1. No category

ANJA
FRANKE
UDE&HJEMME
Abroad and at Home
ANJA FRANKE
UDE&HJEMME
Abroad and at Home
2Tekst / Text Lisbeth Bonde
8Regler / Rules
10Roskilde
16 Holte
20Berlin
26 Kolkata
32Mexico City
38 Snapshot
57Mønstre / Patterns
64 Kolofon / Colophon
Global
musselmaling
Billedkunstneren Anja Frankes (f. 1962) udstilling
Ude og Hjemme på Gammelgaard Kunst- og Kulturcenter former sig som en kulturstafet med temaet
porcelæn. Det er noget, vi alle tager i brug hver eneste dag, når vi sætter læberne til koppen eller spiser
vores måltider fra tallerkenerne. Men Anja Franke
er ikke interesseret i de stilmæssige eller æstetiske
forskelle på Meissen, Pillivyut, Kähler, Royal Copenhagen eller for den sags skyld Bing og Grøndahl,
selv om disse stel undertiden indgår i hendes værk
Waste Service. Men i så tilfælde beror det på en
tilfældighed. Som en innovativt tænkende konceptkunstner, der stort set altid arbejder stedsspecifikt,
går Anja Franke ikke op i objekternes iboende kvaliteter. Snarere undersøger hun med nysgerrigheden
og sin kritiske sans som bisiddere de betydningstilskrivninger, som sker, når objekterne optræder i en
ny kontekst, eller når de forvandler sig undervejs i
processen.
Ifølge Gyldendals Store Ordbog er ordet porcelæn
kommet ind i det danske sprog via fransk, som igen
har det fra italienernes betegnelse for en porcelænssnegl, porcellana, hvis snegleskal ligner porcelæn.
Anja Franke har rejst til Berlin, Kolkata, Mexico City
og København med hvidt genbrugsporcelæn – Waste Service - og hendes værk er successivt blevet
til som en stafet hen over landegrænserne i dialog
med publikum. Nu er vi så heldige at kunne opleve
det i Herlev, hvor hun bor og arbejder. Sædvanligvis
erhverver hun servicet, når hun når frem, men det
lod sig ikke gøre i Kolkata, hvor hendes værksted
blev indrettet i en såkaldt palki – et mobilt køkken,
tegnet af arkitekten Gitte Juul. Alt porcelæn i det fattige Indien bliver nemlig genbrugt med det samme.
De øvrige steder har hun købt brugt porcelæn on
location på loppemarkeder. Således er der efterhånden tale om et globalt stel med hånddekoreret mønster i ultramarin, som vi herhjemme kender så godt
fra Royal Copenhagens legendariske musselmalede
porcelæn og stellet Blå Blomst.
Anja Franke inviterede folk inden for eller ud på gaden i sine små interimistiske værksteder og fik dem
til at dekorere det snehvide porcelæn. Først fik de
udleveret en blyant og et stykke papir, så de kunne
øve sig lidt på mønstret, som Anja Franke først havde
skabt som en matrice eller et grundmønster, som de
skulle tage udgangspunkt i. Herefter har de brugt
længere eller kortere tid på at male mønstret. Nogle af deltagerne er kommet i et særligt zen-mode,
som det ofte sker, når man koncentrerer sig dybt om
en defineret opgave. Disse mennesker har på Anja
Frankes opfordring spildt tiden på en kreativ måde.
Anja Franke brænder efterfølgende det dekorerede
service i en bageovn. Når publikum er færdige med
at male, kan de lave sig en kop te som belønning for
udført arbejde. Teen bliver serveret i kopper, som
er blevet dekoreret ved tidligere workshops rundt
omkring i verden. Te indeholder stoffet theanin, som
bevisligt øger indlærings- og koncentrationsevnen,
samtidig med at det modvirker stress. Tedrikning
fremmer den interkulturelle dialog og understreger
det globale fællesskab i fredens navn, ligesom den
påminder om den lange, tradition for tedrikning, som
oprindelig bredte sig fra Kina til resten af verden.
Med hendes Waste Service projekt indgår Anja
Franke i en ny, interaktiv og social engageret retning i samtidskunsten, som involverer publikum
aktivt og bringer folk sammen. Man kunne også
nævne den thailandske kunstner Rirkrit Tiravanija
(f. 1961), som generelt nægter at skabe kunstobjekter til den hvide kube og i stedet tilbereder
mad og serverer den for publikum. Et andet eksempel er den danske kunstnertrio Superflex (grundlagt
i 1993), der bl.a. har arbejdet sammen med brasilianske bønder fra Amazonas om at producere
læskedrikken Guarana Power.
Ikke desto mindre er Anja Frankes Waste Service
noget helt særligt. Som en del af hendes totalinstallation Ude og Hjemme viser den, at hun ikke
kun er interesseret i en kritik af den senmoderne
brug-og-smid-væk-kultur. Skønt Anja Franke er en
samfundsengageret kunstner, som bl.a. er drevet af
feminismens bestræbelse på at gøre det personlige
politisk, så er hun mere optaget af tanken om, at porcelænet har cirkuleret i flere miljøer, fra byer til det
hjemlige dvs. intimsfæren, end af en kritik af overforbruget. Hun ser poesien i, at porcelænet har skiftet
hænder, ofte flere gange, når den næste generation
arver det. Et veldækket bord er et visitkort, som fortæller andre om, hvem vi er, og hvor vi er placeret i
samfundshierarkiet – om vi har arvet servicet fra rige
slægtninge eller lignende. Alle kender glæden ved
at sætte sig ved et veldækket bord. Gamle traditioner og ritualer ligger til grund for borddækningen
med en nøjagtig placering af
enkeltdelene i forhold til hinanden. Kronen på
værket er porcelænet, som ofte har en stor affektionsværdi i familierne, og som det derfor kan være
vanskeligt at skille sig af med. Til forskel fra andet
husgeråd – som fx dørslag, målebægre, tragte mv.
- er porcelæn nemlig et æstetisk, og til tider kunstnerisk produkt. Fra at være et ”hvidt lærred” i form af
en lidt identitetsløs kop eller tallerken uden mønster,
sker der en betydningstilskrivning, når det bemales
af publikum. Det dekorerede porcelæn kommer til at
fungere som en interkulturel stafet mellem det globale rum og hjemmet – derfor titlen: Ude og Hjemme
– men det er samtidig en måde at binde den private
zone sammen med kunstrummet. Desuden er der
den sidegevinst ved Anja Frankes generøse og poetiske, interaktive projekt, at publikum ændrer deres
rolle fra at være passive betragtere til at blive aktivt
udøvende. De spilder tiden under påskuddet at male
et mønster efter de specifikke regler, som Anja Franke har opstillet. De bliver naturligvis ikke kunstnere
af at svinge lidt med en pensel på noget porcelæn,
men når kopperne og tallerkenerne indgår i det
store rammeværk, som er konciperet af Anja Franke,
vokser enkeltdelene i betydning og bliver en del af
en større fortælling. Anja Franke har skabt et værk,
som fungerer æstetisk, og som har en egen autonomi i kraft af hendes begavede, formelle greb.
Hjerneforskere har påvist, at det er vigtigt for os at
spilde tiden. Når vi lægger tøj sammen eller ser ud
ad vinduet, mens tankerne forsvinder i dagdrømme,
sættes vores hjerner i et andet gear og regenererer. Det er uhyre sundt at spilde tiden, selv om hele
vækstrationalet i vores samfund modsiger dette og
kræver en højproduktiv, målrettet og omstillingsparat arbejdskraft. Waste Service er altså også et tilbud
til publikum om for en stund at geare ned, være
sammen om en proces og være til stede i nuet.
Udstillingen er installeret i Gammelgaards tre bygninger. I den nye lade kan publikum opleve et 8 m
langt bord med porcelæn. Selv om alle deltagerne
har fået udleveret det samme mønster, noterer man
sig med interesse nogle spændende, markante
forskelle, der vidner om de højst forskellige kulturer,
som de er fremstillet i. Desuden er der et te-bord og
et bord, hvor publikum kan male, når Anja Franke er
til stede. Her hænger også nogle tomme, specialdesignede reoler, som Gammelgaards besøgende
efterhånden fylder med deres dekorerede porcelæn.
Det hvide porcelæn kommer fra en stor indsamling,
som er foretaget af borgere i Herlev Kommune.
På væggene hænger der en række fotos på 30 x 40
cm fra Waste Service-projektet, da det var ude at gå i
verden. Desuden indgår der tre silketryk med nogle
af de mønstre, som publikum har frembragt, og som
Anja Franke derefter har viderebearbejdet og nu har
signeret som selvstændige kunstværker. Herudover
har hun på lange bomuldsduge trykt det samme
mønster i et serielt forløb fra tidligere interventioner.
I hovedhuset hænger 40 closeup fotos, igen på 30
x 40 cm. Her har hun fotograferet signerede kopper
og tallerkener, som personer fra de forskellige lande,
som Anja Franke gæstede med sin intervention, har
dekoreret. Hun har tømt caféen i hovedhuset og har
lagt et Egetæppe ud på gulvet med motiv af en tallerken, som er dekoreret med et Waste-mønster og
signeret af en person fra Mexico City. I det andet rum
har hun stablet en stor, kubeformet brændestabel,
hvorfra gæsterne i udstillingsperioden kan hente
kævler og fodre pejsen inde ved siden af. Når publikum har malet et stykke porcelæn og har fået deres
velfortjente kop te i den nye lade, kan de gå over til
hovedhuset og få varmen foran pejsen. Her kan de
spilde tiden, synke ned i en meditativ dvælen og falde i staver, mens de ser ind i ilden. I den gamle lade
vil der være workshops for skolebørn. Anja Franke
har med andre ord arbejdet med mange skalaer, medier og materialer på Ude og Hjemme, men den røde
tråd er hele tiden de mønstre, som publikum skabte
på porcelæn i hendes interventioner og workshops.
Waste Service går i dialog med mange af Anja Frankes tidligere værker, som ofte tematiserer relationen
mellem intimsfæren og det offentlige rum - og gennemgående i hvide farver. Men det er første gang,
hun inddrager publikum så direkte som nu. Det er et
af mange værker og aktiviteter, som Anja Franke har
skabt i løbet af sin lange karriere. Hun er uddannet
fra Det kgl. Danske Kunstakademi (1987-94) og var
medstifter af det feministiske kunstprojekt Roomservice (1991). Desuden er hun udstiller og medstifter
af udstillingsstedet og videoarkivet Max Mundus
(1994-96), medstifter og medredaktør af tidsskriftet
Månedsskrift for Kunst og Kunstrelateret materiale
(1994-99) samt medstifter af udstillingsstedet Mfkokm (1998-2000. Fra 2004 har hun med udgangspunkt i sit hjem, et lille parcelhus på Byskovvej 28 i
Herlev, igennem mere end 10 år kurateret en række
udstillinger med stedsspecifikke værker af danske
og internationale kunstnere under titlen IHi- InstantHERLEVinstitute, som har opnået anerkendelse
både her og i udlandet. Hen over sommeren 2014
markerede hun 10 års jubilæet med gruppeudstillin-
gen By Invitation Only med fokus på begreber som
gæstfrihed og grænsedragninger og de kontrolmekanismer, som bliver taget i anvendelse for at holde
nogle ude og lukke andre ind – det være sig i en stat,
i kunstens rum eller i et privat hjem. Hun ryddede
bl.a. sin egen dagligstue for at gøre plads til kunst,
skabt af nogle af udstillingens kunstnere. I pagt
med temaet havde hun gæstfrit lagt kurateringen af
udstillingen i hænderne på den mexicanske kurator
Lucía Sanromán. For tiden er hun ved at afslutte sin
permanente kunstudsmykning i Skovlunde Bypark.
Titlen er Dag & Nat. Her går hun videre med parcelhustemaet, idet hun fokuserer på terrassen som en
grænsezone mellem husets indre og omgivelserne.
Her mødes man for at kontemplere, solbade, holde
picnic med mere. Samtidig refererer terrassen til
mange nydanske borgeres måde at anvende det
offentlige rum, hvor de samles på tæpper i parkerne
og holder picnic.
Anja Franke har i den grad formået at sætte Herlev
på samtidskunstens internationale landkort.
Lisbeth Bonde. Februar 2015
Lisbeth Bonde er kunstkritiker
og forfatter med base i København.
Copenhagen
Blue Fluted
Going Globa
The visual artist Anja Franke’s (b. 1962) exhibition
Abroad and at Home at Gammelgaard Kunst- og
Kulturcenter takes an object as well known as porcelain service (i.e. dinnerware) as a form of cultural
relay. This is something everyone uses in daily life
when we put our lips to cups and drink from them or
when we consume our meals from plates. But Anja
Franke is not interested in the stylistic or aesthetic
differences in service sets made by Meissen, Pillivyut, Kähler, Royal Copenhagen or for that matter
Bing and Grøndal although these porcelains might
sometimes form part of her interventional art project Waste Service. However, in this case, this is due
to coincidence. As an innovative-thinking conceptual artist that almost always works with site specificity,
Anja Franke doesn’t care so much about the intrinsic
qualities of objects. Rather she examines – with her
close companions, curiosity and critical sense – the
ascriptions of meaning that occur when objects engage a new context or when they are transformed
during the process.
According to Gyldendal’s Store Danske Ordbog
the word porcelain entered the Danish and English
language via French, which had inherited the word
from a snail species called porcellana in the Italian
language. Its shell resembles very much that of
porcelain. Anja Franke has travelled to Berlin, Kolkata, Mexico City and Copenhagen with recycled
waste porcelain. Here her work has developed as a
cultural relay, an object or cultural practice shifting
hands in a long row of exchanges across borders
through various countries and continents; always in
dialogue with audiences. Fortunately, we will now
be able to experience all of this in the community
of Herlev, where the artist works and lives. Usually
she acquires the waste service when she arrives at
the destinations but she didn’t succeed in doing so
in Kolkata where her workshop was organized in a
so-called palki – a street kitchen (this palki was designed by Danish architect Gitte Juul). All the used
service in India is recycled at once. At all the other
destinations she has bought used porcelain on location at flea markets or participants bring it to her.
In this respect you may call it a global waste service
with patterns in ultramarine which here in Denmark
are well known from Copenhagen Blue Flute and
Blue Flower.
Anja Franke invites the public to enter her small temporary workshops whether they are placed inside or
outside in the street and encourages them to paint
on snow-white waste porcelain. Initially She gives
them a pencil and a paper so that they first can exercise a little on the pattern, which Anja Franke has
designed in advance. Then people are welcome to
invest more or less time in painting the pattern. Some
of the participants get into a special zen mode which
occasionally happens when you concentrate deeply
in solving a well defined assignment. These people, if
it could be said, waste their time in a creative way. Afterwards Anja Franke burns the decorated porcelain
in an oven. When participants finish their work they
are invited to make a cup of tea as a reward. The tea
is served in cups painted by other people at previous
workshops around the world. Curiously, tea contains
the substance thiamine that is proven to increase the
ability to learn and concentrate and which at the same
time minimizes stress. Furthermore tea drinking stimulates the intercultural dialogue and underlines the
global community in the name of peace and at the
same time it reminds us of the long tradition of tea
drinking which originally spread from China and today
is enjoyed all over the world.
And as such, with her Waste Service project Anja
Franke is joining a new, interactive and socially engaged tradition in contemporary art involving the
public actively and bringing people together. We
could also mention the Thai artist Rirkrit Tiravanija (b.
1961) who generally rejects art objects and instead
cooks and serves food for the visitors. Another example is the Danish artist Group Superflex’(founded in
1993) that in cooperation with the Brazilian Amazon
farmers produced the soft drink Guarana Power in addition to other cooperation projects.
Nevertheless Anja Franke’s Waste Service project
is something very special. As a part of her total installation Abroad and at Home it shows that she’s
not only interested in a critical approach to the postmodern through away culture. Although Anja Franke
is a critical and socially conscious artist who among
other things is driven by the feminist endeavor to
make the personal life political she’s more engaged
by the idea of the service having been circulated in
various environments and places - from big cities to
the intimate spheres of people’s homes - than of a
critique of overconsumption. She considers the fact
that the porcelain service has shifted hands – often
several times, when the next generation inherits it
– as something that is endowed with poetry. In this
sense, a table arrangement resembles a business
card which reveals your identity to other people
and tells where you belong in the social hierarchy:
Whether we inherit it from our rich family or have
enough money to buy luxurious service ourselves or
we just buy cheap service from the global furniture
shop IKEA. Everyone knows the pleasure of sitting
at a well-set table. Old traditions and rituals underlie
the way to set at table with a precise placement of
the single components in relation to one another
so that we feel at home and comfortable no matter
where we dine. The crowning achievement is the
service, porcelain or china that often has a great
sentimental value in families which makes it difficult
to discard.
Unlike other household items – such as strainers,
measuring cups, funnels etc. – china is an aesthetic
and occasionally artistic product. From being a white
cup or plate without any identity i.e. without any individual blue pattern, an ascription of significance will
occur when it beings to be painted by the audience.
So the painted china is becoming an intercultural
relay between the big, global space and the private
sphere – according to the title of the exhibition – but
at the same time it is a medium to connect to the
art world. Moreover, there is a side effect to Anja
Franke’s generous and poetic interactive project:
the audience changes its role from being passive
spectators to becoming active performers. They actively waste their time under the pretext of painting
a pattern after the specific rules that Anja Franke has
established. Of course they’re not becoming artists
by simply swinging the brush on some service but
when the cups and the plates are integrated in the
larger framework conceived by Anja Franke they gain
importance as a part of a bigger story. Anja Franke
has created a work of art that functions aesthetically
and has obtained its own autonomy thanks to her
intelligent formal approach.
Cognitive science has proven that it’s very important
for human beings to waste time. When we’re folding laundry or you’re just looking out of the window
whilst our thoughts disappear in daydreams our
brains are set in another gear and regenerate. It’s
extremely healthy to waste time although the growth
rationale of the Western society contradicts this and
demands higher productivity, determination and
adaptability. So Abroad and at Home is also an offer
to the public to gear down for a while, and to gather
and be present in the moment.
The exhibition’s installed in the three buildings in
Gammelgaard’s Art and Culture Center. In the new
barn the audience can experience an eight-meter
long table with the already decorated service. Although the participants have being handed the
same pattern as a starting point you notice significant differences between the patterns depending
on the culture the audience were brought up with.
Furthermore, there is a tea table and a table to serve
the audience, where service painting happens,
whenever Anja Franke is present. On the walls some
empty, specially designed, shelves are hanging.
They’re gradually being filled with the decorated service. The citizens of Herlev have collected the white
porcelain service.
On the walls you experience a number of photos all
measuring 30 x 40 centimeters. They derive from the
Waste Service-project from the time it has been on
the road. Besides there are three silk screen prints
with some of the patterns produced by the audience
that Anja Franke has elaborated and now signs as authoritative works of art. Furthermore she has printed
the same pattern in a series with motives from previous interventions. In the main house there are forty
close-up photos, also measuring 30 x 40 centimeters
with motifs of cups and plates that persons from
various countries have decorated before. In the café,
and also in the main house, she has placed a carpet
from the Ege Factory also with a motif of a plate decorated with a Waste pattern and signed by a person
from Mexico City. In the other room she has stacked a
large cube-shaped woodpile. The guests are invited
to fetch a log and feed the fireplace in the room next
door. When the audience has finished their work in
the workshop and have poured the well deserved
tea in the new barn they might walk over to the main
building and get warmed at the fireplace. Here once
again they can waste their time sinking into a meditative dwelling and musing while looking into the fire. In
another room in the old barn school children are invited to join the workshop. In other words Anja Franke
has worked in many scales, media and materials on
her exhibition Abroad and at Home, but the recurring
theme is the patterns made by the audience during
her interventions and workshops.
Waste Service is related to many other earlier works
of art made by the artist. They often thematise the
relationship between the intimate sphere and the
public space – and the white colour runs through her
works. However, she has never before involved the audience so directly as in her new work. It’s just one out
of many works and activities, which Anja Franke has
made during her long career. She’s educated at the
Royal Danish Academy of Fine Arts (1987-94) and was
the co-founder of the feministic art project Roomservice (1991). Furthermore she was exhibiting artist and
co-founder of the exhibition space and video archive
Max Mundus (1994-96), co-founder and co-editor of
the art magazine Månedsskrift for Kunst og Kunstrelateret materiale (1994-99) and co-founder of the exhibition space Mfkokm (1998-2000. From 2004 onwards
and with a starting point in her home, a small house
at Byskovvej in Herlev, she has curated a number of
exhibitions with site specific art produced by Danish
and international artists under the title IHI- InstantHERLEVInstitute, which has gained recognition both
here and abroad. Throughout the summer 2014, she
marked the ten years anniversary with the group
exhibition By Invitation Only. Here she focused on
themes such as hospitality, borders and the control
of borders, which are used in order to keep some
people out and invite other people in - it might be a
state, an exhibition space or a private home. Here,
she cleared her living room in order to make space
for works of art made by some of the other exhibiting artists. Corresponding with the theme she had
handed the curating tasks to the Mexican curator
Lucía Sanromán.
Currently she’s about to finish a permanent public
artwork to a park Skovlunde Bypark. The title is Day
& Night. Once again she works with the single-family
house focusing on the terrace as a boundary zone
between the inner of the house and its surroundings.
Here the residents meet in order to contemplate, to
sunbathe, making picnics and socialize in a relaxed atmosphere. At the same time the terrace refers to the
cultural habits of many new citizens, especially those
who have migrated from the Middle East – who now
use public spaces in new ways, gathering on oriental
carpets and having picnics.
Indeed Anja Franke has managed to put Herlev on
the map of international contemporary art.
Lisbeth Bonde, February 2015
Lisbeth Bonde is an art critic
and author based in Copenhagen.
Porcelæn regler for spild af tid.
Porcelain rules for a waste of time.
1
10
18
Find et sted hvor du vil være.
Find a place where you will be.
Lad porcelænet tørre.
Let the porcelain dry.
2
11
Tag et A4 papir og en blyant.
Take a sheet of A4 paper and a pencil.
Finde en pensel, lidt vand og
ultramarin blå porcelænsmaling.
Finding a brush, a little water and
ultramarine blue porcelain paint.
Fortsæt hvor du slap på porcelænet,
og følg med din hånd pensel spidsen
med maling på, omkring porcelæn
overfladen.
Continue where you left off on the porcelain and move the brush tip with paint
around the porcelain surface.
3
Stå stille 1 minut.
Stand still for 1 minute.
4
Begynd at tegne en streg på papir
og fortsæt rundt omkring på papir
med blyant.
Start drawing a line on paper and go
around the paper with a sharp pencil.
5
Følg med blyantspidsen de streger du
allerede har tegnet med lille afstand.
Follow with the pencil the lines you’ve
already drawn, keeping a small distance.
6
Stop når du har gjort det i den
tid du vil bruge.
Take the time you want to use and
stop when you have done it.
7
Udvælg et stykke porcelæn fra bunken
uden ultramarin blå mønster på.
Select a piece of porcelain from the deck
without an ultramarine blue pattern.
8
Kig på porcelænet ½ minut.
Look at the porcelain ½ minute.
9
Tag en lille klud og dyp med sprit
og rengør porcelænet grundigt.
Take a small cloth and dip with rubbing
alcohol and clean the porcelain thoroughly.
12
Stil dig godt til rette.
Make yourself comfortable.
13
Hold porcelæn i den ene hånd og
pensel i den anden hånd.
Keep the porcelain in one hand and
a brush in the other hand.
14
Dyp pensel spids lidt ned i den
ultramarin blå porcelænsmaling.
Dip the brush tip slightly into the
ultramarine blue porcelain paint.
15
Sæt pensel spids på porcelænet
og begynd at følge med din hånd
penslen rundt på porcelænet.
Set the brush tip on the porcelain and
begin to move the hand brush around
on the porcelain.
16
Stop når der ikke er mere maling
på pensel spids.
Stop when there is no more paint on
the brush tip.
17
Dyp igen pensel spids ned i den
ultramarin blå porcelænsmaling.
Keep the porcelain in one hand and
a brush in the other hand.
19
Stop når der ikke er mere maling på
og dyp penslen igen.
Stop when there is no more paint and
dip the brush again.
20
Følg med din hånd pensel spidsen og
lave en streg tæt på den første streg.
Continue painting with your brush tip and
make dash near the last stroke.
21
Gentag det hele igen og stop når
du har gjort det lang tid nok.
Repeat all over and stop when you’ve
done it long enough.
22
Signér porcelænet og årstal og by
hvor du er.
Sign the porcelain and add the year
and city where you are.
23
Anbring porcelæn til at tørre.
Place the porcelain to dry.
24
Udvælg en porcelæn kop, som en anden
har malet mønster WASTE TIME på.
Select a porcelain cup that someone else has
painted with the pattern WASTE TIME on it.
25
Kog vand og lav en kop te og drik det
mens du ser dig omkring.
Boil water and make a cup of tea and drink
it while you look around.
ROSKILDE
Copenhagen Art Festival and
WASTE SERVICE at Roskilde Festival
2012.
WASTE SERVICE TEA BAR consists of 200 kg old porcelain,
which has been thrown out. Franke has collected the porcelain
and painted it with a special WASTE TIME pattern. When
painting the pattern you waste time – therefore the pattern
painted at the tea cups, are not only a decoration, but also
a symbol on wasting time. Franke’s vision is to open up the
intimate situation of drinking tea together and create a global
tea dining ware where everybody can participate and people
can meet and talk with strangers over a cup of tea.
The WASTE SERVICE will travel from Roskilde Festival to
Copenhagen Art Festival in late August 2012. Later this year
it will continue its tour to Berlin at the exhibition EKSTREME
CRAFT and will become a global WASTE SERVICE TEA
BAR. When you decorate a tea cup –you create your own
personal way of making the pattern and in that way set your
mark on the global dining ware.
HOLTE
Berlin
EXTREME CRAFTS – WASTE SERVICE
WORKSHOP
You can bring old china to the WASTE SERVICES TEA BAR,
you can paint WASTE TIME pattern on. I teach how to paint
on porcelain. We also have old china with which you can paint
on and that will become part of porcelain WASTE SERVICE
dinnerware and will stay with us. There will be served tea to the
audience in WASTE SERVICE tea set. This Tea Set is assembled
and painted in Copenhagen.
WASTE SERVICE involves collection of porcelain that is no
longer in use or needs to be changed and have another design
in use and the process of it becoming new dinnerware.
The pattern has been developed from the idea to do an action
that doesn’t belongs to the rational of life “just to waste time” in
a combination with references to the typical Danish kitchen blue
color, Danish blue fluted porcelain – and waste. Waste is about
our daily use - throwaway culture sparking a consideration of
how we interact with our environment and with simple means
exemplifying how we can reshape it to give it new value – from
plates to homes to whole cities.
kOlkAta
MEXICO
CITY
Kolofon. Dette katalog er udgivet i forbindelse med Kunstudstillingen UDE&HJEMME på Gammelgård Kunst og Kulturcenter,
Gl. Klausdalsbrovej 436, 2730 Hjortespring, Herlev. 8 marts
- 27 april 2015. Redaktion: Anja Franke. Tekst: Lisbeth Bonde.
Grafisk tilrettelæggelse: Christian Ramsø / We Are Popular.
Tekst redigering & Oversættelse: Hugo Hopping. Foto: Anja Franke
/ Tomas Nordlund. Papir: Munken. Trykt af PE-Offset, Varde.
Oplag: 1000. © Copyright: kunstner og forfattere.
Trykt i Denmark 2015. Udgiver: IHi art & site research. Kontakt:
Anja Franke /[email protected] / 2620 3536
/ anjafranke.dk /
instantherlevinstitute.dk. Katalog og udstilling UDE&HJEMME har
modtaget støtte fra Statens Kunstfond. Tak til: Alle mennesker som
har været med til at male WASTE TIME mønster. Og kunstprojektet
fra København YNKB for at være med på udstillingen Extreme
Craft, Berlin, Tyskland, og Arkitekt Gitte Juul’s invitation til at deltage
på Street_Kitchen, Kolkata, Indien og Casa Vecina og Arkitekt
Giacomo Castagnola, Mexico City, Mexico.
Colophon. This catalog has been published on the occasion of
the exhibition ABROAD AND AT HOME at Gammelgård Kunst og
Kulturcenter, Gl. Klausdalsbrovej 436, 2730 Hjortespring, Herlev.
8 march - 27 april 2015. Editor: Anja Franke. Text: Lisbeth Bonde.
Graphic design: Christian Ramsø / We Are Popular. Text Editing &
Translation: Hugo Hopping. Photo: Anja Franke / Tomas Nordlund.
Paper: Munken. Printed by PE-Offset, Varde. Edition: 1000. © Copyright:
the artist and authors. Printed in Denmark 2015. Publisher: IHi art & site
research. Contact: Anja Franke /[email protected] / +45 2620 3536 /
anjafranke.dk / instantherlevinstitute.dk. Catalog and exhibition ABROAD
AND AT HOME has been supported by The Danish Arts Foundation.
Thanks to: All the people who helped paint the WASTE TIME pattern.
And the Copenhagen art project YNKB for including my work in the
exhibition Extreme Craft, Berlin, Germany, and the Architect Gitte Juul
for her invitation to Street_Kitchen, Kolkata, India and Architect Giacomo
Castagnola for his invitation to work and exhibit at Casa Vecina, Mexico
City, Mexico.