Udstillingen præsenterer et habitat, hvor en række forskellige værker er skabt til den konkrete situation på det konkrete sted og finder en fælles form at ”leve” under for en tid. En situation, der aftegner måder at forholde sig til andre mennesker, rum, tid og sted på. 

The exhibition presents a habitat where various works are created for the specific situation at a specific place and find a common form to "live" in for a while. A situation that is emerging ways of relating to other people, space, time and place.

Munkeruphus har inviteret SKULPTURI til at befolke Gunnar Aagaard Andersens gamle atelier og bolig med diverse skulpturelle objekter, der viser bredden af de enkelte medlemmers forskellige arbejdsmetoder og materialer, men som samtidig manifesterer gruppens fælles insisteren på hele tiden at udfordre og gentænke skulpturbegrebet. Ligesom den enkelte skulptur i sig selv agerer et møde eller et aktionsfelt, man som beskuer går i samtale med, så er de enkelte medlemmer i Skulpturi ikke kun til i sig selv og for sig selv. De går rundt om skulpturen sammen. Går i dialog og sætter benspænd for hinanden.

Munkeruphus has invited Skulpturi to populate the former studio and residence of Gunnar Aagaard Andersen with sculptural objects illustrating the scope of the various materials and working methods used by individual members. Simultaneously the exhibition manifests the group’s shared insistence on challenging the concept of sculpture. Just as each individual sculpture enacts a meeting or a field of action for the viewer to interact with in its own right, the members of Skulpturi do not exist solely in and of themselves. Together they circumnavigate the field of sculpture, entering into dialogue and occasionally tripping one another up.

Gennem en række værker, der er beslægtede med arkitektur, installationskunst, design, performance kunst og landskabspleje, er fokus rettet mod forholdet til beskueren og hans / hendes daglige rum. I omfang matcher de enkelte værker udstillingsbygningens monumentale rum, men i kraft af deres sanselighed, deres tilstedeværelse og deres integritet, bliver den monumentale karakter undergravet og erstattet af interaktion og dialog.

Through a number of works that are kindred to architecture, installation art, design, performance art and landscaping, the focus is aimed at the relationship to the viewer and his/her everyday space. To be sure, the individual works, with respect to their scale, match the exhibition building’s monumental halls, but by virtue of their sensuousness, their presence and their integrity, monumental character is subverted and replaced by interaction and dialogue.

Udstillingen vises i et næsten hermetisk lukket udstillingsrum i et hus tegnet af Henning Larsens Tegnestue. Et hus hvor kun et ovenlysvindue afslører, at naturen breder sig i alle retninger lige udenfor. Opfordringen til kunstnerne har været at arbejde med en skulptur, der forholder sig til gulvfladen og højst rager én meter op, dels for at skabe et panorama.

The exhibition is being shown in what is an almost hermetically sealed exhibition space inside a building designed by Henning Larsen Architects, a building where only a skylight offers any clue that nature is proliferating in every which way outside.The invitation to the artists has involved a call to work with a sculpture that relates to the floor and does not stand more than one meter in height for the purpose of creating a panorama.

Til udstillingen bidrager over 60 kunstnere med hver ét værk — en multiple — i mindst tre editioner. SKULPTURI er for en stund omdannet til et kunstsupermarked, hvor det samme værk — eller den samme ‘vare’ — kan erhverves af flere forskellige købere. Værkerne står side om side på reoler og værkfortegnelsen er udskiftet med en vareliste. Udstillingen gør op med kunstverdenens højtskattede idé om det auratiske unikaværk og lader i stedet kunst og hverdagsliv flette sig ind i hinanden.

For the exhibition, more than 60 artists have been asked to contribute one work each — a multiple – in an edition of at least three copies. For the time being, SKULPTURI is converted into an art supermarket, where the same work — or the same “commodity” — can be acquired by several different buyers. The exhibition settles its own accounts with the art world’s cherished idea about the aura-swathed unique work and allows, instead, art and everyday life to become interspersed with one another.

I sensommeren danner SKULPTURI rammen om tre aftenarrangementer med situationer på grænsen til området skulptur. De skulpturelle handlinger præsenteres på mindre scener i udstillingslokalet.

In the late summer, SKULPTURI fashions the frame around three evening arrangements, with situations that are perched on the boundary of area belonging to sculpture. The sculptural actions are presented on small stages in the showroom.

45 billedhuggere fra mindst fire forskellige generationer har indtaget hver deres 80×80 cm store kvadrat i SKULPTURI’s lokale og har dermed etableret en situation, hvor skulpturen opleves som et felt af sideordnede processer, tegn og handlinger i stedet for et isoleret objekt. Materiale- og formgivningsvalg spænder vidt, men de mange brudflader og modsætninger fortættes i den overordnede kategori ‘ting’.

Forty-five sculptors from at least four different generations have each taken up their own 80×80 centimeter large squares inside SKULPTURI’s exhibition room and have thereby established a situation where the sculpture is experienced as a field of coordinated processes, signs and actions instead of as an isolated object. The material- and designchoices vary greatly but the many fractured surfaces and contradictions have been concentrated into the overall category of “things”.

Skulpturer af sammenlimede træstykker, papir og gips samt udklippede fotografier og løsrevne citater fra radiohits. Alle er de hevet ud af en oprindelig kontekst og ligger betydningsmæssigt tæt på ingenting, men i den aktuelle sammenhæng — i mødet mellem billeder og tekst — føjer Heine Kjærgaard Klausens værker sig sammen til et særegent billedsprog. 

Sculptures of loosely glued-together pieces of wood, paper and plaster, along with clippedout photographs and detached quotations from hit songs on the radio. All of these elements have been pulled out from their original contexts and, semantically speaking, they come close to signifying nothing, although in the current context — in the convergence between images and text — they join together to make a distinctive figurative language. 

SKULPTURI er for en stund rykket ud af de vante københavnske omgivelser og ind i Produzentengalerie i Berlin med udstillingen ‘Long Way Home’. Udstillingen kan umiddelbart minde om en møbelbutik med et bredt udvalg af hverdagsobjekter. Funktionen er gået fløjten, og man er pludselig temmelig ‘langt hjemmefra’.

SKULPTURI have, for the time being, moved out from their familiar Copenhagen surroundings and into the Produzentengalerie in Berlin with an exhibition entitled Long Way Home. The exhibition can immediately call to mind a furniture store with a wide assortment of everyday objects. The function has gone kaput and suddenly you’re rather “a long way from home”.

SKULPTURI indtager lejlighedskomplekset og P-huset ‘VM-Bjerget’ i Ørestad med installationer i fire af lejlighederne. Således sættes der anderledes fokus på nybyggeriet, der er tegnet af arkitekt Bjarke Ingels.

SKULPTURI takes up residence inside the apartment complex and parking garage, “VM-Bjerget” in Ørestad, with installations set up in four of the apartments. In this way, a different kind of focus is pointed at the new building development, which was designed by the architect, Bjarke Ingels.