Trapholt Museum for Moderne Kunst | Kolding, Denmark

20 Jan - 25 Nov 2018



Kirstine Roepstorff's works are beautiful, but they are also a sharp commentary on our modern life, where she sees the dissolution of the boundary between the masculine and the feminine. The biblical figure Lilith (the night creature) is for Roepstorff the image of feminine primal force. Roepstorff's own figure Edicius is the image of a new form of sensitive and poetically charged masculinity. The familiar structures which surround us are in dissolution, and the dissolution is at the same time horrifying and ground for new growth. 


Roepstorff invites us to think and sense the world in new ways. Balance, dissolution, densities and resonance are important concepts in the journey into Roepstorff's universe, where the titles are poetic keys to the works. A central theme in Roepstorff's works is the idea that everything vibrates and that vibrations create resonance. Her ‘images of resonance’ work to capture what lies beyond the immediately tangible. The works are best experienced by allowing oneself time to see and feel the friction between the many opposing elements, which vibrate in her pictorial compositions.

Exhibition works

Roepstorff often personifies the states with which she is working. If Balance Stops And Asks Why, Balance Will Die is the title of the signature work in the exhibition's first gallery. Here, ‘Balance’ is both a person and a condition. Can we stop and balance at the same time? The large blue tapestry is like the heavenly canopy in its emergence. During the exhibition period, new elements of color and shape will be added to it. ‘Black Bitch’ characterizes the theme of the black works that, like the biblical Lilith, express willful and sensual feminine primal force.


The King is Dead sets the tone in the second gallery. Familiar structures of masculine dominance are dissolving, creating space for new growth. Women in dissolved spaces and ruins moves on staircases and in unstructured places. They are moving away from one reality, molting while moving towards something new, but still unknown. 

The third gallery of the exhibition shows sensitive poetic male portraits (Edicious) and sculptures, where hard concrete interplays with resonant brass. The works contain three different states. Massive stones are combined with organic human bodies with their heads full of elusive thoughts. Stone, body and thought are expressions of what Roepstorff calls ‘densities’.


The transition to the exhibition's fourth and final gallery goes through a gigantic circle. Mobiles in brass, Klangmenschen, occupy the gallery. The collage Space Behind Time finds its motif behind the dial of Big Ben. Roepstorff unfolds, that is behind and in between what we actually see that relationships vibrate. The works can seem recognizable. However, Roepstorff attempts to lead our attention to the space between what is recognizable. She identifies this gap as a form of resonance outside the well-known structures of the material world. 



Kirstine Roepstorff (b. 1972) has exhibited at the world's most renowned museums and galleries. She represented Denmark at the 2017 Venice Biennale with the total installation Influenza. Theater of Glowing Darkness. Kirstine Roepstorff studied at the Royal Danish Academy of Fine Arts from 1994 to 2000. She then worked in Berlin until 2015, when she moved back to Denmark. Her works can be found in the collections at the Museum of Modern Art in New York, The Saatchi Gallery in London and the National Gallery of Denmark (Statens Museum for Kunst).

For more info about the exhibition, click here.