• Kimsooja
    A Laundry Field, 2020

  • Kimsooja
    Deductive Objects, 1993/2020

  • Kimsooja
    Meta Painting, 2020

  • Kimsooja
    Sowing Into Painting, 2020

  • Kimsooja
    Sowing Into Painting, 2020

  • Kimsooja
    Sowing Into Painting, 2020

  • Kimsooja
    Thread Routes, 2014

  • Kimsooja
    To Breath, 2020

  • Kimsooja
    A Laundry Field, 2020

  • Kimsooja
    Deductive Objects, 1993/2020

  • Kimsooja
    Meta Painting, 2020

  • Kimsooja
    Sowing Into Painting, 2020

  • Kimsooja
    Sowing Into Painting, 2020

  • Kimsooja
    Sowing Into Painting, 2020

  • Kimsooja
    Thread Routes, 2014

  • Kimsooja
    To Breath, 2020

  • Kimsooja
    A Laundry Field, 2020

  • Kimsooja
    Deductive Objects, 1993/2020

  • Kimsooja
    Meta Painting, 2020

  • Kimsooja
    Sowing Into Painting, 2020

  • Kimsooja
    Thread Routes, 2014

  • Kimsooja
    To Breath, 2020

  • Kimsooja
    A Laundry Field, 2020

  • Kimsooja
    Deductive Objects, 1993/2020

  • Kimsooja
    Meta Painting, 2020

  • Kimsooja
    Sowing Into Painting, 2020

  • Kimsooja
    Sowing Into Painting, 2020

  • Kimsooja
    Sowing Into Painting, 2020

  • Kimsooja
    Thread Routes, 2014

  • Kimsooja
    To Breath, 2020

Poul Gernes


Poul Gernes
(1925–1996, föddes i/was born in Frederiksberg) 
Pyramide, 1967/2018
Trä/Wood
Höjd/Height 6 m
Med stöd från/With support from ATA Timber, Sluta Gräv 
Tack till/Thanks to Klara Karolines Fond

For English please scroll down.

Poul Gernes storskaliga träpyramid utgjorde från början ett bidrag till en skulpturtävling 1967 för en offentlig gestaltning på Grønttorv, numera kallat Israels Plads i Köpenhamn. Bidraget vann inte, men 2016 uppfördes Pyramide tillfälligt på konstmuseet Louisiana i Danmark, utifrån en bearbetning av Gernes originalskiss av konstnären Anders Krüger. Två år senare fick verket ett permanent hem på Wanås Konst.

Gernes skiss till konstverket visar den storskaliga pyramiden som en livlig mötesplats. Bilden ger en tydlig instruktion – pyramiden ska användas. Gernes idéer om vad konsten skulle ha för funktion kom ur tidens anda. Under 1960-talet var han med och startade den experimentella konstskolan Eks-skolen i Köpenhamn, som bland andra Per Kirkeby var en del av. Skolans elever uppmuntrades att skapa konst med betoning på det kollektiva. Konsten skulle aktivera publiken och påverka miljöerna och människorna som den omgav.

Under sin livstid gjorde Gernes flera offentliga gestaltningar som gav honom utrymme att arbeta storskaligt och med omedelbara uttryck. 1968 fick han uppdraget att göra en utsmyckning i foajén på det nybyggda sjukhuset Herlev Hospital i Köpenhamn. Gernes blev kvar i åtta år och i sjukhusets rum och korridorer målades allt från väggar, dörrar, skyltar och klockor i hans typiska klara färger och geometriska former. 

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Poul Gernes’ large-scale wooden pyramid was initially an entry to a sculpture contest in 1967 for a public artwork at Grønttorv, now called Israels Plads in Copenhagen. The entry didn’t win, but in 2016, Pyramide was temporarily constructed at the Louisiana Museum of Modern Art in Denmark by artist Anders Krüger using Gernes’ original sketch. Two years later, the artwork found a permanent home at Wanås Konst.

Gernes’ sketch of the artwork shows the large-scale pyramid as a lively meeting place. The pictures gives clear instructions – the pyramid is intended to be used. Gernes’ ideas regarding the function of art reflect the spirit of the time. During the 1960s, he was part of establishing the experimental arts college Eks-skolen in Copenhagen, with participants including Per Kirkeby. The school’s students were encouraged to create art that emphasized the collective. Art should activate its audience and have an impact on both the people around it and the place where it is located.

Over his lifetime, Gernes created several public artworks, which gave him the ability to work on a large scale and with spontaneous expressions. In 1968, he was given the task of decorating the lobby of the newly-built Herlev Hospital in Copenhagen. Gernes remained there for eight years, and everything in the hospital’s rooms and hallways, from walls, doors, signs, and clocks, was painted in the vivid colors and geometric shapes so characteristic of his art