Fanefjordgade 44
4792 Askeby

+45 2392 7119
BUS Stege or Vordingborg

WED – SUN 11am – 17pm
Admission kr. 40/20 (STUD/PENS)



Feriepartner Møn


Bjørn Nørgaard
Henning Christiansen

De to huse / The Two Houses
De to huse / The two Houses
Bjørn Nørgaard reflects in the exhibition De to Huse' / 'The two Houses over the collaborations with his now deceased colleague, Henning Christiansen (1932-2008). The exhibition moves through their lifelong performance practice through sound as material, forming the tones and forms for performing their actions. The exhibition shows 4 elements: Video from an action in Kassel: Gute Heute, Leute, 2006, La Maison Imaginiare (plasterhouse), Beuys Pit 75 Valhalla (klaver), and Arkitektura Natura (wall of land).

"Our joint meetings extended from 1965 until Henning's death in 2008. Forty-three years where we spoke in parallel in rooms, but occasionally the two rooms met in a new meaning."

De to Huse' / 'The two Houses should be understood as complementary. One space is pure in material – a tactile expression on the understanding that materials and forms are alive and affect us physically and mentally as we move through urban space. The more homogeneous architecture is designed and performed, to a large extend, the more limited our mental state. The more predictable and monotonous the uses of materials are, the less we can interpret ourselves into the city.

The other room functions as an imaginary space. An open structure where Henning Christiansen's piano: Beuys Pit Valhalla (1996), is installed, referring to Henning's many entries to 'Musik als Grün', including real sounds, mechanical sounds, canary birds, hens, instruments and not least the language like sound. "I have no opinions, I have sound", said Henning Christiansen, as we move through the city's sound, and the starting point is that only when it is completely quiet and completely empty.

The Wall - Bjørn Nørgaard has built a wall in the field.
"I'm building a wall of land. 'From earth you have come, to earth you will stay'".

Bjørn Nørgaard's first wall was Menneskemuren / The Human Wall in 1982. It was originally built for a Nordic exhibition at The Solomon R. Guggenheim Museum in New York. It was an optimistic global wall with representations from different cultures around the world and a caricatured capitalist money on the top. Seven years later, when the Berlin Wall fell, the world opened. However, Nørgaard couldn't engage with the hubris.   
The world wasted the 90's on foolish abuse of opportunities and with 9/11 and the Iraq War, everything smoked to the floor. Now walls are being built in Israel, Europe, and perhaps Trump's wall against Mexico.
When Henning Christiansen exhibited the fluxus piano Beuys Pit Valhalla (1996), at the 2001 Venice Biennale, he commented on the notion of the wall, "System of Freedom: those who build a wall around their own spirituality - risk to lose - it. (VALHALLA)

Since Henning Christiansen and Ursula Christiansen moved to Askeby on Møn in 1970, Bakkehøjgård framed many gatherings, conversations, and visits by international artists. In 1986, René and Ursula Block move into the house next door and by 1990, Bjørn Nørgaard and lene Adler Petersen also bought a property on Møn. All this and much more led to the Art Association 44Møen, which was formed in 2007, shortly before the Kunsthal opened in 2008. From a historical perspective, a large part of Bjørn Nørgaard and Henning Christiansen's art is anchored on Møn. To emphasis their relevance to the place, which is still changing, 44Møen's artistic director, René has invited Nørgaard to exhibition and develop a site-specific installation. 

Selected Exhibitions:

2016: Bjørn Nørgaard, "Drømme i mængde er tomhed, det gælder også ord i mængde", Galleri Susanne Ottesen, København. 2015:"Rolling Snowball 6" Djupivogur, Island, "Den Frie Forårsudstilling" Den Frie Udstilling. "Ich kenne kein weekend" NBK Berlin. 2016 "Remember Lidice" Edition Block Berlin. 2014: DER URSPRUNG DER ZUKUNFT, at YEARS, Copenhagen, Denmark. Skulptur og maleri, Huset i Asnæs, Asnæs, Danmark. Re-modelling the World - again again again, CAFA Art Museum, Beijing, China 2013: Riv dette tempel ned, Ikast Kunstpakhus, Ikast, Denmark 2012: Fake - som i et spejl, Galleri Susanne Ottesen, Copenhagen, Denmark Udvalgt grafik, Hornslet Kunstforening, Hornslet, Denmark Spørger Jørgen stadig. Politikens Forhal, Copenhagen, Denmark. 2010: Bjørn Nørgaard, Langes Magasin, Frederikssund Kunstforening, Frederikssund, Denmark. Bjørn Nørgaard. Udvalgt Grafik og Småskulpturer, GrafikGalleriet, Næstved, Denmark. Re-cycling Art, Horsens Kunstmuseum, Horsens, Denmark. Re-modelling the world, Statens Museum for Kunst, Copenhagen, Denmark. Englefisse, Galleri Susanne Ottesen, Copenhagen, Denmark. 2009: Bjørn Nørgaard – Mythos und Morphologie, Kunstsammlungen Chemnitz, Chemnitz, Germany.

Bjørn Nørgaard: La Maison Imaginiare, 2017 (second edition)

Poor Bamse, 2016

Gute Heute, Leute video documentation 2006,

Henning Christiansen: Beuys Pit 75 Valhalla, 1996

Bjørn Nørgaard: Arkitektura Natura, 2017

Random Walks
29.5. – 18.9.16 Anton Burdakov (UA), Tue Greenfort (DK), Toril Johannessen (NO), Ulrike Mohr (DE), Lecture Performance af Gernot Wieland (AU)
Kurator: Eva Scharrer
random walk is a mathematical formalization of a path that consists of a succession of unforeseeable steps. For example, the path traced by a molecule as it travels in a liquid or a gas, the search path of a foraging animal, the price of a fluctuating stock and the financial status of a gambler can all be modeled as random walks, although they may not be truly random in reality. First introduced as a term in 1905, "random walks" have been used in many fields: ecology, economics, psychology, computer science, physics, chemistry, and biology.

The exhibition Random Walks invites artists from Scandinavia, Germany, Austria and the Ukraine to develop new site-specific works for Kunsthal 44 Møen and its – natural and cultivated – surroundings. Employing both scientific and pseudo-scientific methods, as well as process and chance, they respond to the island of Møn in various ways, departing from it's geological, agricultural, architectural conditions and from individual stories. Together, they formulate a critical yet playful approach towards the notion of human and natural memory, the use of land and resources, and the various elements that define the terms "nature", "culture" and "environment".  

Anton Burdakov (b. 1982 in Kiev, Ukraine, lives in Berlin) explores transitions between spaces and states through objects and model-making, focusing on the spatial dimensions of personal relationships. For Random Walks he has produced a new set of metal sculptures whose designs are based on molecular structures relating to the geological makeup of his chosen hometown Berlin, as well as to the island of Møn (Quartz and Calcite, both 2016). Both structures are filled with objects alluding to narratives arising from the interaction of human activities and landscape. The physical manifestation of objects in the exhibition space is complemented by a durational installation with participation from art and architecture students, taking place in July, that raises questions about how one wishes to live by tackling an actual architectural problem.

Tue Greenfort (b. 1973 in Holbaek, Denmark, lives in Berlin) pursues an interdisciplinary practice rooted in a deep fascination with the natural world and often evolving around issues of ecology, biodiversity, and cultural history. On Møn, the artist went on a solitary walk in and around Liselund Park, an idealized landscape built in the 18th century on private property. The installations The Romantic Walk (2016), and Pesticide Trace (2008), involving GPS recordings, photographs, and video, explore different conceptions of "nature" – the untouched, the romantically idealized and the agriculturally utilized – and further reflect upon notions of property, production, and exploitation. On the terrace, a bloc of limestone is exposed to erosion, and a savaged greenhouse provides space for interspecies entanglement.

Toril Johannessen (b. 1978 in Harstad, Norway, lives in Bergen) engages in scientific topics through empirical and theoretical investigation and storytelling. For A Journey to an Island (2016), she visited the small island of Lindholm between Møn and Sjælland, which still houses the Division of Virology of the DTU National Veterinary Institute, soon to be relocated to Lyngby near Copenhagen. The outcome of the journey is an interview with former researcher Kristian Dalsgaard, published in the local newspaper Ugebladet for Møn. It is a reflection on the nature of viruses, on memory and disappearance, accompanied by an installation of soap-fuelled boats. Also on view is Words and Years (2010–15), a series of silkscreen graphs based on research into the appearance of certain terms in various academic journals and magazines.

Ulrike Mohr (b. 1970, lives in Berlin) utilizes material transformation processes that are influenced not only by research and handed-down knowledge, but also by chance occurrences. Over the past years, the almost extinct practice of burning char has become a central modus operandi in her work. Her new installation Slicing Time (2016) takes this practice to a new level: the artist retrieved a dead beech that had fallen off Møns Klint, dissected it and transformed it into charcoal by burning it in absence of oxygen until the wood is rendered chemically eternal. The tree is presented hanging horizontally in the exhibition space, aligned with a trail of chalk chunks on the floor, each section showing a chapter of its lifespan preserved in carbon. First shrunk in the charburner, then extended again through its spatial arrangement, the trunk draws a dynamic line through space, complemented by the fine curves of a carbonized liana. The meshwork that contained the slices is a leftover from the carbonizing process, which the artist invites a broader audience to practice by themselves during a workshop in July. 

Gernot Wieland (b. 1968 in Horn, Austria, lives in Berlin) works mainly with film, drawing, and lecture performances in order to examine psychological conditions in society and in human beings. In most of his works he includes various layers of narration and multiple references through small sculptures, photos, drawings and collages. The format of the lecture performance plays an important role in his practice, interweaving historical reports, personal recollections and scientific data. For Random Walks, Wieland will present his new lecture performance To turn every ending into a beginning (2016), which deals with the perception of space, balancing between truth and fiction, tragi-comic incidents and a sense of the uncanny. The layered narration includes Franz Kafka, rafts, community gardening, memories of the artist's catholic childhood and stairways, while digging into the history of psychiatry.

The exhibition is conceived as a dialogical process, providing an opportunity for the artists to work on site in Møn for a period of time to develop their projects and engage with potential audiences. Randow Walks is intended to grow throughout its duration over the summer, and will be substituted by a number of talks, lectures, performances, workshops, and walks.

Please find the full program under 'Workshops and Events'.

Supported by: Augustinus Fonden, 15. juni Fonden, Knud Højgaardsfond, Statens Kunstfond, Office for Contemporary Art Norway, Goethe Institut, Vordingborg Kommunes Udviklings og markedsføringspulje and Møns Klint, Naturstyrelsen Storstrøm.

Bjørn Nørgaard: La Maison Imaginiare, 2017 (second edition)

Poor Bamse, 2016

Gute Heute, Leute video documentation 2006,

Henning Christiansen: Beuys Pit 75 Valhalla, 1996

Bjørn Nørgaard: Arkitektura Natura, 2017

Random Walks by night, 2016

Ulrike Mohr, Slicing Time, 2016 (detail)

Anton Burdakov,

Tue Greenfort,

Toril Johannessen,

Gernot Wieland, Performance Lecture,