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[February 15th 2002] 
Kathrine Ærtebjerg,
Sabine Mlejnek and Lise Blomberg Andersen.
Sweet Schwammerl
Kopenhagen popped in at Kunstakademiets Udstillingssted
and had a chat with Lise Blomberg about mushrooms, feminism
and phallus envy (the last thing we won’t write about). By
Julie Damgaard and Torben Zenth.
Sweet Schwammerl
Kathrine Ærtebjerg, Sabina Mlejnek, Lise Blomberg Andersen
Kunstakademiets Udstillingssted
Herluf Trolles Gade 2
Copenhagen K - DK
February 9th – 17th 2002
Tues - Fri 14-18, Sat - Sun 11-14
-“Sweet Schwammerl is a play on words” says Lise
Blomberg eagerly, when kopenhagen asked her about the unpronounceable
title of the exhibition. “The beginnings of the two words sound
alike and remind you of the sound of the Danish word ’svamp’
(mushroom)” – the mushroom being an important motive present
in the work of all of the three artists exhibiting here. “Schwammerl
sounds a bit nauseating, and we deliberately play on the contrast
in the sense of the sickly-sweet. The mushroom has an ambiguous
character. It grows on things that rot, on swampy and nauseous material,
while at the same time providing a source of pleasure; some mushrooms
are hallucinogenic and can make you freak out.”
 
(left) Kathrine Ærtebjerg: Pigen
og Dyrene 2002 (The girl and the Animals 2002)
(right) Lise Blomberg Andersen: UdenTitel 2002 (Without
Title 2002)
Loosing ones self in another world or a parallel world is characteristic
for all three artists, although it is expressed in different ways
and on very individual terms.
-“Sabine’s work is far more related to realism than Kathrine’s
and my work, which operates in a far more mythological space,”
explains Lise. “There is an overall reference to Alice in Wonderland,
but Kathrine is probably the one who has thought about this aspect
the most. You can see this in her large image with the figure in
it, whose neck is expanding (Pigen og Dyrene). The rabbit
with the red eyes in my own painting Bonnie can also be seen
in relation to this, and Sabine’s work with the reflections
can be compared with the story of Alice stepping into a different
world – a soulreal world.”
 
(left) Sabian Mlejnek: Tre huse 2002 (Three
houses 2002).
(right) Sabina Mlejnek: En fluesvamp 2002 (A fly amanita
2002).
Lise isn’t happy about using the word 'feminism' but admits
that the three artists have discussed the concept.
-“We havn't stuck to the word itself but rather held it open
as a theme,” she explains. “In Bonnie there are
certain references to burning witches at the stake, but the female
figure perched on the branches also reminds you of The Little Mermaid.
I think it’s still viable to talk about the oppression of women
– especially on an emotional level – here the mermaid
becomes a symbol of an oppressed creature. There lies an enormous
significance in the fact that her legs and her sex have been removed,
so to speak.”
Lise Blomberg Andersen:
Bonnie 2002
Allthough it is different kinds of female representation and identity
that inform the work of these three artists, they have succeeded
in creating an exhibition, which functions as a whole; as they set
out to do from the beginning of the project.
 
(left) Sabina Mlejnek: Fluesvampe (Fly Amanitas)
(and a piece without title by Kathrine Ærtebjerg)
(right) Kathrine Ærtebjerg: Dådyret
2002 (The Deer 2002)
-”The significant elements in this work have been continually
worked through by all of us and also influence the presentation
of the exhibition,” explains Lise. “We have chosen to
place three of the paintings in the smaller adjoining rooms, as
they represent a different colour scheme and have a different feel
to them. Kathrine’s painting "Hjertehuset", for example,
is a contrast to the more clear feel of the images in the large
room – her image is more forceful, almost aggressive.”
 
(left) Kathrine Ærtebjerg: Hjertehuset 2002
(The Heart House)
(right) Lise Blomberg Andersen: Without title 2002
-”The story in the image I’ve hung in the passage between
the rooms (Without title) is based on a psychological twist
or psychological message, if you like. It’s difficult to come
to terms with the phobia that characterizes the image, whether it’s
legitimate or not. The question arises weather the budgerigar will
actually attack the monkey. A relationship is insinuated, between
tame bird and wild animal, however it is a relationship, which is
never really made clear. The domestic symbol, which the budgerigar
represents, is brought completely out off proportions by the enormous
colourful bird in Bonnie, the way the bird sits on the head
of the vulnerable white woman comes across as an indirect threat
here, or a threat on a psychological level.”
Sabina Mlejnek: Taxi
2002
More...
Interview in Danish
with Kathrine Ærtebjerg, June 2001
Translated by Sophie Pucill
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