bookmark_borderYOU ARE INVITED TO… NOTHING!

As I am writing this post a selection of my artwork is on display in group shows in a Copenhagen based gallery and two Danish Museums. It is a blessing to have my artwork shown among great artists in wonderful venues. But there are no one to visit. All doors are closed, the COVID-19 lockdown continues why not only these venues, but most cultural venues across the planet right now is closed to the public.

I have been angry, afraid and frustrated. It is such hard work to be chosen to go into the shows, it is years of preparation and I have been very proud to show some of my most recent abstract paintings and large scale drawings.

However, now I feel a bit differently. Mainly because I have fully accepted the situation, and because I do not wish to risk the audience nor the people working in the venues to be effected by the virus. I mean, it can potentially kill! It is more important to be safe, and then open the doors once we again can move around safely.

So, what have I been up to?


Well, as many others I have been isolated. I spend most of my days at home writing and drawing. I enjoy the slowness, and to actually spend loads of time at home. Normally I use my own home as the main station in Copenhagen, running in and out to catch the next project. But now I am waiting. It is like sitting in a waiting room, and despite being tired of reading the old magazines all over again, then I find more levels in both my writing and drawings. Also, I have decided to move to the countryside to be closer to nature. A decision I may not have dared to take if the virus had not taken over most of the world.

ISOLA – a solo show in a digital museum

I am also working on a digital project with an architect who came up with the brilliant idea to design a museum building, so now it looks like I have a solo show in a brand new museum! The show is called ISOLA and will be launched mid February 2021. I will keep you posted on when the private view which will take, but for this one I know it will happen, as it will all be online and on Zoom.

Time to look back


An other great achievement from my sofa is to go through my archive of material. I graduated in 2010 and it is all saved in one folder. Yes. I kid you not. It is very nostalgic to go through it all, and to see how much I have developed and experimented over the years. I will always be curious on my own, and am proud that I constantly push my own artworks in new directions as these create deeper layers in both form and content.

I am a mind traveller, which is useful in these times, as I can travel far in my mind. However, it does feel a bit like the documentation from my performance Haunted (2019) as seen below.

I am stuck
Please get me out of here




Stay safe out there.
This too shall pass.

See more images from Haunted here



bookmark_borderHonestly, I think the most challenging aspect is that there it is more or less not accepted as an artist to take a lot of time to reflect, be emotional, and to be insecure even though these are all very strong qualities in the right circumstances.

“Honestly, I think the most challenging aspect is that there it is more or less not accepted as an artist to take a lot of time to reflect, be emotional, and to be insecure even though these are all very strong qualities in the right circumstances.”

Mia-Nelle Drøschler, 2020

The Danish fashion designer Munthe is focusing on women in the arts. Thank you for including me.
The interview was published at their website:


https://www.munthe.com/pages/munthe-art-monday-mia-nelle-droeschler


Read English full version below.

  1. Please introduce yourself and what you do.

    My name is Mia-Nelle Drøschler, I graduated from Goldsmiths Fine Art (2010). I work in the interdisciplinary field of painting, drawing, installation, performance, sculpture and text, striving to create an overall experiencing in which both context and art objects relate to each other. I believe it is significant to counter reaction to the intellectual movements such as minimalist and conceptual art that has neglected the art’s ability to activate the imagination, and give way to human emotions. Therefore, all my works are carried out in the intuitive and spontaneous nature.
  2. How has being a woman affected your career?

    Being a woman has affected my practice rather my career, meaning that I wold argue that a ‘female aesthetic’ quality is present in many of my artworks.

    I find it interesting that it comes across that it is a woman who has created my artworks. I see this as a ‘female aesthetic’. Such ‘female aesthetic’ has not been very present in the contemporary art and art history, as the man have been dominating the art history for centuries why there has been a ‘male aesthetic’ for way too long.

  3. What – in your opinion – makes a great artist?
    A great artist is curios and experimenting allowing to expand her or his artworks independent of a commercial market.
  4. Which other female (artist) inspires you and why? I have always been inspired by Louise Bourgeois, who used her own personal story as an inspiration in her artwork. I also adore the fragility and yet striking roughness in her work. Recently I have fallen in love with Niki de Saint Falle who had a very diverged approach in her career, where color was a significant aspect throughout all her work.
  5. How has the art scene coped with the gender imbalance since you began your career? How could it still improve?

    I did my degree in Fine Art in London and was living in Great Britain for six years before moving back to Copenhagen. In England it is normal procedure that you fill out questions regarding gender and race for example in an application for art funding. I very much appreciate these quotas as I believe they can be helpful to turn things into a more balanced representation across gender and race. Unfortunately I do no see this in Denmark.
  6. What advice would you give to emerging female artists entering the art scene.

    Stay truth to your artwork, protect it from commercial interests such as repeating the same thing all over again if this goes against your artistic freedom. Keep on showing your artwork to people who YOU would like to work with and do not pay attention to feedback such as ‘this is not the way to do it’.
  7. What is your position on feminism and the fight for women’s rights and equality in the art world?

    Feminism and the fight for women’s rights and equality in the art world are for me two different things. My position for the women’s rights and equality in the art world is that it will need to be addressed by inviting a higher number of women into exhibitions and events. In other words, the people with power in the art world will need to act now, and not just talk about it would be a good idea.
  8. What has been the most challenging aspect of being a female artist ?

Honestly, I think the most challenging aspect is that there it is more or less not accepted as an artist to take a lot of time to reflect, be emotional, and to be insecure even though these are all very strong qualities in the right circumstances. This goes beyond the art world. There is a strong tendency all over the planet that the ‘best’ qualities is to be very productive, to act fast and ‘to get yourself out there NOW’. I would love if we could slow things down, take the time the art needs and to go deeper rather than faster. One can argue that this has nothing to do with being female. However, I do think that the many female qualities are not respected nor accepted when working as a creative professional.

  1. What is your ultimate goal for your artwork?
    To get even closer to my authentic visual language.

  2. Explain your process
    Color is my starting point in more or less everything I do. I put the colors in front of me and then I let intuition to take over with a few obstacles in mind. For example, I am in these days very interested in only form and color why an abstract language is evident in my more recent paintings. It is very challenging as I will need to be very alert throughout the process as I do not know when the painting is complete. It reveals itself in front of me and I need to be complete present for me to see that. Way too often I paint all the good areas over as work so quick. Patience has never been my strong side.

  3. Which impact has the Covid 19 had on your work?
    Few months before Covid-19 became a part of our everyday life I changed my paintings from being figurative into being abstract. I wanted to dissolve what we ‘know and recognize’ into a world without gravity as a poetic gesture to suggest that the world is transforming and that it is about time to find a new gravity.

    I see it as we are in a paradigm change.

    I can not help to see my transformation in my paintings as an indirect respond to this paradigm change. Since Covid-19 I have continued this transformation far more conscious. In my text I have literally been writing about the Covid-19 situation and made a reading at the Danish National Museum a couple of months ago. For this reading I invited the American musician Martin Klingman to play on his guitar during my reading. Nothing was prepared and he did not know nor either understood my reading in Danish. This was a way for me to demonstrate how many creatives for months have not been able to work closely together, and now we are trying to find each other again in a totally new rhythm and with a new voice. It was a beautiful event.

  4. What would you like people to notice in your work?
    A sensory presence.

  5. If you could own one piece of art, what would it be and why?

    I would very much like to own a part of the Etruscan funeral wall painting from 650 BC. However, it does feel a bit blaspheme to suggest this as it would mean that I should take them down from the grave chambers. Maybe I should move into the grave chambers instead?
  6. If you could collaborate with one artist, from any time, who would it be, and why?

    Picasso, only to paint his naked body all over again and most likely argue with him constantly as he is great example on the white artist man dominating the way many people today look and approach art.

bookmark_borderINVITATION TO WINTER GROUP SHOW AT GALLERY CHRISTOFFER EGELUND

I am very exited to show two of my most recent smaller oil paintings at this years annual winter exhibition at Gallery Christoffer Egelund in Copenhagen.

Gallery Christoffer Egelund is proud to present the annual winter group exhibition XMAS’20. Here, the gallery’s established artists will show their works side by side with specially invited guest artists.

It is an exciting opportunity for visitors to see the art scene on the doorstep for 2021.


Diversity is the overarching concept of the XMAS’20 exhibition. The exhibition shows the breadth that is in media and style that characterizes the dynamic field of contemporary art. The gallery’s rooms are filled with various works of art, ranging from knitted sculptures, photography, installation, paintings, drawings and abstractions to more conceptual works.


We have the pleasure to introduce 39 specially selected artists, where the common denominator is high quality, artistic talent and visual aesthetics. It has been great to see how many artists have accepted the invitation, and we are very proud and grateful to be able to show works by:

Anders Moseholm (DK)
Armando Marino (CU)
Bente Christiansen-Ernst (DK)
Brian Harte (IE)
Christoffer Joergensen (DK/CH)
Crystel Ceresa (CH)
Eamon O’Kane (IE)
Ekin Su Koç (DE/TU)
Eva Louise Buus (DK)
Henriette Sabroe Ebbesen (DK)
Jairo Alfonso (CU)
Janina Myronova (UA)
Jet-te L. Ranning (DK)
Jiri Geller (FI)
Joe Davidson (US)
Jonas Pihl (DK)
Krista Rosenkilde (DK)
Krystof Strejc (CZ)
John Norris (US)
Lars Hempler (DK)
Mads Rafte Hein (DK)
Mazja Hillestrøm (DK)
Mia-Nelle Drøschler (DK)
Mikkel Olaf Eskildsen (DK)
Niels Corfitzen (DK)
Per Adolfsen (DK)
Peter Rune Christiansen (DK)
Rasmus Bjørn (DK)
Rene Holm (DK)
Simon Keenleyside (UK)
Sjulle Schulstad (DK)
Steen Ipsen (DK)
Steinunn Thoradinsdotter (IS)
Stine Leth (DK)
Søren Hagen (DK)
Thierry Feuz (AU/CH)
Tilde Grynnerup (DK)
Willi Tomes (DE)
Yuichi Hirako (JP)


Due to the COVID-19 restrictions, we unfortunately do not have the opportunity to invite you to an opening vernissage this time, but we hope you will visit us and see the winter exhibition XMAS’20.

The gallery follows the health authorities’ COVID-19 recommendations, where it is allowed to be 1 person per 4 m2 within the opening hours. We kindly recommend that you wear a face mask when visiting the gallery.

In December, we are open for a long time the following Fridays from 15.00 to 19.00:
December 4th
December 11th
December 18th


You also have the opportunity to book your visit here: https://christofferegelund.dk/schedule/


The exhibition runs from 4 December to 23 January 2021.

Opening hours: Wednesday-Friday 15-18, Saturday 12.00-16.00 or by appointment.

For further information about the works, please contact the gallery at hello@christofferegelund.dk or telephone +45 33939200.
Bredgade 75
1260 Copenhagen K.

Click on www.christofferegelund.dk for more details.

We wish you a very Merry Christmas!

bookmark_borderPERFORMANCE AT THE DANISH NATIONAL MUSEUM

THE WOMAN FROM VEDBÆK
The Danish National Museum / 2020

Poetic reading performance. The musician Marting Klingman and I performed without knowing what the other person were doing. I started reading in Danish, he started playing the guitar. He did not understand my words, so we followed each others rhythms as a gesture of the recent lockdown where we are all trying to find a new rhythm again. 

bookmark_borderMY SPEECH; We do all come from a place

For the opening of the public painting in Elsinore in Denmark I made a speech. On many requests I share it in writing here. Thank you all for coming. It was quite overwhelming to see so many of you.

Speech / September 2020 / Opening at public painting

We do all come from a place
Holger Danske is original from France. He is not of Danish origin as the first times he is experienced are through French poems. But here in the city, Elsinore, not many people perceive him as not only being Danish, but being from Elsinore, as he for many years has been sleeping like a sculpture in the barracks of the castle Kronborg. Perhaps these coincidental coincidences are some of the earliest currents on integration where nationalities and cultures cross national borders. Understandable, since the earth is not really divided into red lines. If you look at the planet earth from the universe, it is merely blue and green.

We are all one, and we do all come from one place. I do not only come from Elsinore, I come from Vapnagård.

The other day I found a man in the flowerbed here by the tunnel, for many fates have passed through this darkness in preparation. His legs did not reach the tunnel when they let him down and I hurried to him when I saw his legs sticking out of the grass. After some shaking, I stared directly into Ronni’s eyes, I thought, we do all come from a place, why is it him who is toppled in the mists of alcohol and I who stand in the elite in between gestures of blue and green?

My story is your story is Holger Danske’s story.
Now he is awaken. Ronni got to his feet and Holger Danske has opened his eyes. It is about time. The colors of the earth swirl in and out of each other, a kind of storm, here there are no red lines, here are eruptions of abstractions and figurations. In the abstract hides the language of emotions, the unconscious, an origin together with representations of sculptors and places in Elsinore, it is recognizable in interaction with the unconscious, gravity is abolished, a new world is taking shape, Holger Danske will soon rise in his full height, homo sapiens is trying to rise in its collapse, I believe it takes more than my hand in Ronni’s.

Thanks to Elizabetta and Art and Urban Space for inviting me to perform this work and for believing in my vision on a piece of cardboard, thanks to Elsinore Municipality and the Danish Ministry of Culture for making the real difference, and a big thank you to my two unique assistants Caroline and Nathalie with whom I could not have done this without. A big thank you to all the locals, both the two-legged and four-legged, and at last a very big thank you to my great love Svenn for once again allowing me to hide in a tunnel. It is not an oncoming train, it is light at the end of the tunnel and now I am coming home

Thank you.

bookmark_borderTwo artists paint themselves into the heart of the city

Press release and invitation

Passers-by are portrayed, Elsinore’s stories are visualized and a beautiful explosion of colors and plant growth spreads on the city’s two new tunnels.

To paint where people live
Many curious people stop and some actually pass by every day to see how the works change and greet the artists who are currently under Borgmester P Christensen’s Road and Kongevejen, respectively.

Vapnagaard as an open gallery.
“I can feel that I am painting into a tradition of tunnel paintings and street art here in Vapnagaard. It is quite interesting that passers-by would like to talk about different expressions of paintings such as graffiti and expressionism, ”says Mia-Nelle Drøschler.

Mia-Nelle’s painting expresses both the abstract and the figurative. A seagull welcomes passers-by and three well-known figures, Holger Danske, Erik of Pomerania and Hamlet are portrayed, all the while strong and poetic brushstrokes show an expressive rendition of nature, the forest and the sea in Elsinore. Today’s man is brought in on the opposite side of the tunnel, where Mia-Nelle lets 8 residents from Vapnagaard figure.

“Vapnagaard and the rest of Elsinore’s stories belong together,” says Mia-Nelle. Vapnagaard is my place. I grew up here. It’s like coming home, ”says the artist, who now lives in Copenhagen.

Art brings people together and brings joy
When the dark tunnels are transformed into art, it adds to the areas far more than paint. Christian Holm Donatzky, chairman of the City, Planning and Environment Committee says:

“In relation to urban development, art does something very special for the tunnels. It helps to create security and ownership of the area. By transforming the old, worn and dark tunnels into experience spaces, where we visualize the city’s many new and old stories, the works contribute to citizens and visitors stopping and becoming curious about the many stories that each tunnel painting hides. I think it will be to the delight of many residents across generations ”.

Shoulder by shoulder
In the tunnel under Kongevejen, street artist Andreas Welin paints children and adults living in Nøjsomheden and Vapnagaard. The portraits are side by side in large formats and show the diversity of the area.
“It’s easiest to be allowed to paint the children,” says Andreas. “It takes more to persuade the adults to be a model,” he says.
The portraits are carried out in shades of green and blue.
“A portrait must of course look like the person I am portraying, and it can seem very strong, especially if the colors are also realistic. That is why I have chosen the alternative colors ”, Andreas explains.


Andreas has also experienced that the passers-by are already embracing the works. “It’s funny to see the curiosity and joy of passers-by when they recognize the portrayed because they live close to each other,” he says.


Aesthetics and communities across
“It is fantastic that people come by and want to join,” says Elisabetta Saui from Kunst og Byrum Helsingør, who has invited the two artists. “Here, art becomes infrastructure and a part of people’s daily lives. This is art that creates a sense of belonging, pride and a community across differences, ”says Elisabetta.
“NowKunst og Byrum has for a number of years worked to create a large number of tunnel paintings and we can feel that it means a lot to the residents in the area”, says Michael Mathiesen, chairman of the Culture and Tourism Committee in Elsinore Municipality.
He continues: “That is why we are also looking forward to expanding with two new tunnel paintings. The paintings help to create new relationships and communities between the residents, especially also when their stories and identities become part of the work. And when the works are now created by skilled and renowned artists, we are dealing with tunnels of a high aesthetic quality, which I know help to light up the area and create joy for everyone ”.

Art and dialogue
Both in Vapnagaard and Nøjsomheden live people with a sea of ​​cultural backgrounds. The visual works help to start a communication, even when one does not share language.
Every day a woman comes by Andreas Welin to say thank you. In fact, she does not know many more Danish words, but still she comes down the tunnel happy and smiling and thanks the artist for portraying her sister.


For Mia-Nelle, dialogue is essential both during the artistic process and in the further life of the work. In fact, ‘art where people lives’ is a project she dreamed of creating, already when she was admitted to Goldsmiths, an art academy in London. Because when you as an artist exhibit art where people live it becomes a part of their lives and a reference that everyone shares and in some way relates to. It invites dialogue.


Official opening of the works
Kunst og Byrum Helsingør invites to the official opening of the works on Wednesday 9 September 2020.


Everyone is welcome.


17:00 Tunnel Kongevejen ved Nøjsomhed
Welcome speech by Christian Holm Donatzky, chairman of the City, Planning and Environment Committee in Elsinore Municipality.

  • Speech by Andreas Welin and a resident of Nøjsomhed; with introduction by Elisabetta Saiu, Art and Urban Space Elsinore
  • The floor is given to Dorthe Qwist Greve and Kristian Sinding, Boligården Nøjsomhed and Marko Bilic, Tetriz Club

Walk to Tunnel by Vapnagård

  • Welcome speech by Michael Matthiesen; with introduction by Anje Holmstad, joint chairman of Vapnagaard
  • Speech by Mia-Nelle; with introduction by Anje Holmstad
  • Drinks and closing by Elisabetta Saiu, Kunst og Byrum Helsingør.


Kunst og Byrum Helsingør and this year’s two tunnel paintings are financially supported by Helsingør Municipality and the Ministry of Culture.

bookmark_borderARTICLE IN THE DANISH NEWSPAPER FREDERIKSBORG AMTSAVIS

Sketch of wallpainting

Today the Danish newspaper Frederiksborg Amtsavis wrote a piece about my current permanent public painting carried out just next to my ‘old hood’ Vapnagaard. I was living there from the age of 7 to 16. I will among other motifs use the stories of the citizen living there today. The area is a ‘ghetto’ challenged in many ways, but it has always been an important place for my own upbringing. I am truly looking forward to return ‘home’ to complete an artwork being one of the entrances into the area.

I will focus on the Danish legend Holger Danske, as the fable says that he will awaken when the Danes needs him. I believe that the Danes, and the rest of the world needs him today. So in my paintings, 2 x 26 meter, he will waken up.

Read full article here:
https://sn.dk/Helsingoer/Helsingoraner-og-soenderjyde-er-valgt-til-at-udsmykke-moerk-tunneler/artikel/1346777



Sketch of wall painting

bookmark_borderPRIVATE VIEW JUNE 19 GALLERY EGELUND

SUMMERTIME ’20

GRAND OPENINGFRIDAY JUNE 19TH FROM 4 TO 8 PM

19.06.-08.08.2020

I am very pleased to invite you for gallery Egelunds annual summer exhibition. I am showing paintings along side a number of great contemporary artists.

SUMMERTIME ’20 – THE ANNUAL GROUP SHOW 16TH EDITION
ANDERS MOSEHOLM (DK), ARMANDO MARINO (CU), CARSTEN BECK (DK), CHARLOTTE NEEL RITTO (DK), CHRISTOFFER JOERGENSEN (CH/DK), CRYSTEL CERESA (CH), CURRENT EXHIBITION, EAMON O’KANE (IE), EKIN SU KOC (TR), EVA LOUISE BUUS (DK), JES BRINCH (DK), JONAS PIHL (DK), KIRSA ANDREASEN (DK), KRISTA ROSENKILDE (DK), LARS SARTO HEMPLER (DK), LINE BUSCH (DK), LOUISE LANGGAARD (DK), MADS RAFTE HEIN (DK), MARCO EVARISTTI (DK/CL), MAZJA HILLESTRØM (DK), MIA-NELLE DROESCHLER (DK), MIKKEL OLAF ESKILDSEN (DK), NIELS CORFITZEN (DK), RENÉ HOLM (DK), SJULLE SCHULSTAD (DK), SÖREN HÜTTEL (DK), SØREN HAGEN (DK), STEEN IPSEN (DK), STEINUNN THÓRARINSDÓTTIR (IS), THIERRY FEUZ (AU/CH), TILDE GRYNNERUP (DK), WILLI TOMES (DE), YUICHI HIRAKO (JP)

Bredgade 75
DK-1260 Copenhagen K

bookmark_borderDo I paint on doors?

Yes, I do paint on doors.
I didn´t know myself.

A few weeks ago I was contacted by a private artcollector; if I could be interested in painting on three doors in his house? At first I hesitated. Do I paint on doors? But then I realized that it is exactly what I do. I paint in context, so if I can paint directly on a wall then I can paint on the doors inside a house as well.

We agreed that I could do what ever I wanted.
He was not introduced to a sketch nor colors.
And then I started.

As seen in all of my site specific paintings then I paint extremely fast when I am on location. The more professional aspect of this is that I very mush prefer the expressionistic character of the final result. A more emotional explanation is that I get so nervous, that I just need it out of my system.
Bang!

The three doors were therefore completed in a very short period of time.
And the result is this. Thank you for trusting me your doors.

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