20 years in Danish Art

Albert Mertz, Anne Bennike, Arne Pjedsted Salomonsen, Christian Heide, Dirk Larsen, Dove Bradshaw, Eske Kath, Eva Larsson, Finn Reinbothe, Flemming Brusgaard, Gert Rappenecker, Giancarlo Savino, Gudmundur Ingolfsson,Gunnar 'Örn, Håkan Nyström, Hans Peterson, Henrik s.Holck, Ian Schjals, Jane Rässinnen, Jenny Watson, Jeppe Hein, Thomas Wolsing, Jes Brinch, Jes Mogensen, Johan Nobell, Kaj Nyborg, Kristian Von Hornsleth, Lawrence Weiner, Lidy Jacobs, Lilibeth Cuenca Rasmussen, Lone Mertz, Lone Slov Madsen, Madeline Berkheimer, Margrete Sørensen, Marianne Hesselbjerg, Michael Coughlan, Morten Nielsen, Morten Schelde, Niels Bonde, Nils Erik Gjerdevik, Nikolaj Recke, Olafur Eliasson, Pertraasdahl, Peter Neuchs, Peter Røssell, Sam Jedig, Stefan Caltia, Suzette Gemzzøe, Thomas Bang, Thorbjørn Lausten Tine Elina Nurminen, Torben Ebbesen, William Anastasi, William Anthony.

Stalke Galleri 

Kirke Sonnerup and Vesterbrogade 14A

20.4. to 1.6.2002

Stalke Vesterbrogede 14A

International Village

Gallery owner Sam Jedig establishes himself in Kirke Sonnerup with art from Denmark and abroad.

One creates the center oneself.This is the philosophy behind establishing a new international gallery in the middle of the Zealand countryside. Galleri Kirke Sonnerup in the village of the same name is the latest addition to the solid dissemination foundation that artist and gallerist Sam Jedig has built over 20 years in collaboration with Kim Bendixen, creating and achieving a formidable reputation.

It all began with Galleri Jedig on Øster Allé, later Admiralgade in Copenhagen, followed by Galleri Nørregade, and in 1987, the international concept was realized with Stalke Galleri, Stalke Project, and Stalke Kunsthandel. This continued with Stalke Out Of Space, a fluid project presenting contemporary trends.

The design of Galleri Kirke Sonnerup in Sam Jedig’s private home—a former assembly hall between Roskilde and Holbæk—partly as a small museum and partly as a powerful gallery, reveals optimism and an unconventional approach:
"There is no single and definitive center in Denmark. Neither in Copenhagen nor in the provinces. One must define the center oneself, and that’s what I do," says Jedig. "My great inspiration is the world-famous Icelandic artist Gunnar Örn, who runs one of the world’s most remote galleries near the volcano Hekla. He lives, works, and exhibits in 40 square meters. When he can succeed on the edge of the Atlantic, I believe interested individuals will gladly travel for quality art. And with the location between Sorø with West Zealand Art Museum and Roskilde with the Museum of Contemporary Art, with whom we will collaborate, I have no doubt that the mutual competition will stimulate all parties," points out Sam Jedig, who met Gunnar Örn when he was 14 years old. The Icelandic artist, who is currently a hot name in New York, presented the Dane with a painting, sparking his art collection.

55 Artists
Sam Jedig and his partner are celebrating their 20th anniversary as a collaboration, presenting a comprehensive exhibition in both Copenhagen and Kirke Sonnerup. "20 Years in Danish Art" features 55 artists who have worked with or still collaborate with the gallery. Individually and collectively, they reflect the movements and counter-movements of the past decades. In total, the 42-year-old Sam Jedig and his team have hosted 300 exhibitions featuring over 500 artists.

From Denmark, participants include Albert Mertz, Torben Ebbesen, Margrete Sørensen, Thorbjørn Laustsen, and Thomas Bang, as well as representatives of the younger generation—Lilibeth Cuenca Rasmussen, Nikolaj Recke, Eske Kath, Olafur Eliasson, Peter Røssel, Kristian Hornsleth, Jes Brinch, Niels Bonde, and Kaj Nyborg.

From abroad, names like William Anastasi, Dove Bradshaw, Lawrence Weiner, Dirk Larsen, William Anthony, Jenny Watson, Gunnar Örn, and Johan Nobelle are invited. Olafur Eliasson, recently selected as Denmark’s representative at the Venice Biennale, is considered the gallery’s star. He is in demand worldwide, especially in the U.S., but Sam Jedig believes Denmark's Statens Museum for Kunst has neglected him. "Olafur Eliasson worked as my assistant for many years," notes Jedig.

"It is important to emphasize an international profile. Over the past ten years, we have strengthened our collection with works from abroad and the younger generation of Danish artists. It is crucial to stay innovative; otherwise, one risks fading away."

The gallery in Sonnerup is intended as a launchpad for new directions in Danish art. Every other year, they arrange a biennial to assess the state of contemporary art, inviting 30 artists, each given a pavilion to present their interpretation of modern art, explains Sam Jedig.

"As a supplement to the gallery’s rotating exhibitions, we are introducing the Stalke Collection, a major private collection of modern art spanning from the 1960s to today. The collection will be presented under various themes. Our ambition is to be a serious alternative to other art institutions. We haven’t sold to a museum in ten years because we’ve never pandered to the trends or played the game. This is why we welcome the new proposal to make art purchases tax-deductible. It’s a step toward eliminating nepotism in Danish art circles, while providing credible galleries a significant responsibility to advise businesses."

By Lars Ole Knippel

Jyllands Posten

Impressive and Different Art
Galleri Kirke Sonnerup Opens

Bramsnæs: It was an impressive and different exhibition that opened at Galleri Kirke Sonnerup last Saturday.

There were souls in many colors on the large wooden floor, photo collages, naïve paintings on video, snow and turf sculptures, etc.

Modern art from half a hundred artists who have made their mark in avant-garde art over the past 20 years—during which Sam Jedig has run galleries—was gathered here. Until now in Copenhagen, but as of Saturday also in Kirke Sonnerup.

Thus, the exhibition at the new gallery was arranged as a joint exhibition with Stalke Galleri, which Sam runs with Kim Bendixen as daily manager.

"The exhibition is a mix of young, emerging artists and established artists," Sam Jedig explained during the opening, bustling with people.

Behind him hung a collage that appeared like a time-stamped work bubble. The collage's universe of superfluous luxury was seen as provocative. The artist is Jes Brinch.

"The floor featured works by Marianne Hesselbjerg’s mounds. One was made of plaster with gold leaf, the other of lime wood. However, her largest sculpture will be exhibited at Thorvaldsens Museum in May.

"It will include an installation in bronze and rust-treated steel," she explained. She has also decorated police stations in Slagelse and Odense.

In the office were decorated envelopes by Flemming  Brusgaard. In the middle room, a woman by Kristian Hornsleth, ceramic bowls by Lone Skov Madsen, and finally a light work by Thorbjørn Lausten.

Finally, one of the rooms housed works by Sam Jedig’s inspiration, Gunnar Örn, who runs a gallery near the Hekla volcano in Iceland. On the wall hung two waterfalls by Albert Mertz, while Torben Ebbesen exhibited a snow sculpture that stood tall against the dimensions and directions of light.

The exhibition can be seen until June 1.

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