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Lena Adler Petersen

Lene Adler Petersen

Visual artist Lene Adler Petersen from Denmark

BRIEF BIOGRAPHY:

* 1944, painter, potter. * 13.1.1944 in Aarhus. Parents: ladies' hairdresser Henning A. P. (1914-67) and Ebba Augusta la Cour Petersen (1919-68). ~ 7.11.1969 with sculptor ◊Bjørn Nørgaard, * 21.5.1947 in Copenhagen, p. By technical draftsman Jørgen Nørgaard Sørensen and Betty Olivia Schæffer. Children: Anger (1967). In its artistic activity, LAP has ranged from the large form to the intimate, delicate expression. In the same way, in her conscious commitment to society, she has ranged from the overall ideas to the intimate spheres of daily life. Both pictorially and politically, she belonged to the most radical part of the 1960s art scene and was part of the generation that identified with the extremist positions of the youth uprising. This required a collectivity that, for better or worse, undermined the ambitions and needs of the individual. After a traditional career start at the art academies in Aarhus and Copenhagen. In 1964-69, in the late 1960s, LAP started working with his later spouse, the sculptor Bjørn Nørgaard, with a super 8 camera. The late 1960s and 1970s were a period of alternative group formations: ABCinema, the slums, the ex-school and the women’s movement, and LAP was a familiar face in all of them. In 1968 she participated together with i.a. Nørgaard, ◊Per Kirkeby, Peter Louis-Jensen and half a hundred members of the foundation of ABCinema, an important center for experiments with alternative imaging. At the same time, she joined the experimental art school Ex-school. Together with the artists • Ursula Reuter Christiansen, ◊Henning Christiansen and Nørgaard, she also performed actions or happenings, inspired by foreign countries, especially the German J. Beuys ’manifestations. Several of these events have been documented and processed on super 8 mm film. Børsaktionen, 1969, with LAP as the female Christ and the media action Hesteslagtningen in connection with the exhibition Tabernacle at the Louisiana Museum of Art in 1970, came closest to cult status. The Eks school's printing house also sprang from the Eks school, also a collective enterprise, where LAP was a co-founder and employee 1972-78. The vision was to make work, artist life and private life go up into a higher entity.

 

In 1974, LAP had its first solo exhibition with drawings and collages at the Danner Gallery. With the large Women's Exhibition at Charlottenborg in 1975, the focus was on feminist art with the participation of a number of women associated with the collective art manifestations. Important as an expression of LAP's personal style was the exhibition Pictures for a Lottery, 1975, at the central exhibition venue Tranegården in Gentofte, which for a number of years was a leader in what was moving in Danish avant-garde art, especially feminist. In 1977, she published the book Take a Stone Up, which contained 300 drawings, most of which dealt with women and the close things. The expression was surreal, sensitive and delicate, often satirical and at times accompanied by sentences. In the mid-1970s, together with Kirkeby, Nørgaard, Reuter Christiansen, Poul Gernes, Erik Hagens and WinRichard Winther, she formed the artists' association Arme & Ben, which in a number of group exhibitions at home and abroad, helped to shape the art scene of the time.

 

If the 1970s were primarily the decade of collective manifestations, then the 1980s came to look different. Here, LAP, like the members of the other groups, developed its personal expression, which i.a. appeared in the solo exhibitions Portrait of Rita from Aarhus at Nordjyllands Kunstmuseum, 1980, and Spreads at Kobberstiksamlingen, 1983. In 1982, LAP was in New York at the time when the great new expressionist form of expression broke through internationally. It was an expression that was actually parallel to the expressive power of much feminist art. A strongly individual form of expression became normative and again allowed the individual the right to self-realization. LAP's drawings became more violent, dramatic and richer in contrast. Interestingly, her 1983-90 ceramic works developed around travels to Mexico, Spain, and Indonesia. With the theme Jar as a means of transport, she created a number of body-sized jars on plinths, some of which were cast in bronze. But for the LAP, the 1980s were primarily marked by major decoration work. In 1982, under the auspices of Arme & Ben, a major task was performed at Tørring Gymnasium, where she created two very powerful pilasters and a door portal. In addition, she performed such various tasks as decorating the Danish Nurses' Council's Course Center 1983, of train carriages for DSB 1984 and a ceramic line drawing at Horsens City Hall 1985. A major work is Urhavet, 1986, a 14 m long and 4 m high ceramic drawing at Herlev County Hospital, which depicts a primordial sea of ​​swirling human figures in a dynamic water cosmos. In connection with decorations at Avedøre Kraftværk, she exhibited coal works under the title Two areas, 1992. They were material, almost philosophical works about the fusion of the black and white element in an organic circuit with coal and plaster. LAP has received a number of important scholarships and honors, including Statens Kunstfonds three-year scholarship 1980-83. The Copperplate Collection: Spreads, 1983. 3-Year Art Book, 1983. The image as a means of struggle, 1977. Jan Würtz Frandsen: Some Danish artists after 1945, 1976.

WRITTEN BY: KVINDFO: Ursula Fugmann

 

CONTAKT:

Kunstmalervirksomhed Lene Adler Petersen

v. Lene Adler Petersen

Bülowsvej 18 C

1870 Frederiksberg C

tel: +45 33 24 78 82

CVR-nr  13502234

lene-adler-petersen.webador.com

 

Lene Adler Petersen

Ceramiks

 

Lene Adler Petersen

Graphics

Lene Adler Petersen

Ceramiks

 

Lene Adler Petersen

Painting
oil on canvas

Lene Adler Petersen

Ceramics

 

Lene Adler Petersen

Painting
oil on canvas

Lene Adler Petersen

Graphics

 

Lene Adler Petersen

Painting
oil on canvas