Kirsten Ortwed

Turning Time

25 Aug – 07 Oct 2017

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Kirsten Ortwed, Turning Time, 2017

Installation view

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Kirsten Ortwed, Turning Time, 2017

Installation view

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Kirsten Ortwed, Turning Time, 2017

Installation view

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Kirsten Ortwed, Turning Time, 2017

Installation view

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Kirsten Ortwed, Turning Time, 2017

Installation view

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Kirsten Ortwed, Turning Time, 2017

Installation view

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Kirsten Ortwed, Turning Time, 2017

Installation view

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Kirsten Ortwed, Turning Time, 2017

Installation view

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Kirsten Ortwed, Modello, 2017

Travertine and bronze, 20,5 x 70 x 37 cm

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Kirsten Ortwed, Possible Result Of A Crafty Noise A11, 2016

Black Mexican Onyx, 51 x 146 x 83 cm

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Kirsten Ortwed, Possible Result Of A Crafty Noise A11, 2016

Black Mexican Onyx, 51 x 146 x 83 cm

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Kirsten Ortwed, Possible Result of a Crafty Noise A12, 2016

Black Mexican Onyx, 26 x 120 x 61 cm

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Kirsten Ortwed, In Waiting, 2017

Bronze, iron and string, 31 x 69 x 44.5 cm

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Kirsten Ortwed, Polar, 2017

Platinum majolica and aluminium, 25 x 63 x 30 cm

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Kirsten Ortwed, Spinning off, 2017

Clay and towel, 35 x 20 x 20 cm

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Kirsten Ortwed, On the Move, 2017

Aluminium, 22 x 110 x 19 cm

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Kirsten Ortwed, Turning Time A2, 2017

Red Tyrkish Onyx, 49 x 105 x 76 cm

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Kirsten Ortwed, Turning Time B7, 2017

Green Iranian Onyx, 35 x 116 x 84 cm

Kirsten Ortwed
Turning Time
25 August – 30 September 2017

The exhibition Turning Time by Kirsten Ortwed shows an installation of stone sculptures distributed over the entire floor of the gallery and executed in fantastic types of onyx from different parts of the world. The size of the stones is unusual – onyx has never before been used in this format – which makes it possible to unfold the patterns and colours of the stones.

As Kirsten Ortwed phrases it: “Certain rare kinds of stone may contain beautifully coloured examples of a creative process that I wish to make visible.”

The stones mirror the spatial curvature of the universe, as it were, which is further emphasized by the sculptures’ occupation with negative space, that is, the space that they define.

In her work with what sculpture is and what it is capable of, Kirsten Ortwed has often considered phenomena such as processes of creation and causal relations.

Most recently, Kirsten Ortwed has executed two large public works: in 2016 the aluminium and bronze sculpture “14-7-2006” in Moss, Norway, which refers to a meteorite impact that took place on that day, and in 2017 “The Gate” was completed, a commission for the main entrance to the University of Copenhagen.