Louisiana Museum of Modern Art
Saeed Salem – Neonland I (2012)
- Description
- Specifications
- The Maker
The exhibition, Det Arabiske Nu, was the second chapter in the series "Architecture, Culture and Identity"—and a sequel to the exhibition New Nordic, which Louisiana showed in 2012. The series is about how architecture is a carrier of identity and helps to create a cultural characteristics of a country or a region. The exhibition is a crossover exhibition that shows both architecture, art and documentary film.
The Arab world is first and foremost bound together by language, but there are other common features that both point to a special understanding of space and a visual culture that draws traces from calligraphy over simple building elements to architecture on a very large scale. A picture of 'the Arab' will emerge through different stories from places where the significant developments are taking place right now.
The Arab world consists of more than twenty countries that have the one common feature that they have Arabic as their main language. In other words, languages ​​other than Arabic are spoken, religions other than Islam are practiced, the landscape varies—and this also affects lifestyle and architecture. It is not possible to speak of Arab culture in the singular.
- Brand:Louisiana Museum of Modern Art Denmark
- Country: Printed in Denmark
- SKU: LA-106511-FJ
- Material: Printed on paper.
- Dimensions:33.1" x 23.4" (A1)
From the beginning, the founder, Knud W. Jensen, intended for the museum to be a home for modern Danish art. But after only a few years he changed course, and instead of being a predominantly Danish collection, Louisiana became an international museum with many internationally renowned works.
Louisiana's close contact and collaboration with the international arts and cultural milieu has since been one of the museum's greatest strengths. And also one of the main reasons that it has been possible for Louisiana to present an exhibition program that has resonated so strongly with the public over the years. Louisiana has thus achieved a standing as one of the world's most respected exhibition venues, and in the future, it will be able to attract exhibitions and artists at a level that few other museums—either in Denmark or abroad—can match.
Knud W. Jensen put into action many of the period's visionary ideas about modern museum operation, including a desire for art to have a wide audience. It has always been the view at Louisiana that art is not just for an elite but includes experiences and visions for the many.
Why is it called Louisiana?
Many people wonder about the name of the museum. The short explanation is this—a nobleman and his three wives.
Knud W. Jensen chose to "take over" the name of the country house that he later converted to a museum. The property had been built and named in 1855 by Alexander Brun (1814-93), who was an officer and Master of the Royal Hunt and who married three women who were all named Louise.
Here at Louisiana, he was a pioneer in beekeeping and the cultivation of fruit trees.
From the beginning, it was Knud W. Jensen's vision to create a museum with soul, where the public could encounter artwork—not as something pretentious, but rather something that spoke directly to the viewer. And he emphasized the need for "supplementary content" that could help bring alive and enrich the environment: The more opportunities for experience that the program offers, the more Louisiana lives up to its idea—to be a 'musical meeting place' and a milieu that is engaged in contemporary life.
—Knud W. Jensen
