CV

MOGENS MØLLER (b. 1934)

     
1999-01   Appointed chairman at The Danish Arts Foundation, Visual Arts
1989-98   Professor at the Royal Danish Academy of Fine Arts, Sculpture School, Cph.
1986-88   Lecturer at the Royal Danish Academy of Fine Arts’ Schools of Visual Arts, the Basic  Studies Department
1974   Co-founder of Institute of Scale Art
1970-75   Lecturer at The Royal Danish Academy, School of Architecture, Copenhagen
 
 
    EDUCATION
1962-66   Royal Danish Academy of Fine Arts, School of Visual Arts, Cph. (G. Eickhoff and R. Mortenen)
     
    SOLO EXHIBTIONS (SELECTED)
2007
  Krypto Plastik, Galleri Tom Christoffersen, Cph
1991    Securitas: Væggenes membraner, Galleri Art Focus, Cph
1988
  Vegas, Stalke Project, Cph
1988
  Morning Star (Morgenstjerne), North Jutland Museum of Modern Art and Malmø Konsthall
1986
  Der stille Garten, Galerie Asbæk (Cph), 1986 Galleri Isy Brachot (Brussels), 1985 Skive Museum (DK)
1982   Drawings, Galleri Asbæk, Cph
1972   The Elements, Jysk Kunstgalleri, Cph
     
    GROUP EXHIBITIONS (SELECTED)
2010   Works from the Sixties with Stig Brøgger and Hein Heinsen,
Galleri Tom Christoffersen
2008   Nomad Academy goes Public: MOONLITE OASIS. W. Jane Havshøj, The United Arab Emirates
2004   CLINCH, Statens Museum for Kunst, Cph
2004   Seven Up & 13 at the Table, Sophienholm, Lyngby
2000-01   Chance Geometry, Vendsyssel Kunstmuseum, Køge Kunstmuseum, School of Architecture Aarhus, The Lighthouse Glasgow
2000   Overlaps North-Southeast, Sharjah Museum of Art ,The United Arab Emirates
1998   MoDi MunDi, Bornholms Kunstmuseum, Vestsjællands Kunstmuseum
1994   Soul, Ny Carlsberg Glyptoteket
1993   Krypto, Holmens Kana
1991   Questions de Sens, Centre d'art contemporain de Corbeil-Essonnes
1991   3+3+3=1 DK, Rouen
1990   11 Cities, 11 Nations, Leeuwarden, Holland
1990   New Nordic Art, The Central House of Artists, Moskva
1990   Wo liegt Dänemark, Haus am Lützauplatz, Berlin and Kunsthallen Brandts Kældefabrik
1990   Art in the City 1980-1990, Nikolaj, Cph
1990   Soul, West Zealand Museum of Art and Randers Art Museums
1987   Soul, Galeri Specta, Århus
1984   Sculptural View Points, The Association of Fine Arts
1984   The Danes, Liljevalchs, Stockholm
1984   Pictures of a Future, Nordjyllands Kunstmuseum
1983   Thin Ice, Tranegaarden, Gentofte
1979   Moderna Museet, Stockholm
1978   Scale House, Malmø Konsthall
1978   Venice Biennale
1973   The Youth Biennale, Paris
1969   Seagulls, Jysk Art Gallery, Cph
1968   Intervals, Jysk Art Gallery, Cph
1967   The Anonymities,Lunds Konsthall, Sweden
1967   Young Danish Art,  Louisiana
1967   9 Young Danes, Konsthallen Göteborg, Sweden
1966   First Nordic Youth Biennale
     
    PUBLIC ART - COMMISSIONS
2010   Aalborg Cloister, responsible for the total artistic program decorating and refurbishing the cloister with new altar, christening bowl, wall decoration, etc.
2007   Ollerup Gymnasium, a large scale sculptural project in collaboration with Stig Brøgger og Hein Heinsen
2003   Moonlight Garden model and project proposal
2003   National Bank of Denmark: New design for 10 and 20 Danish Crowns coins
2003   Venus from Valby, Valby S-station
2002   Hermes, Odense: a large scale art project reshaping the Kongensgade street in Odense with numerous sculptures and monuments
2000   Snake Amphora, Midtfyns Gymnasium
2000   Vega, Politiken
2000   Commemorative Coin marking Queen of Denmark's 60th birthday
1999   Wiedewelt 1731, The Royal Danish Library, Cph
1998   The Watch, Nykredit
1998   Dan 355 CO, Politigården, Cph
1998   Cleo, Sorø
1997   Monument and Stairs, Hirtshals in collaboration with Dorte Dahlin
1995   The Bunker Secret Site, Hirtshals
1993   Skatkammeret, Skive
1991   Zodiac, Axeltorv, København
1990   The Golden Vase at Paradise Island, Randers
1987   Længslernes Bro, Nr. Broby
1987   The Storm Clock, Haderslev
1984   Vandkunsten, Skive
1982   Peace Gate in collaboration with Hein Heinsen and Stig Brøgger, Cph
1980   Stars, Aalborg University in collaboration with Stig Brøgger and Hein Heinsen
     
    AWARDS AND GRANTS
2008-09   Granted workshop facility at the National Workshops for Arts and Crafts (Gl.Dok), Cph
1975   Statens Kunstfond, the three year work-grant
1994   The Lifelong grant
1994   Thorvaldsen Medal
1988   Eckersberg Medal
1987   Carl Nielsen grant
1978   Ole Haslund grant
1977   Viggo Jarl grant
1977   Kai Nielsen grant
     
    PUBLIC COLLECTIONS (SELECTED)
  The National Gallery, SMK     
    Kunsten Museum of Modern Art Aalborg
    Randers Kunstmuseum
    Vestsjællands Kunstmuseum
    Nordjyllands Art Museum
    Herning Art Museum
    Kobberstiksamlingen
    Køge Skitsesamling
    Esbjerg Art Museum
    Malmö Konsthall
    Modern Museum, Stockholm
    Sharjah Art Museum, The Collection of HRH Sheik Dr. Sultan Bin Mohamed Al Qasimi
     
    BIBLIOGRAPHY (SELECTED)
  "Ny Carlsbergfondet", Ny Carlsbergfondet, Gyldendal 2002
    "Med hjælp fra...", Ny Carlsbergfondet, Rhodos 2002
    Libeth Bonde: Kunstnere på tale. 2001
    Else Marie Bukdahl: "A World of Reenchantment", OVERLAPS North-Southeast, Sharjah 2000
    Kasper Nefer Olsen: Modi Mundi, Vestsjællands og Bornholms Kunstmuseer, 1998
    Else Marie Bukdahl: The Baroque. A Recurrent Inspiration. Det Kgl. Danske Kunstakademi 1998
    Else Marie Bukdahl: Weillback bd. 6, Kbh. 1997
    Else Marie Bukdahl: Wiedewelt, Bløndal 1997
    Mikkel Bogh: Fogtdals Kunsthistorie bd. 9, Kbh. 1996
    E.M. Bukdahl i: Idées sur le baroque, Paris 1996
    K.N. Olsen in: The Bunker Secret Site, 1945-1995-2045, Users' Guide, 1995
    E. M. Bukdahl: Fra estetikk til vitenskap, Oslo 1994, 40f;
    E.M. Bukdahl i: Wiedewelt, 1993, 73f;
    C. Juhl i: Øjeblikket, jan. 1992
    E.M. Bukdahl in: Analecta Romana Istituti Danici, suppl. XVIIII, 1991, 234f; and 1994, 109f;
    K.N. Olsen in: 11 Cities, 11 Nations, Leeuwarden 1990
    Else Marie Bukdahl og Vibeke Petersen: "Soul", Vestsjællands Kunstmuseum 1900
    Morgenstjerne, Nordjyllands Kunstmuseum og Malmö Konsthall, 1988
    Else Marie Bukdahl, Karsten Ohrt, Øystein Hjort, Jacob Wamberg og Lars Morell: Morgenstjerner, Nordjyllands Kunstmuseum og Malmö Konsthall, 1988
    Else Marie Bukdahl: Northern Poles, Bløndal 1986, pp. 368-400
    Øystein Hjort in: Siksi, 4, Helsingfors 1986 (interview)
    Kritik och Konst, 4, Uppsala 1986
    E.M. Bukdahl in: mag. Den frie lærerskole, dec. 1985, 8f
    H. Lassen and H.L. Thomsen in: Tynd is, 1983
    E.M. Bukdahl in: Bybilledet, Sophienholm 1982
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
 

Mogens Møller (b. 1934) is one of today's most important artists in Denmark!

All works by Mogens Møller present an interest in science, cultural history and both practical and theoretical approaches to art, which evolves around space and perception.

During the sixties Møller and a few colleagues on the Danish art scene welcomed Minimal Art; both the art theoretical questioning of modernism’s idealism and the use of materials, abstract arrangement and approach to space. From geometry’s models of reality, Mogens Møller moved towards sculpture, which related more directly to a social context e.g. mass medias simplification of a complex world.*

His works from the eighties and nineties tend to work at other levels than what takes place in a given situation. They still relate to societal issues but from a distance. In this period the comprehensive commission “Hermes and the Sfinx” was installed in a pedestrian street in the city of Odense and “Zodiac” was installed at Axel Torv in Copenhagen.

There are two extremes in the production of Mogens Møller. The light, precise and completely minimal objects, which renders mathematically abstract, spatial investigations concrete in the physical space of the viewer. Objects that function as art theoretical statements and which activates the viewer and the surroundings. The other extreme is the heavy symbolic sculptures, which refers to mythology, the great history of civilisations and which uses basic elements such as water and the shape of an egg.
These poles have in common that they involve but at the same times points further than what is personally experienced – the personal never becomes either relevant, political or art in the production of Mogens Møller.

Text in Danish (PDF)

Mogens Møller was professor at the Royal Danish Academy of Fine Arts 1989-1998. With Stig Brøgger and Hein Heinsen he initiated the School of Scale Art (1974). Mogens Møller has realised several public commissions quite a few in collaboration with Stig Brøgger and Hein Heinsen.

*Else Marie Bukdahl: Biografi Mogens Møller, Kunstindeks Danmark & Weilbachs Kunstnerleksikon

 

Mogens Møller (f. 1934)

Mogens Møller (b.1934) is considered to be one of the most influential and important artists living and working in Copehagen today. All works by Mogens Møller present an interest in science and  cultural history in both practical and theoretical approaches to art, which evolves around space and perception.

During the sixties, Møller and a few colleagues on the Danish art scene welcomed Minimal Art; both the art theoretical questioning of modernism’s idealism and the use of materials, abstract arrangement and approach to space. From geometry’s models of reality, Mogens Møller moved towards sculpture, which related more directly to a social context e.g. mass medias simplification of a complex world.*

His works from the eighties and nineties tend to work at other levels than what takes place in a given situation. They still relate to societal issues but from a distance. In this period the comprehensive commission “Hermes and the Sfinx” was installed in a pedestrian street in the city of Odense and “Zodiac” was installed at Axel Torv in Copenhagen.

There are two extremes in the production of Mogens Møller. The light, precise and completely minimal objects, which renders mathematically abstract, spatial investigations concrete in the physical space of the viewer. Objects that function as art theoretical statements and which activates the viewer and the surroundings. The other extreme is the heavy symbolic sculptures, which refers to mythology, the great history of civilisations and which uses basic elements such as water and the shape of an egg.

These poles have in common that they involve but at the same time point further than what is personally experienced – the personal never becomes either relevant, political or art in the production of Mogens Møller.


Text by: Else Marie Bukdahl (E.M.B.)
*Abbreviations Notice: The information comes from the 4th version of Weilbachs Kunstnerleksikon. The editing of the encyclopedia ended in 1994. The information is not continuously updated.
 


Mogens Møller (f. 1934) bor og arbejder i København

Mogens Møller billedkunst har i de sidste 3 10-år gennemgået flere markante ændringer. De er bestemt af hans originale forsøg på at visualisere især de aspekter af de mange nybrud i videnskaben, samfunds- og kulturlivet, som verbalsproget ikke kan indfange. M.s møde med de amerikanske nybrud fra 1960erne, især Minimal Art, der netop frisætter en ny omverdensforståelse, skærpede hans opgør med den modernisme, der vendte nydannelserne ryggen. Hans selvstændige bearbejdninger af de generelle synsmåder i Minimal Art træder skarpt frem i Fire kvadratiske rammer, der skaber nye rum og relationer mellem beskuer, værk og omgivelser, samtidig med at de peger på uendelighedsperspektivet. M.s værker fra 70erne rummer især billedkunstneriske tolkninger af teknologiens irrationelle træk og absurde overproduktion og af massekommunikationens udtynding af menings- og værdidannelser. Dette tema træder frem med stor visuel styrke i Pioneer, hvor den opdagelsesrejsende sidder i en fastlåst position. Hans rejse foregår alene i tvs spejlkabinet. Selve forestillingen om en mand synes at forsvinde, når man kigger på det lange ben og lader blikket følge kroppens konturer. Set herfra fremtræder figuren som en vinkel, symbolet på det teknologiske samfund. I 1980erne og 90erne har M. arbejdet med store, monumentale udsmykninger, der fortolker brydningerne mellem nybrud i videnskab og rumopfattelse og kulturhistoriens intensitetspunkter. De forseglede Tidskrukker symboliserer tidsforskydningernes sted og de skjulte lag og rum i historien. De nye meningsdannelser, som værket giver anledning til, skabes i et rum, der ligger mellem betragter, værk og samfund. Andre sider af M.s omverdensbillede træder frem i hans store malerier fra 1986-1987, hvor sammenstød mellem forskellige steder, rum og figurationer, accentueret gennem skift i farvevalg og materialer, snart skaber nye ordener, snart afslører, hvorledes omverdenen er i hele dens mangfoldighed, kompleksitet og uforudsigelighed. I Stormklokken er figuren med de mange referencer til antikkens skulptur spændt op mellem tegnet for livets oprindelse, ægget, og kisten, symbolet på døden. De mange brudflader splintrer sammenhængen mellem figur, myte og tegn og peger på genteknologiens opløsning af forestillingerne om oprindelighed og identitet. I Zodiac har M. brudt vor tids sammenpressede rum, hvor alt henviser til hinanden, gennem 9 bronzeskulpturer, der visualiserer solsystemets 9 planeter. De skaber et nyt sted og en ny skala i byrummet og stimulerer beskueren til at opleve på en måde, der er tættere på verden og stoffet end de mange nye billedmedier. Dette tema gennemspilles med nye variationer og i en fortættet form i M.s monumentale skulptur Phantomet, der står foran Aaltos stilrene Kunstmuseum i Aalborg. Den er præget af overraskende spring mellem forskellige formkategorier og skalaer. I kraft af sin magtfulde tilstedeværelse afdækker den vor verdens uendelige spaltethed og overvåger forbindelseslinierne mellem museets kunstskatte og den uforudsigelige vej, som i dag er kunstens vilkår. I årene 1987-90 udviklede M. i tre Soulprojekter i samarbejde med Dorte Dahlin forestillingen om det forsinkede rum, der opstår i den forøgede afstand mellem akse og kontur.

Author: Else Marie Bukdahl (E.M.B.)

*Abbreviations Notice: The information comes from the 4th version of Weilbachs Kunstnerleksikon. The editing of the encyclopedia ended in 1994. The information is not continuously updated.