SMK- The National Gallery of Denmark Leading the Way with Engaging the Younger Generation.
A Museum for Everyone
Having a fairly strong preconception of what to expect with regards to national galleries. I entered the Statens Museum for Kunst completely unaware of the lengths this gallery took to communicate and translate artwork to modern society. The initiative taken to actualise their slogan of being a 'Museum for everyone' became completely visible in my first steps into their headlining exhibition 'The Danish Golden Age'.
Primarily, the façade of the gallery was breath-taking, an Italian Renaissance revival front with the reflective pool of the mirror pond. It was clear this was a popular attraction as not far off the museum, lampposts were collaged in the technicolour entrance stickers visitors were given to wear, essentially becoming an art piece in itself, almost an ongoing project for the community.
'The Danish Golden Age' exhibition centred itself around the late 18th to early 19th Century, 'between disasters' as the gallery commented. In fact it was the height of the French Revolution, in which Copenhagen was not only bombed, but suffered a drastic fire. The paintings however, seemed to hark back to much more simplistic times. I was fascinated by the meticulous technique of the artists, employing a tempera technique it seemed, there was a clear attention to detail in trying to capture this idealised natural landscape. Another theme that seemed prevalent in this exhibition was this idea of mythical and fantasy subjects. Perhaps an escapism for society at the time, yet equally projecting quite dark subject matters. One painting that struck my attention was Ditlev Blunck's 1846 piece 'Nightmare', featuring a sensual observation of a young woman in bed, with the haunting stare of this creature seated on her chest. The dichotomy of the purity of her complexion with this amalgamated rabbit-like form, in a child-like foetal in its posture, coiled over her bed, seemed to reflect the psychology of Danish society at the time and this constant sense of fear provoked by the economic crisis and the arguable looming depression resulting from it.
This gallery had enhanced the social community surrounding visual culture
What I loved as I first entered the exhibition was the sofas, something I find most people at one point in their gallery visit, try to seek out. They were placed in a opposite each other in the middle of the room. It felt this initiative was encouraging conversation, the sofas were prompting people to debate and unpick the paintings they were surrounded by. Although this idea isn't revolutionary, many galleries in London are decorated with wooden benches and upholstered chairs, it felt Denmark was enhancing the social community surrounding visual culture, by creating this casual conversational atmosphere.
What was arguably the most impactful addition to the exhibition was the handouts on every table, next to the sofas. They were prompted by conversation salons, from when SMK toured Denmark to display the artwork at the residency of individuals. This tour stemmed new found opinions, emotional responses and thoughts regarding the artwork, and they were transformed into 'conversation starters' . Each card was a fact sheet, accompanied by a question to the reader regarding that piece of art. One that struck my attention was Wilhelm Marstrand's 1868 portait of Niels Lauritz Hoyen, the first Danish art historian; as the card outlined. The question outlined how Hoyen's favourite painter was Johan Thoman Lundbye master of Danish landscapes, and proceeded to ask 'What do you think is typically Danish from a present-day perspective'. I found that, by contemplating this question I was forming connections with the artwork around me. It enhanced this sense of the meaning of developing over time, and through this I believe people were able to associate with the past, further clarifying what had provoked the production of such paintings.
Copenhagen is such a progressive city, looking back its easy to see how this gallery contributed to such a dynamic community. Being this central hub for Danish and global visitors. I recommend the gallery whole-heartedly, paying close attention to educating younger generations on their history; and how this shapes the world around them. As well as being surrounded by the best modern art instillations, which are visually, audibly and physically immersive.
