Agora Gallery New York, Robert Vigo:

“In the tradition of André Breton’s “pure psychic automatism,” Danish artist Kristine Gade Hansen utilizes the technique of spontaneous juxtapositioning to create her poetic artwork. The result is a body of work that is, in a word, enigmatic. Exploiting various materials, Hansen combines fragments of color, shape, texture, and the written word to configure what she herself describes as, “graceful portraits of a concept or theme.” Her most recent collection demonstrates a preoccupation with, “the meeting”. While Hansen’s fascination with line and structure introduces some semblance of control to her work, her interest in the idea of interception reintroduces the elements of chance, spontaneity, and surprise. The meetings Hansen captures visually represent the prosaic encounters of the everyday. The success of Hansen’s iconography, and with it, her oeuvre, lies in her union of the banal with the prophetic. Through the introduction of stream of conscious meditations to her work, Hansen transforms the verbal and visual from the enigmatic to the spiritual. Initially Kafkaesque in existential content, the resultant outcome are pieces resonant with propitious affirmation. Hansen reflects this belief not only in her artwork but in her actions as well. ”


A Fertile Hybrid Style Distinguishes the Art of Kristine Gade Hansen

In conceptual art the idea, rather than the image, is the piece de resistance, while New Image painting would appear to be its opposite, in that images are often presented in a manner that eludes their usual meaning and forces us to consider them from a fresh perspective. However, these seemingly opposite attributes are synthesized to make for a potent combination in the mixed media works of Kristine Gade Hansen, an artist born in Aarhus and educated in the Design School of Kolding, whose exhibition can be seen at Agora Gallery, 415 West Broadway, in Soho, from July 7 through August 22 (Reception: July 13, from 6 – 8 PM).

Aspects of linguistics and popular culture come into play in Hansen¹s work in a manner that calls to mind the best work of such conceptual predecessors as Joseph Kosuth and John Baldessari. However, Hansen¹s pictorial inventiveness adds a visual impact to her work that is closer in spirit to New Image artists like Robert Moskowitz and Susan Rothenberg. The exquisite balance of semiotic and textual elements in compositions notable for their formal austerity lends Hansen¹s hybrid compositions an intriguingly cerebral quality. Flight and intervention are powerful metaphors in her work for a variety of life experiences. One of her most prevalent symbols is the simple outline of an airplane. Another is a pair of angelic wings. Both are combined, the wings draped over the nose cones of two convey airliners in a painting called “1855”, on which those numbers are also neatly inscribed. That the numbers suggest a date long before such planes existed adds to the sense of mystery which is invariably present in Hansen¹s work, where images taken out of context and stripped of their usual meanings take on less obvious meanings and create entirely new contexts. Here, given the artist¹s recurring theme of intervention, the angel wings suggest a divine force preventing the two planes from colliding.

Handwritten texts also often contribute to the visual variety and literary allusiveness of Hansen¹s mixed media works. Poetic and somewhat obscure, they, too, add to the mystery rather than explicating the imagery. One interesting example of this is the painting called “Aristotle”, where a Star of David is juxtaposed with the philosopher¹s name presented in a clean typeface on a dark background and a handwritten poetic manuscript which seems to express romantic longing with lines like “A deep breath/Whispering in your ear/A connection to a man without boundaries…”

Such incongruities appear to be conceptual ploys for provoking unforeseen connections in Hansen¹s compositions. These are especially successful in paintings such as “Construct”, where the painting is divided into two horizontal panels, the top one containing three overlapping circles with Stars of David within them that merge at their inner edges, the bottom one containing a frontal image of an old-fashioned biplane with the word of the title printed neatly above it.
While one would be at a loss to attribute specific meanings to the various elements of the composition, they resonate on some subverbal level in the manner of concrete poetry. Indeed, it is Kristine Gade Hansen¹s ability to create such inexplicable connections in the consciousness of the viewer that makes her work such an intriguing stylistic hybrid with seemingly unlimited possibilities for further exploration.

­­Robert Vigo



From a art magazin in New York


La Gaviteca

La Gaviteca è un progetto che nasce dalla nostra necessità di comunicare la cultura del vino. Per questo abbiamo dato vita a un luogo raffinato che si propone di diventare un punto di riferimento per l’enoturismo sul territorio locale.

La Gaviteca è un luogo nuovo per concezione e filosofia, destinato a divenire ambiente dedito al culto del vino in ogni suo aspetto: dalla mescita e degustazione, a punto di raccolta storica attraverso materiale fotografico e stampato, a luogo di eventi artistico- culturali e di incontri di formazione. Il 30 aprile sarà inaugurato lo spazio e dopo questa data si susseguiranno diversi appuntamenti, incontri e mostre che ci accompagneranno per tutto il 2006.

Crediamo fortemente nel contatto con quanti condividono la nostra filosofia, e proprio a loro sono rivolte le iniziative che durante l’anno prenderanno forma in questo spazio.


by Kristine Gade Hansen

Dal 5 Novembre 2006 al 3 Febbraio 2007 dalle 10 alle 17

Vernissage domenica 5 novembre ore 17

Agora Gallery New York:

Fedele alla tradizione del “puro automatismo” di Andre Breton, l’artista danese Kristine Gade Hansen utilizza la tecnica dell’accostamento spontaneo nella creazione della sua arte poetica. Il risultato è una collezione di lavori semplicemente enigmatici. Hansen sfrutta diversi materiali, combinando frammenti di colori, forme, consistenze e parole scritte per configurare ciò che lei stessa descrive in questi termini: “ritratti graziosi di un concetto o di un tema”. La sua collezione più recente dimostra la sua preoccupazione con “l’incontro”. Mentre l’attrazione della Hansen verso la linea e la struttura crea l’impressione di controllo nel suo lavoro, il suo interesse nella nozione dell’intercettazione torna su elementi come il caso, la spontaneità e la sorpresa. Gli incontri catturati visivamente dalla Hansen rappresentano dei contatti prosaici giornalieri. Il successo della sua iconografia e con essa quello del suo oeuvre è dovuto all’unione fra il banale e il profetico. Tramite la presentazione di una narrativa meditativa sul lavoro stesso, Hansen effettua una trasformazione, e il verbale e il visivo dall’essere enigmatici diventano spirituali. I pezzi che risultano, inizialmente kafkiani nel loro contenuto esistenziale, sono un’affermazione propizia. Questo credo è chiaro non solo nel lavoro artistico di Hansen ma anche nelle sue azioni. Dal 2001 lavora con diverse cooperative artistiche che promuovono la beneficienza e il volontariato per i bambini.

Kristine Gade Hansen

Kristine Gade Hansen nasce nel 1968 a Aarhus in Danimarca dove attualmente vive e lavora.
Qualificata come disegnatrice tessile della Design School, Kolding 1995-2000.
Corso d’Arte a Byhojskolen 1995
Abilitata come insegnante di artigianato tessile a Skals Haandarbejdsseminarium 1990-1993.
Da quando si è diplomata presso la Design School of Kolding lavora a tempo pieno come artista e arredatrice.

Sønderborg lokal blad:



Det en særudstilling

med de to nye, internationalt

anerkendte kunstnere

Vangelis Fitsios,

med esoteriske og surrealistiske

olie malerier, og

Kristine Gade Hansen

med sanselige og fantasifulde

colagebilleder og

textil kunst.

Det er kunstværker

som berører sjælen gennem

øjet og hjertet.



Velvære-Ateliet i Århus

Dengang på Trøjborg i Århus ….



Gallery Kragh





В традиции Бретоновского психического автоматизма, датский художник Крайстин Гэйд Хансен использует технику непосредственного juxtapositioning, чтобы создать ее поэтические художественные работы. Результат – смысл работы в слове, загадочном. Эксплуатируя различные материалы, Хансен комбинирует(объединяет) фрагменты цвета, формы, структуры, и письменного слова, чтобы формировать то, что сама она описывает как, портреты понятия(концепции) или темы. Ее самое недавнее собрание демонстрирует озабоченность . В то время как её обаяние с линией и структурой вводит некоторое подобие контроля(управления) к ее работе, ее интерес в идее относительно перехвата повторно вводит элементы шанса, спонтанности, и удивления (неожиданности). Встречи, которые Хансен захватывает визуально, представляют собой прозаические столкновения повседневности. Успех её иконографиё, и с этим, ее произведения, находится в ее союзе банальных с пророческим. Через введение потока сознательных размышлений к ее работе, Хансен преобразовывает устный и визуальный опыт от загадочного к духовному.
Первоначально Kafkaesque в экзистенциальном содержании, проистекающий результат – части, резонансные с благожелательным подтверждением. Хансен отражает эту веру не только в художественных работах, но и в действиях также. С 2001 она работала с различными кооперативами художника, продвигающими благотворительное предоставление и предложение для выгоды датских детей.
Профессиональный проектировщик текстиля и преподаватель, Хансен преподавала в Skals Haandarbejdsseminarium, Elback Folkehojskole и Byhojskolen.
Ее искусство было показано и на ее родине – Дании и за границей – в Соединенных Штатах и Италии.


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