As part of your most recent installation at Vestjyllands Kunstpavillion, two bundles of purple dried cut flowers of the kind you can buy in H&M Home stores lay horizontally, tied together at their brown stems by a cheap plastic chain with white and soft pink links.
There is something almost erotic about the clash of material sensibilities, and the way the composition invites your eyes to "touch" and sense them; what is your material relationship to the erotic?
I am very happy to hear that your eyes are touching. I guess my material relationship is erotic. At least in the sense that it is intimate. I try staying close to the surface of objects and things, to seek value in their texture or shapelinesses - and their incongruences.
So we get mess and friction, like the clash you mentioned... diversification, not a big climax. I guess the erotic approach is an appealing way to animate our gaze or communication, a way to abandon rational dominance, order or symbols.
I'm convinced that we need physical stimulants to evoke micro-sensibilities, like the stiff, pale purple, everlasting flowers. In that funny potent pose or crude arrangement I think they manifest fragility and a comic but truly sensual quality.
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/44Nanna-Abell-at-Vestjyllands-Kunstpavillon_6.jpeg?w=1280&h=929&q=82&fm=jpg&fit=crop&dm=1671108848&s=ab91baae4672a12fd0979343688a8deb 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/44Nanna-Abell-at-Vestjyllands-Kunstpavillon_6.jpeg?w=1024&h=743&q=82&fm=jpg&fit=crop&dm=1671108848&s=6a7e4d3da99037ee14d3356c429af7e2 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/44Nanna-Abell-at-Vestjyllands-Kunstpavillon_6.jpeg?w=768&h=557&q=60&fm=jpg&fit=crop&dm=1671108848&s=b3c9974c46280c9ccb404550efbdc808 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/44Nanna-Abell-at-Vestjyllands-Kunstpavillon_6.jpeg?w=512&h=371&q=60&fm=jpg&fit=crop&dm=1671108848&s=cb07a0b7c81176103c7f476847b3ebdc 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/44Nanna-Abell-at-Vestjyllands-Kunstpavillon_6.jpeg?w=256&h=185&q=60&fm=jpg&fit=crop&dm=1671108848&s=e402cd349c3b270d94eeccaacb599275 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/44Nanna-Abell-at-Vestjyllands-Kunstpavillon_6.jpeg?w=128&h=92&q=60&fm=jpg&fit=crop&dm=1671108848&s=9f83b0329fc7d872b8a8e10da9927a86 128w)
Nanna Abell, 'Psychodile,' 2022, installation view
Courtesy of the artist and Vestjyllands Kunstpavillon. Photo by Jacob Friis-Holm Nielsen
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/15_2022-12-15-112739_lfwg.jpeg?w=1920&h=1281&q=82&fm=jpg&fit=crop&dm=1671103659&s=037a9dcdd33da9a32c29071638fc8c9b 1920w, https://optimise2.assets-servd.host/fluffy-tenrec/production/15_2022-12-15-112739_lfwg.jpeg?w=1536&h=1025&q=82&fm=jpg&fit=crop&dm=1671103659&s=f1b728fdaf10d44d5523332581833f21 1536w, https://optimise2.assets-servd.host/fluffy-tenrec/production/15_2022-12-15-112739_lfwg.jpeg?w=1280&h=854&q=82&fm=jpg&fit=crop&dm=1671103659&s=db25937661da1b8a9308951a07b3cccf 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/15_2022-12-15-112739_lfwg.jpeg?w=1024&h=683&q=82&fm=jpg&fit=crop&dm=1671103659&s=c448705820338178acb0f7ee96e37d19 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/15_2022-12-15-112739_lfwg.jpeg?w=768&h=512&q=60&fm=jpg&fit=crop&dm=1671103659&s=5211296c142fce7c808e9389626f6c6d 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/15_2022-12-15-112739_lfwg.jpeg?w=512&h=341&q=60&fm=jpg&fit=crop&dm=1671103659&s=583b758dc3a08265ab856915f2a2c91c 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/15_2022-12-15-112739_lfwg.jpeg?w=256&h=170&q=60&fm=jpg&fit=crop&dm=1671103659&s=761f805682b7867263f7562ade4b2046 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/15_2022-12-15-112739_lfwg.jpeg?w=128&h=85&q=60&fm=jpg&fit=crop&dm=1671103659&s=dd912259737e43bb3aff109e1b075f6a 128w)
Nanna Abell, 'Psychodile,' 2022, installation view
Courtesy of the artist and Vestjyllands Kunstpavillon. Photo by Jacob Friis-Holm Nielsen
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/444Nanna-Abell-at-Vestjyllands-Kunstpavillon_16.jpg?w=1280&h=1409&q=82&fm=jpg&fit=crop&dm=1671108566&s=99516bdd179a2c6ada6b9dc2f6380c58 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/444Nanna-Abell-at-Vestjyllands-Kunstpavillon_16.jpg?w=1024&h=1127&q=82&fm=jpg&fit=crop&dm=1671108566&s=8753aa6f7dee1c2f373e119e800d52b5 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/444Nanna-Abell-at-Vestjyllands-Kunstpavillon_16.jpg?w=768&h=845&q=60&fm=jpg&fit=crop&dm=1671108566&s=568d74e5e722d70a83483e25fcfdb5e3 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/444Nanna-Abell-at-Vestjyllands-Kunstpavillon_16.jpg?w=512&h=563&q=60&fm=jpg&fit=crop&dm=1671108566&s=6047fe5bb6e5d88009d3b9160884502f 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/444Nanna-Abell-at-Vestjyllands-Kunstpavillon_16.jpg?w=256&h=281&q=60&fm=jpg&fit=crop&dm=1671108566&s=946d0a8104640b29a34105a24bc2ffc0 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/444Nanna-Abell-at-Vestjyllands-Kunstpavillon_16.jpg?w=128&h=140&q=60&fm=jpg&fit=crop&dm=1671108566&s=7dd63fab66d1cab43f61e8177b72f383 128w)
Nanna Abell, 'Psychodile,' 2022, installation view
Courtesy of the artist and Vestjyllands Kunstpavillon. Photo by Jacob Friis-Holm Nielsen
This small work appears as part of a bigger installation Psychodile, a kind of wasteland that oscillates between the allure of the gratifying consumption of objects and its environmental flip-side.
A cheap shiny black bikini bottom against remains of a black plastic bag, and a rugged flip flop, augmented by years in the ocean, conjure a kind of elegiac beauty.
As I’m savouring the compositions, I can’t help but think of the disturbing media images of plastic pollution on the coast of Thailand or on South American riverbeds…
Right, these facts are really heavy. At the the same time this show was also occupied with lightness. Yet while I was installing this show, my daughter was in a state of euphoria embalming herself in sea foam at the coast just 30 minutes away. Maybe you have seen these natural pools especially at Vesterhavet where a lot of foam gathers?
When I had the time to read a newspaper some time later, I learned that sea foam has the strongest concentration of fluorine substances (flourstoffer) and that one should avoid contact. Apparently the fluorine substances are very fond of foam and bubbles - and so is a little human body - this light fluffy tickling. So It's not only the visible contamination, there is also an invisible accumulation that makes touching the world so much more difficult suddenly.
I sometimes think that our mental shores are equally endangered with heaps and fragments of waste of information with daily debris of images and language pouring in. I think part of my work is trying to make tiny clear bays around objects - just to “pollute” them again, with a different agenda. An agenda that doesn’t have to add up.
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/EXXNanna-Abell-at-Vestjyllands-Kunstpavillon_15.jpeg?w=1920&h=1281&q=82&fm=jpg&fit=crop&dm=1671107521&s=1352c3f8a2494313e5b52f8cd979f2c8 1920w, https://optimise2.assets-servd.host/fluffy-tenrec/production/EXXNanna-Abell-at-Vestjyllands-Kunstpavillon_15.jpeg?w=1536&h=1025&q=82&fm=jpg&fit=crop&dm=1671107521&s=422f7ba00e68fac00054f04fd104f171 1536w, https://optimise2.assets-servd.host/fluffy-tenrec/production/EXXNanna-Abell-at-Vestjyllands-Kunstpavillon_15.jpeg?w=1280&h=854&q=82&fm=jpg&fit=crop&dm=1671107521&s=eba22e8d29b099b8aead498501fa2179 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/EXXNanna-Abell-at-Vestjyllands-Kunstpavillon_15.jpeg?w=1024&h=683&q=82&fm=jpg&fit=crop&dm=1671107521&s=e4b6eae00fc7073eba5f1891a4358ac0 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/EXXNanna-Abell-at-Vestjyllands-Kunstpavillon_15.jpeg?w=768&h=512&q=60&fm=jpg&fit=crop&dm=1671107521&s=16dfec185942fa5a08f6aad3c477cd2f 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/EXXNanna-Abell-at-Vestjyllands-Kunstpavillon_15.jpeg?w=512&h=341&q=60&fm=jpg&fit=crop&dm=1671107521&s=f3c17afe682c225d75b83fcf8a5e5620 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/EXXNanna-Abell-at-Vestjyllands-Kunstpavillon_15.jpeg?w=256&h=170&q=60&fm=jpg&fit=crop&dm=1671107521&s=4839ec18f6785f4f633ca8fc73a874dc 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/EXXNanna-Abell-at-Vestjyllands-Kunstpavillon_15.jpeg?w=128&h=85&q=60&fm=jpg&fit=crop&dm=1671107521&s=020a9742c3265f5aee0aa149b14b3119 128w)
Nanna Abell, 'Psychodile,' 2022, installation view
Courtesy of the artist and Vestjyllands Kunstpavillon. Photo by Jacob Friis-Holm Nielsen
In a way that connects to what you say about the polluted exchange that inevitably exists between us and objects in the world. We are porous and plastic membranes, absorbing so much of our surroundings, which is also why pollution is really scary.
I don't know if I think it is just a question of what pours in, but maybe also of what "pours out" when we split our attention across social media platforms. I feel all your works come out of a moment where all physical objects also exist mediated through their internet presence. Take for example your recent works at CHART, what was at stake there?
To me the barrels are already very baroque and burlesque in their appearance with their pregnant physique, deflated and semi-softened. I use this physicality as a remedy to avoid fading into the digital. I like these tangible material moments, as you point out, and letting the tangible establish connections between things through some sort of physical togetherness.
It is an important resort when I work - this over-invested physical eccentricity. I really long for these more disordered and idiosyncratic ways of looking at our surroundings.
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_CHART_2022.jpg?w=2048&h=1366&q=82&fm=jpg&fit=crop&dm=1661416426&s=526e0260c0b282c8e4f0954a6b0e2c03 2048w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_CHART_2022.jpg?w=1920&h=1281&q=82&fm=jpg&fit=crop&dm=1661416426&s=926bca5ad4e8d64a64d2ef9744198e6d 1920w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_CHART_2022.jpg?w=1536&h=1024&q=82&fm=jpg&fit=crop&dm=1661416426&s=7cfc184e4da6cc29677e3a1b8f53882f 1536w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_CHART_2022.jpg?w=1280&h=854&q=82&fm=jpg&fit=crop&dm=1661416426&s=7624143a059432f146a4621662ee75e9 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_CHART_2022.jpg?w=1024&h=683&q=82&fm=jpg&fit=crop&dm=1661416426&s=5b2bc78030b091e205d7228368f748b3 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_CHART_2022.jpg?w=768&h=512&q=60&fm=jpg&fit=crop&dm=1661416426&s=cf10c39ac3cc24e2850dda9e840c4d57 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_CHART_2022.jpg?w=512&h=341&q=60&fm=jpg&fit=crop&dm=1661416426&s=acf982300c20ad1da7cac417ec7542f2 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_CHART_2022.jpg?w=256&h=170&q=60&fm=jpg&fit=crop&dm=1661416426&s=87cc7e514ab482d110eb103b8ca037de 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_CHART_2022.jpg?w=128&h=85&q=60&fm=jpg&fit=crop&dm=1661416426&s=132dfdb3a628b8e6e21a4a8ca34459c0 128w)
Nanna Abell, 2021-2022, installation view
Courtesy of the artist. Photo by Stine Heger
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_1_2022-06-13-084842_tvdc.jpg?w=2048&h=1366&q=82&fm=jpg&fit=crop&dm=1671104802&s=ddb478e460b135fdb1a0ce1b6e9f66d1 2048w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_1_2022-06-13-084842_tvdc.jpg?w=1920&h=1280&q=82&fm=jpg&fit=crop&dm=1671104802&s=33ce44e093c33e9c72c103336b7c1494 1920w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_1_2022-06-13-084842_tvdc.jpg?w=1536&h=1024&q=82&fm=jpg&fit=crop&dm=1671104802&s=da51d0636f968ac99a144f1a24c4802d 1536w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_1_2022-06-13-084842_tvdc.jpg?w=1280&h=853&q=82&fm=jpg&fit=crop&dm=1671104802&s=f2782fdc176a35820690b0ba811a7d75 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_1_2022-06-13-084842_tvdc.jpg?w=1024&h=683&q=82&fm=jpg&fit=crop&dm=1671104802&s=06347bfacff47da3bdf2a4d4bb11ed3d 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_1_2022-06-13-084842_tvdc.jpg?w=768&h=512&q=60&fm=jpg&fit=crop&dm=1671104802&s=b332735e85fd4c95204d2b75eb0cadab 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_1_2022-06-13-084842_tvdc.jpg?w=512&h=341&q=60&fm=jpg&fit=crop&dm=1671104802&s=c81fd2c0fcbba8a896dadaee79d24eed 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_1_2022-06-13-084842_tvdc.jpg?w=256&h=170&q=60&fm=jpg&fit=crop&dm=1671104802&s=5635101184ec8c0c186a67911b413f6b 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/NA_1_2022-06-13-084842_tvdc.jpg?w=128&h=85&q=60&fm=jpg&fit=crop&dm=1671104802&s=2141dd715f095a76befb554593ab6904 128w)
Nanna Abell, THERE IS NOTHING A PERSON CANNOT LOVE (*Ariana Reines), 2021
Courtesy of the artist. Photo by David Stjernholm
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/44NA_perma_red_player_2018_installation_view-3.jpg?w=1920&h=1279&q=82&fm=jpg&fit=crop&dm=1671108592&s=8b407ded7e09bb410bf55cc340d85b23 1920w, https://optimise2.assets-servd.host/fluffy-tenrec/production/44NA_perma_red_player_2018_installation_view-3.jpg?w=1536&h=1023&q=82&fm=jpg&fit=crop&dm=1671108592&s=087536bbe8e30286e85ddfdfbaeceb63 1536w, https://optimise2.assets-servd.host/fluffy-tenrec/production/44NA_perma_red_player_2018_installation_view-3.jpg?w=1280&h=853&q=82&fm=jpg&fit=crop&dm=1671108592&s=a920866b3fafdf7b7e740627d5340ab3 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/44NA_perma_red_player_2018_installation_view-3.jpg?w=1024&h=682&q=82&fm=jpg&fit=crop&dm=1671108592&s=7fe2139b7e18b717b92cd19e4c9cf0f7 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/44NA_perma_red_player_2018_installation_view-3.jpg?w=768&h=511&q=60&fm=jpg&fit=crop&dm=1671108592&s=70d7eb4ce56ff831dc66d9f5291330c4 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/44NA_perma_red_player_2018_installation_view-3.jpg?w=512&h=341&q=60&fm=jpg&fit=crop&dm=1671108592&s=8b1c8df7b3d84908173685569476dcc0 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/44NA_perma_red_player_2018_installation_view-3.jpg?w=256&h=170&q=60&fm=jpg&fit=crop&dm=1671108592&s=75fd7202ba39c6f526b7c4b578268428 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/44NA_perma_red_player_2018_installation_view-3.jpg?w=128&h=85&q=60&fm=jpg&fit=crop&dm=1671108592&s=2ef8171e3ac5720139979fd1a0f3c844 128w)
Nanna Abell, 'Perma Red Player,' 2018, installation view
Courtesy of the artist and Galleri Susanne Ottesen
I understand the necessity to avoid a kind of collapse into the digital. Perhaps this is even more important in works like Wet drapery or Summoning (2018) that to me are better examples of objects that contain the confluence that now exists between online and away-from-the-screen lived experience. They are really intimately intertwined.
Yes, we are probably beyond a point of “either or” when it comes to physical or digital experience or existence. With this premise, space is a very ambient and fluid phenomenon, material and immaterial. So instead of trying to simplify our visual language or originality I think I try to include as much difference and dirt as possible.
Not trying to reduce or clean up the spatial mess for a quick fix like "functionality". And to me, staying with these messy conditions/affairs doesn't exclude the beauty or pleasures of spatial satire, gestures and appearances.
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/perma_red_player-20.04.17-49-1.jpg?w=1920&h=1279&q=82&fm=jpg&fit=crop&dm=1671105889&s=892d539c636400bc0630d91c45ea629f 1920w, https://optimise2.assets-servd.host/fluffy-tenrec/production/perma_red_player-20.04.17-49-1.jpg?w=1536&h=1023&q=82&fm=jpg&fit=crop&dm=1671105889&s=97eedfe00a9a7f3d8dc544c05beefaa0 1536w, https://optimise2.assets-servd.host/fluffy-tenrec/production/perma_red_player-20.04.17-49-1.jpg?w=1280&h=853&q=82&fm=jpg&fit=crop&dm=1671105889&s=7f8d62a42535c04f883b3e0d7812cdb2 1280w, https://optimise2.assets-servd.host/fluffy-tenrec/production/perma_red_player-20.04.17-49-1.jpg?w=1024&h=682&q=82&fm=jpg&fit=crop&dm=1671105889&s=c8dbd699bb2e79255053126a5463965d 1024w, https://optimise2.assets-servd.host/fluffy-tenrec/production/perma_red_player-20.04.17-49-1.jpg?w=768&h=511&q=60&fm=jpg&fit=crop&dm=1671105889&s=16b4a22613ff583885ae4789a191cb20 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/perma_red_player-20.04.17-49-1.jpg?w=512&h=341&q=60&fm=jpg&fit=crop&dm=1671105889&s=80f77b9acef80cd2e70841bb68db88af 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/perma_red_player-20.04.17-49-1.jpg?w=256&h=170&q=60&fm=jpg&fit=crop&dm=1671105889&s=e6a20e3948e471640300a2341823927b 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/perma_red_player-20.04.17-49-1.jpg?w=128&h=85&q=60&fm=jpg&fit=crop&dm=1671105889&s=994fcd9a36d27929179616d5ec1c3503 128w)
Nanna Abell, 'Wet Drapery,' 2018
Courtesy of the artist and Galleri Susanne Ottesen
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/01NannaAbellSq.jpg?w=768&h=768&q=60&fm=jpg&fit=crop&dm=1659601900&s=d2e0e84d05e4a11eab81b53ad356d690 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/01NannaAbellSq.jpg?w=512&h=512&q=60&fm=jpg&fit=crop&dm=1659601900&s=c44db72f09012243b5b7aff17f8ee1f1 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/01NannaAbellSq.jpg?w=256&h=256&q=60&fm=jpg&fit=crop&dm=1659601900&s=4e234845a5ff516dbcd1b9dca4673d41 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/01NannaAbellSq.jpg?w=128&h=128&q=60&fm=jpg&fit=crop&dm=1659601900&s=0f895c03360caa4e2cdb5c47bd8dbda9 128w)
Nanna Abell’s sculptural practice is often astonishing. Bringing together over-, mis-, or unused objects, Abell builds up assemblages of ready-mades that are filled with contradiction and surprise. Changing our perception of the objects or the spatial logic that surrounds them.
In spite of a highly outspoken physicality Abell’s works often establishes a framework where materiality doesn't concern only the physical qualities in themselves, but also and foremost the poetry of human, messy affairs with the physical outside world.
Nanna Abell (b. 1985, Copenhagen, Denmark) lives and works in Vordingborg, Denmark. Abell received her MFA from The Royal Danish Academy of Fine Arts in 2013. The artist is represented in the public collections of Copenhagen Municipality, Horsens Kunstmuseum and The New Carlsberg Foundation in Denmark.
Abell will open a new solo exhibition at Galleri Susanne Ottesen on Friday 13 January 2023.
![](https://optimise2.assets-servd.host/fluffy-tenrec/production/Milena.jpeg?w=768&h=915&q=60&fm=jpg&fit=crop&dm=1671107715&s=1c9a284019453c5dd73cb9841d36794d 768w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Milena.jpeg?w=512&h=610&q=60&fm=jpg&fit=crop&dm=1671107715&s=933631380de21ae8587e4bc8e0e637e5 512w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Milena.jpeg?w=256&h=305&q=60&fm=jpg&fit=crop&dm=1671107715&s=28902b11fdf2a3c141846ea51d39a539 256w, https://optimise2.assets-servd.host/fluffy-tenrec/production/Milena.jpeg?w=128&h=152&q=60&fm=jpg&fit=crop&dm=1671107715&s=d31cb72063a8a98710ff768260bf9c18 128w)
Milena Høgsberg is a curator, writer and institutional leader, recently appointed as Director of Wanås Konst, Sweden.
Hoegsberg is interested in processes of raising collective consciousness to face today’s challenges and acknowledge the interconnectedness of all things. A vital part of Høgsberg’s practice is to work closely with artists at different stages of their careers and establish a generous and authentic space of thinking together through exhibitions, publications and talks. She recently co-curated the major solo exhibition Hilma af Klint: Artist, Researcher, Medium with Iris Müller-Westermann at Moderna Museet, Malmö.
Photo by Christian Bang.