stealing munch (pirate-workshop), ccc workshop for...

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Stealing Munch Stealing Munch (Encounter in Space) 2016 Coloured woodcut, 18,5 x 25 cm, edition of 5 Workshop held together with Erling Knudsen, for Strykejernet Art School at Can Serrat, 2016. A one-week long appropriation-workshop: The workshop included lectures on appropriation, tutorials, excursions, woodcut- and printing-sessions. As a demonstration on “how to steal a Munch" we made an appropriation of Edward Munch’s Møte i verdensrommet (Encounter in Space), 1898-1899. The woodcut was later a part of the exhibition HM Queen Sonja’s Jubilee Collection, 2017, and included in The Royal Collections (De kongelige samlinger: DKS.042662). Two people – a woman and a man – float toward one another in apparent weightlessness against a dark background. Contours of sperm cells surround the couple. The erotic tension is the dominant element of this motif. The two people seem attracted to one another by subconscious powers. The contrast between the couple’s physical proximity and a certain emotive distance is suggested by the averted faces. Read more at: The National Museum of Art www.kjetilkristensen.com

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Stealing Munch

Stealing Munch (Encounter in Space) 2016

Coloured woodcut, 18,5 x 25 cm, edition of 5

Workshop held together with Erling Knudsen, for Strykejernet Art School at Can Serrat, 2016.

A one-week long appropriation-workshop: The workshop included lectures on appropriation, tutorials, excursions, woodcut- and printing-sessions. As a demonstration on “how to steal a Munch" we made an appropriation of Edward Munch’s Møte i verdensrommet (Encounter in Space), 1898-1899.

The woodcut was later a part of the exhibition HM Queen Sonja’s Jubilee Collection, 2017, and included in The Royal Collections (De kongelige samlinger: DKS.042662).

Two people – a woman and a man – float toward one another in apparent weightlessness against a dark background. Contours of sperm cells surround the couple. The erotic tension is the dominant element of this motif. The two people seem attracted to one another by subconscious powers. The contrast between the couple’s physical proximity and a certain emotive distance is suggested by the averted faces.

Read more at: The National Museum of Art

www.kjetilkristensen.com

www.kjetilkristensen.com

Distribution: contemporarycruisecrew.com / Photo: Karoline Ryssevik © 2016

www.kjetilkristensen.com