Louisiana Museum of Modern Art
Troels Worsel – Untitled (1983)
- Specifications
- Description
- The Maker
- Brand:Louisiana Museum of Modern Art Denmark
- Country: Printed in Denmark
- SKU: LA-105420-FJ
- Material: Printed on paper.
- Dimensions:33.1" x 23.4" (A1)
Where contemporary art in the period from the 1990s onwards has in many ways reflected on its own activist, social and viewer-engaging potential, Wörsel did not contribute to such agendas. What we encounter in Wörsel's works exists in a universe where art's own rules apply.
For Wörsel, we must think exactly what we want about the works, but for him art was simply something other than 'lived life'. Social life and life outside the studio play virtually no role in his pictures. A sign here and a sketch of a town plan there, otherwise nothing.
In the absence of references based on life experiences, the material is imbued with an unstoppable appetite for all that is linguistic in art. The works constitute a gigantic laboratory of what affects the creation of an image.
A mystery of a kind and at the same time an energetic and all-absorbing doing and loading with the material. A world on one plane, but right there, Wörsel stood unhindered on the shoulders of the old masters, cooking with all the ingredients and handling the tools for making art. It is precisely in the virtuoso display that one senses the artist's conversations with the time before his own.
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
