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Marie Birkedal
Mark
Marie Birkedal
Mark


Edition 1
OVERVIEW2026 ++

  1. Don’t Play Cards with Satan (for Daniel Johnston)
  2. Blueprints Inside
  3. Broken Glass and Kindness
  4. Nobility Game in Pink
  5. Winstons and violet dawns
  6. That day at the playground (for Lucia Berlin)
  7. Black Dahlia for Carolee Schneemann
  8. Blue Chalk Tenderness
  9. Dry Formalism Infused with Otherworldly Interdimensional Portals (for John McCracken)
  10. American Poem (For John Wieners)
  11. Lichtenberg
  12. Monochrome for W
  13. Artist Statement 
  14. Cv
  15. Contact
  16. Studio 
  17. 21 studio notes; June 2026
  18. You & me / Volume 02
  19. Pure Abstraction
  20. Ist
  21. unterm Lederhimmel


Edition 2
ARCHIVE/INDEX202X ++

  1. Index
  2. Stranger Things
  3. Hard Earned Innocence
  4. ︎2010
  5. ︎2021
  6. Shefolk 2016
  7. Floor Presents
  8. Photo credits


Notes —
Info
  1. Utilizing Expendable Materials to Create Works of Formal Pristine Beauty
  2. alchemist noun
    al·che·mist |  ˈal-kə-mist
    Alchemist: Someone Who Transforms Things for the Better
    The long route to English for alchemist began with the Greek word chēmeia, which probably came from the word chyma (“fluid”), derived from the verb chein, meaning “to pour.” It then passed to Arabic, which added its definite article al- (“the”) to the Greek root. The word then passed from Latin to French before coming to English. Some other words derived from Arabic also retain the al- in English, such as algebra, algorithm, and alcohol; in fact, the transformative liquid that was constantly being sought through experimentation by alchemists is another word with the Arabic al- prefix elixir.
Mark

Galleri Anne Aarsland 


Marie Birkedal, Malte Fisker, Bibi Katholm, Ole Folmer Hansen,Hans Jørgen Hvid, Albert Mertz, Frode Steinicke, Erik Øckenholt



Malte Fisker presents a carefully curated selection of non-figurative works from a number of younger and older contemporary artists. Common for the works is a search for the basic principle of abstraction and the independence of form. Here, the artwork is not seen as a representation, but as an autonomous object that exists on its own terms. In Pure Abstraction we encounter works that stand in their own presence. They do not point outwards towards a world outside, but instead open up a space where forms, colours and composition speak for themselves.

Exhibition text by Frode Steinicke
When I say pure abstraction, the meaning is that the form of the abstraction is objectless. When I say that it is objectless, it means that it does not reproduce anything from the visible world. It is a realization of an inner image and idea. The form stands alone. It only imagines itself and isonly about itself and its own form. It is purely physically, its own object and thus expresses itself only as being pure form. This gives it a free space where it does not need explanations and justifications. It is thus open to all kinds of interpretations and leaves itself freely to the viewer's own imagination. It offers the neutral pleasure of seeing

Exhibition text by Malte Fisker
The works in the exhibition are completely non-figurative and do not symbolize or refer to anything other than themselves. All elements operate on an equal footing with each other. The positive and negative forms are exactly equally important and function 100% on their own terms. The works do not refer to anything from our external reality but are an opening for contemplation and our perception. Everything depends on the viewer's own experience and presence in front of the works.
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