Sculptures from the collectionThe sculpture is characterized by its three-dimensionality. It unfolds like a form in the physical space. The understanding and experience of a sculpture is characterized by the fact that, as a viewer, you can walk around it and see it from different angles.

This year’s summer exhibition in the museum’s main hall is dedica-ted to the sculptures in the museum’s collection. Emphasis has been placed on the museum’s new acquisitions, several of which have not been exhibited at the museum until now. The artists in the museum collection share an interest in exploring and challenging the possibilities of materials. The artists choice of materials span over bronze, glass, steel, ceramic, medicine packaging and electronic equipment. Several of the sculptures imply challen-ging combinations of materials.

Ib Braase: From my studio, part 1, 1976Through experiments with materials and expressions Ib Braase (1923-2009) expan-ded the understanding of the sculpture as a concept. In From my studio, part 1 he com-municates the distinctive atmosphere asso-ciated with his own studio. Ib Braase hereby creates a chaotic, but creative dissolution of the boundaries between the art sphere, the work sphere and his own intimate sphere.One room meets another, when the sculptu-re – referring to the studio – is staged in the main hall of Horsens Art Museum. Ib Braase breaks with earlier understandings of the sculpture as a completed and autonomous artwork that is independent of the space in which it is presented. On the contrary the exhibition space is very important to Ib Braase’s constructions.

Bjørn Nørgaard: Hommage to Wilhelm Lehmbruck, 1985Bjørn Nørgaards (1947-) oeuvre spans over sculptures, installations, happenings and public decorations.

The sculpture Hommage to Wilhelm Leh-mbruck refers to the German sculptor Wil-hem Lehmmbruck (1881-1919), who wor-ked with the motive of the recognizable human body. However, the original title of the sculpture was simply Two Angels. This is exactly what the sculpture depicts: Two angels in a tight embrace.

The angels are carved out of old logs, that are glued together. The wings of the black angel have sharp and pointed shapes, whereas the wings of the golden angel seem softer and more feminine. The angels share a wooden crown decorated with glass. The figures stand on layers of tree, lead, glass and massive iron, which testifies to Bjørn Nørgaard’s joy in materi-al combinations.

Emil Westman Hertz: The New Face, 2013 and Tent, 2016The art works of Emil Westman Hertz (1978-2016) unfolds in an inter-section of ethnography and art history. His works appear as myste-rious, yet orderly arranged accumulations of both made and found objects. He often deals with thematic opposites such as life – death, nature – culture and chaos – order.

Tent shows a primitive tent combined with a series of ritual objects. Furthermore, the artist has included his own medicine packaging and thereby added an autobiographical aspect to the work.

The New Face consists of strange objects as well. It includes bees wax from the artist’s own bee hives. The objects are placed in a glass case, as if they were objects from foreign cultures on display at an ethno-graphic museum. However, the works of Emil Westman Hertz are not based on scientific organizing principles, but artistic principles, where personal and existential narratives merge in poetic ways.

Rose Eken: Kitchen Totem with Orange Bucket, 2017 Rose Eken’s (1976-) work has many outlets and includes ceramic sculpture, embroidery, drawing and video installation. Her primary project is to recreate well-known everyday objects and environments. The motifs are recognizable, yet make up slightly distorted versions of reality.

Kitchen Totem with Orange Bucket is a tall stack of colorful kitchenware made in ceramic. The title points to the stack’s resemblance to a native American totem pole. Accordingly, the sculpture creates a play or a collision bet-ween two distinct cultures.

Christine Overvad Hansen: Midnight Cruiser, 2017Christine Overvad Hansen (1988-) works in an intersection of sculp-ture and performance.Midnight Cruiser was originally shown at the exhibition Dinner for Lou-ise at Gether Contemporary, Copenhagen. The exhibition consisted of a large dining table with various objects placed on it. The objects were created by Christine Overvad Hansen and Lea Guldditte Heste-lund respectively. They had familiar shapes, but their functionality seemed to have suffered a displacement.

Playing with the domestic setting of the dining room the artists raised questions of gender and values concerning feminine conventions both historically and in contemporary society. They transformed a well-known situation – the dinner – into a scene for contemplation and investigation.

Vinyl Terror & Horror:Time Escapes (I am not crazy), 2015 Vinyl Terror & Horror is an artistic collaboration between Camilla Sø-rensen (1978-) and Greta Christensen (1977-). The duo uses frag-mented vinyl records, sound effects and motorized everyday objects to create experiences in both time and space. Their performative practice erases the boundaries between theater scenography, music and visual arts.

Time Escapes (I am not crazy) tells an abstract story through theatri-cal means. The wind makes the curtains flutter; an old clock is ticking loudly and the record player plays an old song. The work deals with the subconscious, where we are confronted with our own irrationality and fear of the unknown.

Nanna Abell: I do watch porn, but I watch it for the decor, 2016 and Vouge perdue (mobled queen), 2017 Nanna Abell (1985-) is interested in interconnections and collapses. She often combines contrasting materials.The experience of form and material is crucial to the observer’s me-eting with the wall mounted stearic sculptures ’I do watch porn, but I watch it for the decor’ and ’Vouge perdue (mobled queen)’. If studied closely, it shows that the sculptures include fragments of magazines, among others the fashion magazine Vogue.