækere kendte plantens virkning og brugte saften som et hurtigt dræbende middel. I flere af værkerne som vises på udstillingen fletter Hemlock planten sig ind imellem figurer og gevækster og manifesterer sig som et symbol på evig transformation og bevægelse.


Udstillingen CATHRINE RABEN DAVIDSEN – Hemlock åbnes af Kronikredaktør Christoffer Emil Bruun og Cathrine Raben Davidsen vil være til stede. Forhallen, Politikens Hus. Rådhuspladsen 37. København V. Åbning den 1. december 2015 16.00-18.00.

Udstillingen kan ses i dagtimerne i perioden fra 1. december til og med 8. januar 2016.

For mere info besøg








A Beautiful Darkness


The exhibition A Beautiful Darkness will be showcased at the former Central St Martins campus at Holborn. The preview and party will kick off on October 28 while the exhibition will open to the public on the following day. Knight and his team have designed a series of rooms in collaboration with Amanda Harlech, Gareth Pugh and the taxidermist Rose Robson. There will be five fashion films, illustrations and Veuve Clicquot champagne tasting experiences.

Veuve Clicquot has tapped Nick Knight and Showstudio to launch and curate its Veuve Clicquot Widow Series, a new initiative that will see the brand enlist a creative partner to create a Halloween experience as an ode to the famous widow, Madame Clicquot.

“I wanted to do sort of a fashion film on horror because I think the language of horror is interesting,” Knight told WWD in an interview. “I think it is interesting that we can pay to go to a cinema, but when it comes to fashion, everybody is very safe in sort of a noncreative way. And I just couldn’t work out why there is such a great language between those two things. You can go to a cinema and see a man’s head torn off and that’s fine. Try and do that in a fashion magazine and people get very upset.”

“Part of the event is a fashion film, but there are also newly commissioned fashion illustrations,” said Knight. “So, we’re taking over the old CSM room in High Holborn and they have Gothic buildings. But what struck me was that all the rooms in there were once filled with a passionate artistic emotional sort of an art student and that must have become the DNA of the building. So I thought I’d propose on All Hallows Eve that art came back into the building. It’s like a haunting of CSM. So we’ve taken about 25 rooms in there and we put art in the middle of the room. So it’s a different kind of art — there’s sound art, there are performances, there’s dance, storytelling, painting, sculpture and illustrations.”

Visitors can expect a spooky visit via candlelight. “We’re putting the 22 artists in there and we’re going to turn the lights off,” said Knight. “People will be given a candle to view the illustrations and will be walking around in candlelight. You have to go quite closely to look at them and then you get a more personal relationship to the piece of art. And also, I like that it’s sort of a feeling like you’re breaking into somebody’s house.”

Knight enlisted Ellie Grace Cummings, fashion editor of Another magazine to curate the illustrations. “You see how people interpret the clothes in different ways. With illustration it’s freer and it’s within the context of a beautiful darkness,” said Cummings. “And also an illustrator has no ties to the designer, no ties to the brand. No ties to a magazine. So it’s completely free expression of how they view and how they see the collection, which is quite remarkable and unique.”


For more info see here






SEE Ceramic lamps by Cathrine Raben Davidsen.

For the re-opening of The Apartment, the Danish artist Cathrine Raben Davidsen has created a series of unique ceramic lamps. Cathrine Raben Davidsen is celebrated world wide for her poetic paintings and charcoal drawings with motifs deeply anchored in historic references and a mythical narrative. The lamps are very much inspired by her travels to Mexico and especially Japan, from where she has imported the raku technique of kiln firing with wood and sawdust.

The lamps are sold exclusively at The Apartment. See the lamps here.

It is with new works and a strengthened profile that The Apartment reopens this month, just one floor down from the original space. Storytelling and a strong sense of lived life have always been the heart and soul of The Apartment, and in the new setting, there’s an even stronger emphasis on creating interiors that are about life rather than objects.

‘I have really enjoyed creating a completely new space with all the experience that I have gained the past 4 years. The DNA is the same, but the setting is entirely novel’, founder Tina Seidenfaden Busck says.

Welcome back!







Visit The Apartment here

Viden for Alle

Kunst-auktion til fordel for nye skoler i Etiopien. I samarbejde med organisationen Elsa og Auktionshuset Bruun Rasmussen afholder ARoS auktion over mere end 70 kunstværker, der er doneret af danske og internationale kunstnere til fordel for nye skoler i Etiopien.

Den 26. september svinger den kyndige auktionarius Frederik Bruun Rasmussen hammeren over mere end 70 kunstværker, der er blevet doneret til den velgørende organisation ELSA. ELSA har i mere end 20 år bygget skoler i Etiopien ud fra overbevisningen om at uddannelse er den langsigtede og bæredygtige vej ud af den dybe fattigdom, der præger Etiopien. Alle medarbejdere i ELSA arbejder frivilligt og helt op til 95% af de indsamlede midler ender i de endelige skoleprojekter.

Alle værker kan besigtiges allerede fra d. 16. september, hvor værkerne er opstillet for gennemsyn på ARoS Niveau 3.

Auktionen finder sted på ARoS, Auditoriet, Niveau 3 lørdag d. 26. september kl. 12.00. Bemærk at der skal betales entré til både gennemsyn og auktion.

De deltagende kunstnere er: Olafur Eliasson, Henrik Plenge Jakobsen, Kirsten Justesen, Kirstine Roepstorff, Tue Greenfort, Christian Lemmerz, John Kørner, Bjørn Nørgaard, Cathrine Raben Davidsen, Peter Land, Pontus Kjerrman, Mette Winckelmann, Peter Callesen, Emil Salto, Peter Ejlerskov, Gudrun Pagter, Eli Benveniste, Anne Vilsbøll, Lisbeth Eugenie Christensen, Nicolai Howalt, Ole Ahlberg, Jan Wessel, Niels Bonde, Melou Vanggaard, Keld Moseholm, Carsten Krogstrup, Nikolaj Recke, Asmund Havsteen-Mikkelsen, Gunnar K Hansen, Beinta av Reyni, Lilibeth Cuenca Rasmussen, Jens Galschiøt, Knud Odde, Ivan Andersen, Ebbe Stub Wittrup, Malene Landgreen, Eva Koch, Ann Sophie Staerk , Andreas Schulenburg, Bente Skjøttgaard, Ann Lislegaard, Søren Martinsen, Tove Storch , Tommy Støckel, Tine Hind, Steffan Herrik , Kirsten Ortwed, Louise Hindsgavl, Frede Troelsen, Birgitte Thorlacius, Anders Moseholm, Hein Heinesen, Adam Jeppesen, Nils Erik Gjerdevik, Ben & Sebastian, Sophia Kalkau.


For mere information:

Byd med på det donerede værk fra den 16 september hos Bruun Rasmussen

The Act, 2013. Oil, pigment on linen, 36 x 26 cm, 14,2 x 10,2 inches





Losing our Heads

At Cathrine Raben Davidsen’s exhibition Losing our Heads we are invited into a universe of mythology, tales and history. The title is borrowed from the American author Regina Jones, whose book Losing our Heads is a collection of historical, literary and art-historical accounts of decapitation, that is beheading, literally ‘losing one’s head’. In art history in particular ‘losing your head’ is a recurring motif, and from antiquity until today it has been used as a powerful image of the splitting of body from mind.

As is often the case with Cathrine Raben Davidsen, a large body of research work underlies the exhibition. With a point of departure in ancient myths, historical narratives and more recent literature, Losing our Heads is a narrative of loss.  But it is not the physical loss of the head that interests Cathrine Raben Davidsen. Instead her title functions as a metaphor for the loss of control one can experience when the rational ego is suppressed and the emotions take over. It is a mental separation that offers the potential for development – both personal and artistic. She explains:

“Our face is what makes us recognizable in the social world. And our brain tells us who we are. Our speaking mouth is the link between the two, and if we lose our heads, we lose everything. But at the same time there is a loss of control that can transform and develop our way of thinking at an internal level.”

For the exhibition Losing our Heads Cathrine Raben Davidsen has created a series of new ceramic works. Inspired by both Japanese raku ceramics and Mexican terracotta work, she has concentrated on formal simplicity and materiality. In her drawings too Cathrine Raben Davidsen has chosen to work in a new way. She has loosened up her composition and satu­rated the picture surface by building the works up with several layers of ink, charcoal, oil, pastel, pigment and acrylic. This can be seen for example in The Red Ribbon, a series of drawings created with a starting point in the short story about the girl who loses her head after the ribbon she always wears around her neck is loosened. The intimate, atmospheric portraits also make reference to the so-called Bals des victimes, a succession of legendary festivities held in the years after the French Revolution, in which people in ingenious costumes with red ribbons around their necks partied in honour of the victims of the guillotine.

In both stories the ribbon functions as a symbol of what keeps body and head together. For Cathrine Raben Davidsen too there exists a ‘ribbon’, a characteristic line that weaves the motifs together and runs as a common thread through her artistic production.

By Marie Nipper, Chief Inspector, ARoS


(Omen), 2015, Acrylic, oil, pigment, bleach on canvas, 200 x 200 cm

Black Skin, White Masks, 2015.Acrylic, oil, pigment, charcoal on canvas, 200 x 200 cm

The Red Ribbon (I), 2015 Mixed media on paper, 35 x 26 cm

The Red Ribbon (VI), 2015.Mixed media on paper, 35 x 26 cm copy

_30B7662 kopi

Laying on of Hands, 2015

The Seed, 2015. Charcoal, ink, pastel on paper

Clouds, 2014. Handcolored monoprint, 70 x 70 cm



for an interview with Cathrine Raben Davidsen visit

The Art Project


Royal Copenhagen celebrates its 240 th anniversary and its long history of artistic collaboration by inviting four leading Danish artists to freely interpret the colour blue and the original Blue Fluted Plain pattern: Pattern No.1. This project is the partnership with the renowned lithographic studio Edition Copenhagen.

Like the design of the Blue Fluted pattern, the lithograph Muschel, 2015 (see above) created for The Art Project by Cathrine Raben Davidsen incorporates human, botanical and animal shapes to distill a poetic moment. The image consists of two female faces, one superimposed on the other, and a male face barely visible behind a conch figure. Though unfinished, the figures convey a sense of classical beauty. From their faces lines run downwards and from the striped pattern of the conch lines are cast out into a spiral movement. Above the male face appears a stylized mask figure with the features of a monkey. It is a direct loan from an early 20th-century design by Arnold Krog for the Blue Fluted porcelain. Raben Davidsen has also added a sensuous abstract layer in the shape of a large dark field created by a wash technique at the right edge of the paper. The technique is based on an accidental process involving an oily liquid wash, water and air, and exactly these elements are reflected in the overall subject matter of the composition, where the figures seem to float around in an empty space or as if under water; moving back and forth between each other, reflecting life and history as essentially timeless and complex matters.

Watch the video here 

Muschel (Ghost), 2015. Originalt Litografi, 70 x 90 cm




For inquiries about available prints contact crd studio here and to learn more about The Art Project – Royal Copenhagen visit here.


Too Much of a Good Thing

Geometry, 2014. Oil, pigment on linen, 50 x 40 cm

Nordic Contemporary Art Space proudly presents “Too Much of a Good Thing”. A group exhibition with artists from Denmark, Norway, Sweden and Finland.

The artist/curator Andreas Emenius and cultural entrepreneur Jacob Valdemar introduce with NORDIC CONTEMPORARY the exhibition ‘TOO MUCH OF A GOOD THING’, showcasing ten contemporary Nordic artists presenting new interpretations of paintings, sculptures, drawings and video. Apart from being connected geographically, the invited artists are also connected by an interest in high culture meets low culture, polished meets raw, natural meets clinical.

The Nordic region is a stage where the beautiful life is acted out, resulting in a growing distance to the living life. “TOO MUCH OF A GOOD THING” is an exhibition about how we exist in this condition. Not necessarily to reflect on it, but to work on it from within, looking out. Many of the artworks represented are satisfied with pointing back at the work itself, rather than a certain dis- course, while pointing towards a freedom and subjectivity, with an existential commitment to the material.

The titles reference ‘a good thing’ as being something utopian, while ‘‘too much’ stands for some- thing oversaturated, to the limit and beyond: mental states, material, and media. The artists are represented in a broad range of expressions as an attempt to break down hierarchies. High culture meets low culture, polished meets raw, natural meets clinical in an eclectic brew that aims to clash more than to harmonize; yet somehow linked through the artists view.

NORDIC CONTEMPORARY is an art space founded in 2014 by Andreas Emenius and Jacob Valdemar, situated on 160m2 in an empty apartment at Republique, Paris. It serves as a plat- form for contemporary art by Scandinavian artists, established and less established and presents three exhibitions a year aiming to visualize any current direction of Nordic art today. The aim is to create long-term visibility for Nordic art and showcase internationally the Nordic region’s increas- ing importance on the global art scene.

The last exhibition at Nordic Contemporary, FLUID FLESH, opened Oct. 23, 2014. Attended by 400 people it created an instant impact and was covered in national and international press, among others the New York Times and Purple magazine.


The participating artists are:

Sebastian Helling (No)

Maria Nordin (Se)

Lea Porsager (Dk)

Cathrine Raben Davidsen (Dk)

FOS (Dk)

Marianne Hurum (No)

Rolf Nowotny (Dk)

Erik Jeor (Se)

Troels Carlsen (Dk)

Janni Hiltunen (Fi)


For more info visit:

Nordic Contemporary

14 Rue du Chateau d’Eau

75010 Paris/France



















Deco Mannequin

Cropped book

Monograph with selected works from 2005-2013 published by Lubok Verlag, Christoph Ruckhäberle, Germany. 54 figures in a four-colour offset print, designed by LA Graphic Design with texts by Barry Schwabsky and Sanne Kofod Olsen (texts in english/ danish).
Lubok Verlag
Christoph Ruckhäberle
Floßplatz 8
D-04107 Leipzig
+49 (0) 341 999 98 90


To order the book contact: or visit:

The Nordic Influence


Collective is a new design fair in New York City that presents a selection of the best in contemporary and 20th-century design from an international range of emerging and established galleries. This year’s fair has a special focus on Scandinavian design, with a curated selection of design from Scandinavian exhibitors and a seminar on Nordic influence.

For Collective Focus: Scandinavia, guest curator Glenn Adamson, Director of the Museum of Arts and Design (MAD) in New York City, will select work from Denmark, Finland, Norway and Sweden on view among our exhibitors. His spotlighting of thematic connections and points of difference between the selected pieces will encourage visitors to think about this influential design region in new ways.

The seminar Nordic Influence: Designers Discuss the Scandinavian Legacy will be held on Saturday, May 10, as part of the Collective Conversations series. The featured participants are Glenn Adamson, Director of Museum of Arts and Design; Wendell Castle, designer; Cathrine Raben Davidsen, artist, and Joseph Walsh, designer.

Collective 2 Design Fair
Thursday, May 8 – Sunday, May 11
Skylight at Moynihan Station
360 West 33rd Street


Collective Conversations Program:

Saturday, May 10
Car Culture, Design Culture
Participants: Andrew Smith, Executive Director of Design, Cadillac; and Michael Mraz, Editorial Director, Cool Hunting.

Nordic Influence: Designers Discuss the Scandinavian Legacy
Participants: Glenn Adamson, Director, Museum of Arts and Design; Wendell Castle, designer; Cathrine Raben Davidsen, artist; Joseph Walsh, designer

Creative License: Decorating with Collectible Design
Participants: Sarah Medford, Director, Strategic Development, Collective Design Fair; Cristina Grajales, gallerist; India Mahdavi, designer; Suchi Reddy, architect, Reddymade Design

Jewelry Design: Quick Changes in an Ancient Medium
Participants: Jane Adlin, Associate Curator, Department of Modern and Contemporary Art, The Metropolitan Museum of Art; Michele Oka Doner, designer; Jennifer Trask, designer

5:30 pm
Manufacturing In Place: The Next Wave in Making and Process
Participants: Rama Chorpash, Director of Product Design, Parsons, The New School for Design; The Haas Brothers, designers

Sunday, May 11
Students Designing for the Future
Participants: Ellen Lupton, Senior Curator of Contemporary Design, the Smithsonian’s Cooper-Hewitt, National Design Museum; Nikki Gonnissen, Design Academy Eindhoven

Twenty Questions: New Frontiers in Design
Participants: Henry Urbach, Director, The Glass House; Murray Moss and Franklin Getchell, MOSS BUREAU

Design On Demand: New Takes on Rapid Manufacturing
Participants:Julia Kaganskiy, Director, Incubator for Art, Design & Technology, New Museum; Janos Stone, designer; Mihae S. Mukaida, Director of Marketing and Business Development, Machine Made

Dressing The Future: Fashion and 3D Printing
Participants: Adam Brent, Partner, BroLab and Director, BFA in Integrated Design, Parsons The New School for Design; Gabi Asfour, designer, threeASFOUR; Bradley Rothenberg, designer, StudioBRAD


Skylight at Moynihan Station
360 West 33rd Street, New York, NY 10001
Between 8th and 9th Avenues

For more info visit:



Dada Idag

Dada idag. En samtidscabaret på Arken. Golden Days Festival.

Anti-autoritær, anti-hierarkisk eller bare anti! Sådan var Dada, da den som kunstnerisk bevægelse kom til verden i Cabaret Voltaire i Zürich. I et tætpakket baglokale til en lille café i Spiegelgasse 1 fandt kunstnere fra hele Europa sammen i verdenskrigens skygge. Med Hugo Ball som chefideolog og hyggepianist blev der danset og sunget, råbt og skreget og fremsagt manifester, som det eneste meningsfulde svar på en meningsløs krig.

Samtids-cabareten ‘Dada i dag’ på ARKEN den 11 september 2014, genopliver ånden fra 1916, og sætter i løbet af én intens aften fokus på vor tids ’dada’ – den kunst, der bryder med det rationelle og bringer Dadaismens ånd og æstetik til live igen. ‘Dada i dag’ byder på støjende lydkunst, absurd performance, maskespil, digte og speedtalk.

Oplev kunstnergruppen Vinyl-terror & -horror, performancekunstner Olof Olsson, digter og billedkunstner Morten Søkilde, billedkunstner Cathrine Raben Davidsen, kulturhistoriker Torben Sangild, pianist Kristian Jørgensen og mange flere.

Cathrine Raben Davidsen bidrager med en maske performance udført af dansere fra Den Kongelige Danske Ballet og masker i pels lavet i samarbejde med Kopenhagen Fur.

For mere information:

ARKEN Museum for Contemporary Art

Skovvej 100

2635 Ishøj




In the next issue of DANSK Magazine Danish artist Cathrine Raben Davidsen will function as art director on an art/fashion editorial. In collaboration with Kopenhagen Fur she has created a series of masks in fur, embroidery and fabric.

The MetaMorphic team includes: artist: Cathrine Raben Davidsen, creative director: Kim Grenaa, photographer: Henrik Bülow, fashion editor: Gabi Humnicki, hair artist: Søren Bach and Marianne Jensen and makeup by Anne Staunsager.


Fotograf Henrik Bülow +45 3920 2224 +45 3920 2224 +45 3920 2224

crdDansk_12_004 +45 3920 2224

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Smells like Memories


Maison Martin Margiela will collaborate with SHOWstudio on an upcoming exhibition at 19 Motcomb Street. The show is centered around memory. It explores the pivotal role of scent in triggering reminiscence and features Margiela’s Replica range of fragrances. Opening 28 November, Margiela and SHOWstudio have created an installation to examine this olfactory manner of recollection.

As part of the exhibition, a collection of artists and fashion illustrators have been asked to create an original drawing that depicts a personal memory prompted by one of the Replica perfumes. In true Margiela style, each memory drawing will be concealed in a custom made, white box and will only be revealed when visitors peer inside, or interact with the exhibition online. Accompanying the drawings will be a perfume bar to sample the scents, and a selection of haute couture pieces and objects from Line 13 associated with the concept of memory.

The participating artists are: Richard Gray, Piet Paris, Cathrine Raben Davidsen, Laura Laine, Claire Barrow, Tobie Giddio, Valerie Servais, Kukula, Rei Nadal, Tara Dougans, Amelie Hegardt, Helen Bullock, Fiona Gourlay, Stephen Doherty, Jowy Maasdaame, Josie Hall, Conrad Roset, Neza Agnes Momirski, Jo Ratcliff, Alexandra Levasseur.

Replica, 2013. Collage, glue, carton, acrylic. 30 x 22 cm

Replica, 2013. Collage, paper, carton, glue. 28 x 21 cm

Replica, 2013. Collage, paper, glue, carton, acrylic. 29 x 20 cm


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House of the Ax

Cathrine Raben Davidsen (b. 1972) is known for her painterly personifications where she balances minutely detailed line drawing with dissolved, blurred contours and intense patches of color. In her works she draws on a wide range of literary and art historical references, narratives and mythological material. In her new works, done specifically for the exhibition HOUSE OF THE AX, Raben Davidsen strikes more intense, dramatic note than hitherto. Rather than the earlier so characteristic pastels and bright neon shades, the colours are now saturated and the brush-strokes firmer. The choice of materials ranges wide, from monumental charcoal and ink draw­ings, ceramics, prints, and small oil paintings on linen to embroidered fur masks and sound.

Material from personal memory in the form of pictures from the artist’s journeys or of family members form part of the exhibition on an equal footing with the many references to art history and mythological narratives. The audio aspect, which consists of the mechanical whirring of her father’s sewing machine, has associations going back to the artist’s childhood and her father’s work as a fashion designer. The exhibition thus takes on the character of a sampling, where various impressions appear side by side across time and space.

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Masquerade, 40 x 32 cm, olie på lærred, 2011

The Act, 63 x 36 cm, oil, pigment on linen, 2011


Mask as Metamorphosis

For me the theme of transformation is something that affects everyone. In one way or another, human
beings are constantly in a process of transformation. Events that impact on our lives, the transition
from child to adult, the relationship with our parents and children and with the world, all colour us
and change us and make us into the people we are.

Cathrine Raben Davidsen is concerned with human destinies, with transformations and transitions,
and with the journey from one place to another or from one state to another. Her works show objects
and people caught in a snapshot-like image or in the midst of a transformation process: balls suspended
in the air and faces that appear partly obliterated. In the drawings the fine contour lines intersect
with the outlines of other figures, while the thinly applied paint reveals older layers and over-painted
motifs. Her figures and people are composite in more than one sense: the usual parameters of identity
such as gender and age are not immediately evident; rather, we often seem to see androgynous or
animal-like beings outside time and space. The faces have an enigmatic, even mask-like character that
gives the impression of concealing a different face or perhaps even more masks or layers that can be
peeled off ad infinitum. The nature of the mask seems to be precisely that it questions
identity, or to put it differently, wearing a mask means no longer being oneself.

The triumph of the mask

Originally the mask was a ritual object used specifically to mark transformations or transitions in
the seasons and in life. But with the breakthrough of modernism and the avantgarde, the mask became
more a sign of a grotesque and distorted reality. At the same time it became an image of the modern,
complex individual whose identity becomes increasingly difficult to define. The new interest
in ‘primitive cultures’ and in the mask as representation that arose in the post-war years is
explained by the art theorist Walter Sorell as follows: “The mask returned, reflecting and revealing
the savage instinct of man let loose again, the old demonic spirits in new clothing, the spirits man
feared and tried to escape while falling prey to them. The mask triumphed in leading man back to its
cruel sources, and projecting its influence with a sophisticated gesture, often hiding as a mask behind
non-mask-like masks”. Cathrine Raben Davidsen’s works use the mask as a marker of an existence in
eternal transformation, but also as the sign of a self that can never be captured or defined.

The mask and the myth

In House of the Ax the mask motif is quite specific in the work Ariadne’s Thread; a group of finely
worked, hand-embroidered masks in dyed mink fur and cowhide, theatrically lit and exhibited in open
display cases. The title comes from the myth of the labyrinth of King Minos at Knossos, whose passages
were the haunt of the chimeric Minotaur. Ariadne, the daughter of King Minos, gives the Greek
hero-king Theseus a sword and a ball of yarn so he can conquer the beast and use the thread to
find his way out of the labyrinth again. After killing the Minotaur, Theseus takes Ariadne away with him,
but later abandons her on the island of Naxos. Ariadne is beside herself with grief and anger when she
sees Theseus’ ship sail away from the island and thus discovers that she has been deserted.
Like the duality of the Minotaur, who is at once bull and human being, there is a fascinating duality
in the fur masks, which appear animal-like by virtue of the chosen material, but at the same time mime
the human face. Cathrine Raben Davidsen has used mythological material throughout her artistic practice,
and the mask motif seems to be a natural extension of the mythical, since the mask, like the myth,
expresses universal human emotions, instincts, longings and even repressions. It shows us our ancestors and gives form to ‘the beyond’, and for millennia it has found a use as an object with which we tie past and present together and create a sense of historical continuity.

In the same way past and present are linked in House of the Ax, where memory fragments and old
photographs feature on an equal footing with mythical material and fables. Cathrine Raben Davidsen
alternately conceals and reveals, and not only with the aid of the mask: sometimes the silhouettes
are so unidentifiable and the dissolution so total that you get a sense of seeing the subject in strong backlight or of standing before something that has faded and been eaten up by time. There is an almost archaeological interest in what was, in layering – quite concretely in the painting as process, but also in human identity and the multiplicity of stories with which we narrate and explain ourselves.

Like the mask, thread is a recurring motif for Cathrine Raben Davidsen. Thread is used in works
and titles as a metaphor of narrative and of women’s right to express themselves, but also as an
image of feminine resourcefulness and persistence. This is the case in the myth of Ariadne, but
also in Ovid’s tale of Philomela – an earlier subject for Cathrine Raben Davidsen – who gets her
voice back when she weaves into a tapestry the tale of a terrible crime committed against her by
her brother-in-law King Tereus. In House of the Ax the thread, or the act of sewing, is used as
an element in the audio part of the exhibition, which consists of among other things of the
mechanical whirring of her father’s sewing machine. The sound recalls the artist’s childhood and
her father’s work as a fashion designer and is mixed with echoing, cave-like sounds and a confusion
of street noises. Again different temporal dimensions meet, the past is interwoven with modern life
and the gaze looks both inward and backwards towards childhood but is at the same time turned outward to the chaotic flicker of the world and human history.

Intertextuality and paraphrase

The use of intertextuality is a general device in Cathrine Raben Davidsen’s work, which to a great
extent draws on associations with mythology, literature and the history of art. Her works have the
character of samplings pieced together from oral narrative tradition, folklore, tragedy, mythology,
art-historical quotations and personal recollection. At the same time the works move
between the poles of the unconscious and the conscious, between dream and reality.
By drawing on a wide frame of reference Cathrine Raben Davidsen breaks with the idea of the grand
narrative or truth and instead presents a number of interpretations and readings of human existence,
which can in principle be endlessly retold and re-interpreted. However, certain elements taken
from among other sources myth and tragedy involve universal, fundamentally human emotions like passion, doubt, powerlessness, the sense of loss, desire, instinct, jealousy and love. In this Raben Davidsen constantly balances the great universal narrative of mankind against the small narrative of the individual lived life.

Cathrine Raben Davidsen produces wondrous images of people and identities in eternal motion.
In her works she gives us a modern, diverse world where the great truths are absent and where
identity or reality cannot possibly be pinned down. This modern exisistential issue is expressed in the questions “Who am I?” and “Who are you?”, and is clearly manifested by the use of the mask as an image of the ultimate game of identities.

By Sara Hatla Krogsgaard, Curator, Gl. Holtegaard

1. Cathrine Raben Davidsen in an interview with director Mads Damsbo. See 2. Papet, Éduard, “Et blik på masken” in Masken fra Carpeaux til Picasso, ed. Papet, Éduard, p. 10, Ny Carlsberg Glyptotek and Musée d’Orsay, 1994. 3. Sorell, Walter, 1973, The Other Face, Indianapolis, quoted in Tams, Klaus, “Maskens genfødsel i det moderne teater”, 4. Masken som repræsentation, p. 67, l. 7, Aarhus Universitetsforlag, 1994

The Inkwell


Large charcoal drawings, paintings, ceramics, graphic works and works on paper made with felttip pen and ink. Cathrine Raben Davidsen is one of the central, younger artists on the contemporary Danish art scene. For this exhibition Raben Davidsen has created a series of new works expressing a more intense and dramatic tone than in her previous works. The motif is centred around transformation and death. In 2008 Raben Davidsen was presented at the solo exhibition White Ink at Horsens Museum of Art. The title and theme of that exhibition referred to the invisible voice of woman in history. The works for the exhibition at The Inkwell, in contrast to White Ink, are more intense. “Ink and charcoal cannot be erased once they are on the paper. Ink has a will of its own, ink is something uncontrollable, something independent,” Raben Davidsen explains.

Transformation and identity

The works of Cathrine Raben Davidsen touch upon transformation, identity and human relationships. Faces and figures are interwoven to a point where it can be difficult to tell where one ends and the other begins. The unfinished is a formal device that gives Raben Davidsen’s works a fragile, dreaming character, but this is also related to the content of the subjects. Not only can it be difficult to determine their gender; the transitory line and the many overlapping layers also sow doubt about their identity. Raben Davidsen gives no clear answer, but sets up successions of possible, enigmatic narratives which it is up to the viewer to complete.

Fables and tales

Cathrine Raben Davidsen has drawn inspiration from Japanese and Indian fables among other sources in the creation of the works for The Inkwell. Even though the works have a figurative expression, they cannot be read as a continuing story, and only very few of them refer to a specific fable. Raben Davidsen is much more absorbed in the way the fable uses a message, has levels of meaning and by the transition that often takes part in the story. Raben Davidsen regards the mythological tales as a universal language, leading the observer beyond the story to the timelessness of life itself. Raben Davidsen says: “Myth is a comedy, like a novel. It is a charade which sets the imagination free and asks: what if?” Fortunately, art is liberated from the bonds of sense and logic. It is continually suggesting and combining new forms of understanding and insight.”

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White Ink


Cathrine Raben Davidsen modtog i 2003 Horsens Kunstmuseums Venners Kunstnerpris. Siden har vi fulgt hendes arbejde og erhvervet flere værker til samlingen til stor glæde både for os selv og for museets publikum. På udstillingen WHITE INK præsenteres nye værker af Cathrine Raben Davidsen, både fotografier, monotypier, litografier, tegninger og malerier. Værkerne er resultatet af flere års interesse og udforskning af den klassiske kunst- og litteraturhistorie. Formsproget er dog i høj grad kunstnerens eget og befinder sig et sted mellem den italienske renæssancekunstner Botticelli og modebladet Vogue.

På denne udstilling tager Cathrine Raben Davidsen udgangspunkt i Ovids Metamorfoser, nærmere bestemt i historien om søstrene Philomelas og Prochnes skæbner. Titlen ”White Ink” (hvidt blæk) henviser til det klæde, som Philomela væver, for at fortælle sin drabelige historie.

Cathrine Raben Davidsen formår at transformere de følelser, tanker og indre dramaer, der knytter sig til kvinderne i Ovids fortællinger, ned på papiret eller lærredet, så de også bliver vedkommende for betragteren og hun skaber med udgangspunkt i den klassiske malerkunst det sprog, der er nødvendigt for at fortælle historien og nå den moderne betragter – Cathrine Raben Davidsen maler ikke med hvidt blæk!

besøg Horsens Kunstmuseum:

Voice of The Shuttle

The work of Danish artist Cathrine Raben Davidsen incorporates classical myths and literature, which she uses as a basis for new and utterly contemporary interpretations. Raben Davidsens use of historical material with a recurring emphasis on the female characters and their struggles sheds a light on the women behind the narrations. It is the ancient Greek myth, familiar from Ovid, of the sisters Philomela and Prochne that has been created especially for NIMB Bar to a highly personal contemporary interpretation by Raben Davidsen in a series of large scale wall drawings.






For more info about Nimb visit

For inquiries about available original lithographs from the Nimb Edition contact crd studio here