The origin of 42 - the relation to Møn
23.6. - 17.9. 2017
The decade between 1970 and 1980 in Denmark saw a wave of
alternative-minded people, hippies, activist and young families moving from the
cities to the countryside. Among other places, Møn became a hub, a popular
destination especially for those migrating to the island from nearby
These Newcomers, or Tilflytterne, as they were called by the local
people, quickly organised to form new cultural and social platforms, such as
the association Land and City (Land & By) running a magazine and a cooperative
of the same name were local and organic products were distributed. Inspired by
the hippie- and new social movements at the beginning of the seventies, many of
the Newcomers ventured in self-subsistence farming, while working as artists,
film-makers, architects or artisans and craftspeople. With their alternative
lifestyles and their attempts at realising small-scale socialist or ecological
utopias on the island, this new movement was not always welcomed by the local
population. However, the Newcomers did also form alliances with locals and
befriended their neighbours, contributing to the rejuvenation and social
development of the island.
In 1970, composer and artist Henning Christiansen and his wife, the
artist Ursula Reuter Christiansen moved to Møn, being among the first new
settlers from Copenhagen. Both were members of the Danish Communist Party and, together
with a growing number of like-minded people, became actively involved in this
new alternative scene, initiating cultural and political projects such as the party
alliance called Liste Ø, a local political experiment on the island of Møn.
This local coalition of Socialist Peoples Party, Danish Communist Party and
Left Socialist Party was not welcomed by the main parties outside the island.
Henning Christiansen was the top candidate for the local parliament elections
in 1974, but missed to be elected into the local parliament by only 6 votes.
After this initial disappointment, the focus was shifted towards self-organised
alternative press and the magazine Ø-bladet was started with big success. The
first issues were made with stencils, later offset-print was introduced by
Karsten Blem with the possibility of producing a larger edition: up to 800
copies for an island with 11.000 inhabitants. Land & By magazine continued
as a members magazine with a significant ecological and anti-political line.
The exhibition Tilflyterne / Newcomers presents a variety of materials
and documents from this period, illustrating the different self-organised
projects and also tracing some of the local cases of fraud or mismanagement by
the ruling elite of the island, who found themselves challenged and exposed by
the Newcomers and their independent newspaper Ø-bladet.
The documents are presented together with artworks by Henning
Christiansen and Ursula Reuter Christiansen, reflecting how their political and
social engagement inspired their artistic production, and vice versa.
Especially the large and vivid paintings by Ursula Reuter Christiansen make
tangible the motives and motivations of this period, including Lenin portraits
as well as hand-painted campaign posters and portraits of workers from the
porcellaine or gravel factories.
The accompanying events will bring together some of the protagonists of
this movement, re-enacting the infamous Ø-party in Askeby.
Curated by Thorbjørn Reuter Christiansen. Artist and Museumtechnician.
He studiet at the University of fine arts in Berlin and the Royal Academy in
He is born in Næstved, Denamrk in 1974 and grew up on the island of Møn,
He is the youngest son of Ursula Reuter Christiansen and Henning
Christiansen. He lives and works in Bergen, Norway.
you may cycle the layers without alteration
28.5. – 18.9.16
Kunsthal 44 Møen invited the two artists to create a site-specific installation in the Smithy adjacent to the art gallery's main building.
The installation is inspired by the transformation of a Venn diagram into a three-dimensional structure. Venn diagrams are illustrations used in the branch of mathematics known as set theory. They show all possible logical connections between a finite collection of different sets. The artists have linked the Venn diagram to Plato's concept of knowledge, which seeks to illustrate how knowledge emerges as a fusion between "faith" and "truth": in other words, what we believe exists and what actually exists. The structure of the diagram is made spatial using strips of copper and aluminium, which intersect the brickwork, roof, doors and windows. The common set in the encounter between the two worlds is formed in the joint surfaces of the building and the strips.
Logos and textual fragments, found in the immediate vicinity of the Smithy, are printed in 3D and embedded in copper water pipes and aluminium strips, forming an idiosyncratic cohesion of texts and imagery from Møn. The fragments were found in the likes of Hårbølle Harbour, Fanefjord Church, the local Ugebladet-for-Møn newspaper, Camping Vestmøn etc. Via the installation they form their own narrative with lyrical maxims such as: "in my blood", "memory", "Utopia", "Bella donna" etc. The Smithy ends up creating the basis for a visual adaptation of what exists in the world and around us in Møn. In many ways, the two artists' treatment of the diagram and Møn's graphic language end up undermining the diagram's logic, thereby highlighting the fact that very little, maybe nothing, can be said to be indisputably true or exhaustively justified.
Jean Marc Routhier (b. 1987, lives in Copenhagen), MFA, The Royal Danish Academy of Fine Arts, Schools of Visual Art (2015) and Universität der Künste Berlin. Routhier works experimentally in a variety of formats and media, in both his individual practice, and a range of artistic and curatorial collaborations. Routhier's work has recently been exhibited at Bianca D'Alessandro, Copenhagen (2016), Susanne Ottesen, Copenhagen (2016), Liszt, Berlin (2015).
Amitai Romm (b. 1985, lives in Copenhagen), MFA, The Royal Danish Academy of Fine Arts, Schools of Visual Art (2014) and Akademie der bildenden Künste Wien, Vienna. Romm works mainly in sculpture and spatial installations through a specific interest in communication and sign-making processes in cultural, material and biological systems. Romm's work has recently been exhibited at Bianca D'Alessandro, Copenhagen (2016), BUS Projects, Melbourne (2016), Garret Grimoire, Vienna (2015).
In corporation with Billedkunstskolerne, Det Kongelige Danske Kunstakademi (The Royal Danish Academy of Fine Arts).