Trine Søndergaard | Still

Musée d'art moderne, Le Havre
October 13, 2018 - January 27, 2019
Selected Works Thumbnail View
Interior #38, 2008-2017Interior #38, 2008-2017

Interior #38, 2008-2017

Guldnakke #6, 2012-2013Guldnakke #6, 2012-2013

Guldnakke #6, 2012-2013

Interior #12, 2008-2017Interior #12, 2008-2017

Interior #12, 2008-2017

Gulankke #8, 2012-2013Gulankke #8, 2012-2013

Gulankke #8, 2012-2013

Interior #5, 2008-2017Interior #5, 2008-2017

Interior #5, 2008-2017

Guldnakke #10, 2012-2013Guldnakke #10, 2012-2013

Guldnakke #10, 2012-2013

Interior #1, 2008-2017Interior #1, 2008-2017

Interior #1, 2008-2017

Guldnakke #14, 2012-2013Guldnakke #14, 2012-2013

Guldnakke #14, 2012-2013

Press Release

Danish artist and photographer Trine Søndergaard creates works of art that prioritize reflection and gives it a visual language. Her photos of traditional regional costumes and empty rooms convey a sense of shared human experience across generations. The exhibit will present under the title “Still” two series: Guldnakke (2012 - 2013) and Interior (2008 - 2013). A painting by Vilhelm Hammershoi, belonging to the Orsay Museum collections, and whose work inspired the photographer, should be set alongside the photographs. 

 

Over an extended period of time, the photographer patiently created the images for the series Interior by continually revisiting the winter rooms of uninhabited Danish manors. When Søndergaard first arrived, the buildings had been empty for over half a century and stood like a shell of the past with their rooms devoid of any traces of life. These abandoned spaces provided an ideal site for her unique precision and sensibility, and for her continuing interrogation of the photographic image.


The images of Interior contain clear references to the nineteenth century Danish painter Vilhelm Hammershøi, whose paintings of rooms are known for their harmonic palette of grays and an acute awareness and rendering of light.

 

Gold is a universal symbol of wealth, the sublime, or the divine. Gold provokes a feeling of desire in many of us. The bonnets are from the mid-eighteen hundreds, and were popular among the wives of wealthy Danish farmers. The bonnets were a status symbo l. Gilded textiles had previously been reserved for royalty, the nobility and the church. Highly specialized needlewomen made the bonnets, and these experts are early examples of self-employed women who were often able to provide for their families. Linking this kind of female history to a specific garment is something the artist has explored in the past, just as she has also previously explored her audience’s ability to read historical signs.