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Present

16. November - March 29, 2020 Hannah Toticki Anbert - Sanctuary

With humour, thoughtfulness and anarchistic kicks at habitual thinking Hannah Toticki Anbert asks what consequences the aesthetics of the cultivated landscape has for the biodiversity.
 
Since her graduation from the Royal Danish Academy of Fine Arts in 2016, Hannah Toticki Anbert (b. 1984) has made her mark as one of the country’s foremost young contemporary artists. In her sculpture and installation-based practice, she often makes use of the powerful visual codes of fashion and theatre. Sometimes this occurs in combination with performance, lectures, text, video and music – and always in a distinctive idiom that contains equal parts humour, thoughtfulness and anarchic kicks to habitual thinking. 
 
Her solo exhibition at Holstebro Kunstmuseum, Sanctuary, consists of new works which enter into a comprehensive artistic staging, the focal point of which is the accelerated climate and biodiversity crisis, including the fatal consequences of the cultivated landscape for species diversity. 
 
More specifically, the exhibition represents a stylisation of a cultivated cultural landscape, with monochromatic fields in solid hues of brown, green and yellow. Within these are a number of sculptural monuments to insects that are rare or extinct – and for that reason unnoticed – in Danish nature. These are, among other things, created in ceramic and mounted on garments, through which the insects and the human body become joined in a symbiotic destiny. 
 
Sanctuary is accompanied by an audio composition that has been created in collaboration with the musician and composer Sven Dam Meinild. This consists of abstractions of well-known, idyllic musical representations of Danish agriculture, such as the song melodies Marken er mejet (The field is mown), Jeg er havren (I am the oat), Se, det summer af sol over engen (See how the meadow hums with sunlight) and Det lysner over agres felt (The day is dawning across the fields). All of them derive from a time when we had not yet ascertained the wide-ranging effects of intensive cultivation and the regimentation of nature. 
 
The exhibition’s approach is intended to inspire debate, and at the same time to show how our perception of landscape is aesthetically conditioned in decisive ways – and not without problems. That which we perceive to be beautiful and positive qualities of Danish nature are in fact quite exhausted and species-poor natural reservations. 
 
The artistic reproduction of the landscape and its national-romantic characteristics has a long tradition in Denmark, dating back especially to the 19th century. In extension of this, Anbert’s current exhibition takes its point of departure in today’s monocultural agricultural landscape. But what exactly is this common nature actually a reservation for? 
 
Overall, the exhibition establishes an absurd and gloomily humorous scenario that is at the same time a eulogy to the transformative power of art in the direction of a sustainable world. The open question is whether art can still influence and change 
our view of nature today just as it did in the past with the idealistic pictures of Denmark produced by the Golden Age painters. 
 
Sanctuary is Hannah Anbert’s first solo exhibition at a Danish art museum. She has previously exhibi-
ted at GL STRAND Art Association (2017), OVERGADEN Institute of Contemporary Art (2018), RIBOCA Riga International Biennial of Contemporary Art (2018) and the KW Institute for Contemporary Art in Berlin (2019). In 2019 she is also participating in the exhibition Young Danish Art – Forecasting the Future at ARKEN Museum of Modern Art in Ishøj. Anbert has been awarded the Talent Prize of the Anne Marie Carl-Nielsen Foundation (2018) and the StartPoint Prize of the National Gallery in Prague (2016). In 2019 she was also awarded the Niels Wessel Bagge Art Foundation Scholarship and the Astrid Noack Scholarship, which over the years has honoured the most talented Danish sculptors. 
 
The exhibition is supported by: 
 
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