Værket i 2012. Billeder tilsendt af Frederiksberg Kommune. Foto: Nicole Dumanski.
Værket i 2012. Billeder tilsendt af Frederiksberg Kommune. Foto: Nicole Dumanski.
Værket i 2012. Billeder tilsendt af Frederiksberg Kommune. Foto: Nicole Dumanski.
Fra kunstnerens værksted.
Kunst udført til dette sted

Final Scene

Eva Steen Christensen
2011 / Hovedstaden
Kjeld Petersens Plads Kjeld Petersens Plads 2000 Frederiksberg Hovedstaden Danmark

Text by Eva Steen Christensen:

The Site/The Square

The history of the villa house goes back to 1908, when it was built as an employee residence for Flintholm, the old power station that is now converted into a whole new neighbourhood. The first time I saw "The Yellow House", it was still inhabited. The square in front of the villa house was the garden. Not a particularly pretty garden but, still, a garden. One of the things that grabbed my attention at once was the little stairway with the red bannister. It signals openness and welcome to the residents of the neighbourhood. The stairway is the only thing that breaks the symmetry of the house. The house is secluded and turned just a bit so that its central axis runs very close to the corner of the plot and thus right down to the stoplight. The little yellow house stands in sharp contrast to its surrounding buildings, which are far taller and more modern than the villa. Therefore, you experience the house as if it were from another time and another place. This slightly unreal experience is underlined by its name, "The Yellow House", which fixes an image of "house and garden" in this otherwise very urban neighbourhood. In the evening, the house is illuminated by powerful spotlights that are installed all around the square. Up in the little, round skylight, they decided to place a yellow light. An illusion is created that, in the evening and at night, there is someone up in the attic of the otherwise darkened house. This dramatic lighting creates associations with the theatre. The house becomes the wings, and the pavement of the square acts as a stage floor. The area itself is called the "revue quarter", and all roads and squares are named after well-known actors such as Kjeld Petersen’s partner Dirch Passer, Margurite Viby, Elga Olga, and Preben Kaas. Many of the surrounding building facades face the square from different angles. They have different colours, sizes, and distances from the square. The differences between the buildings create a slightly unhomogenous city space. There is great activity on the square, and many people walk, bike, and drive past the "house" every day. The site where the sculpture is placed is in constant movement. That is why I decided to include this movement in the sculpture in the hope that this facetted figure will function as a compression or a summary of what surrounds it.

The Sculpture

The movement in the sculpture, together with its crystalline form, creates what you could call "a geometric or Cubist draping" with associations with Baroque costumes. The Baroque mode of expression ties into the caricatured vaudeville aesthetics of the revue universe. The sculpture is carved from Finnish red granite, and the bricks in the surrounding buildings are, it is well-known, made from clay from the Danish subsoil – that is, both the stones and the brick originate in the North. I have chosen the reddish granite because, in different ways, the red colour is a part of the brickwork in the vast majority of the buildings that border the square. The farthest water basin echoes the sculpture’s star form, but it is displaced just a bit. Therefore, the sculpture is experienced as detached from its own form. The basin may be read as the shadow of the sculpture and its springboard.

Red Trees

By changing the plants in the bed from green to red-leafed plants, the repetition of the colour will connect the red bannister of the stairs and the large series of benches with the much smaller sculpture. The red wall, which they previously tried to hide, is now included in the site, in this red movement. The atypical plant colours create a slightly unreal atmosphere, which emphasises associations with the theatre.

The title "Final Scene"

The final scene is a concept we know from the theatre but also from life. Our lives are filled with final scenes – one thing bids farewell, and another has a new beginning. It might be said that the project is about this transformation as a fundamental part of the human condition. The sculpture twists free of its form, and an underlying layer becomes visible. I hope local residents will accept the sculpture and that they will participate in this "final scene", as a reminder of all our many decisions and choices in life that are a "point of no return". "Ej blot til lyst" ["Not just for fun"] is what they say about the theatre’s space of recognition in the expectation that every performance opens up a new recognition, a new movement, and an expansion of our worldview.

The stone’s heavy mass is in movement away from its foundation and, from beneath, a new floating world comes into view. Perhaps, like Ibsen’s Nora leaving her yellow doll’s house. Has she just twisted herself free on her way toward Finsensvej?

Title: Final Scene
Department: Kunst udført til dette sted
Object Number: SKFA-KKF110.2009-0060
Type: Skulptur
Date: 2011

ACCESSIBILITY

Not available for loan
Can be visited
Read more about the program

LOCATION

PICTURES (4)

Værket i 2012. Billeder tilsendt af Frederiksberg Kommune. Foto: Nicole Dumanski.
Værket i 2012. Billeder tilsendt af Frederiksberg Kommune. Foto: Nicole Dumanski.
Værket i 2012. Billeder tilsendt af Frederiksberg Kommune. Foto: Nicole Dumanski.
Fra kunstnerens værksted.

PART OF FOLLOWING THEMES (1)

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