CV Bodil Damgaard

 

Formal education:
Kunstakademiet i København (Royal Academy of Fine Arts of Copenhagen)
Ecole La section d’or, Paris

Member of BKF, Billedkunstnerforbundet (the Danish Artists’ Association)  
Member of Kunstnersamfundet (the Danish Artists’ Society)  

 

Important personal exhibitions:

2011 Thorasminde, Gladsaxe  
2009 Fikserbilleder, Kunsten, Museum of Modern Art, Aalborg, DK
2009 Equinox, Baunhøj Mølle,
2006 Seen, Himmerlands Kunstmuseum, Art Museum, Museumscenter Aars  
2001 Morsø Kunstforening af 1961, Nykøbing Mors  
2000 * 2001 Seminariernes Vandreudstilling
1995 Étude, Himmerlands Kunstmuseum, Art Museum, Aars  
1994 Kastrupgaard, Museum, Collection of Graphics
1993 Nordjyllands Kunstmuseum, Art Museum 1993
1991 Samtidsmuseet for ord, billede og lyd / Galleri Sct. Agnes. Museum of contemporary arts  
1987 Nikolaj, Københavns kommunes udstillingsbygning  
1986 Kitchen Still Life, Randers kunstmuseum, Art Museum  
1984 Fyns stift kunstmuseum, Art Museum, Odense
1983 Galleri Sct. Agnes, Roskilde
1981 The Office, Esbjerg kunstpavillon, Art Museum
1979 Everyday and Art, Dronninglund kunstcenter
1974 Tranegården, Gentofte kommunes Library on Art
1973 Fyns stift kunstmuseum, Art Museum, Odense
1967 ”Fodboldkampen” Charlottenborg 1967 

Selected group exhibitions:

2008 BALTIC Bridges. International water colour biennale
2006 3th international triennal on artists’ books, Vilnius, Litauen  
2006 Vendsyssel Art Museum
2003, 2002, 2001, 2000, 1998, 1997 Grafiksammenslutningen Zebra
2002 Skovgaard museet, Art Museum Viborg
2001 World Festival of Art on Paper, Slovenia
1999 Silkeborg Bad
1999 Tistrup kunstbygning
1997 Artists’ Books, Copenhagen Main Library  
1980 *1981Nordiske Kvinder (Moving exhibition in Scandinavia)
1975 Vikingbergs Konstmuseum, Art Museum, Helsingborg, Sweden
1973, 1968, 1967 Charlottenborgs forårsudstilling 

Represented in the following collections:

Esbjerg kunstmuseum, Art Museum
Fyns stift kunstmuseum, Art Museum
Gentofte kunstbibliotek, Library of Art
Jan Groths samling, Rogaland Kunstmuseum, Art Museum,  Norway
Kastrupgårdsamlingen, Collection of Graphic
Københavns kommune
Kunsten, Museum of Modern Art, Aalborg
Skovgaard museet Viborg, Art Museum
Vestjyllands Kunstmuseum, Art Museum
Vikingberg konstmuseum, Art Museum, Sweden, 

Decorations:

DSB, Danish Rail, 1984 og 1993

Exhibition arrangements:

Artists’ Books, Randers Kunstmuseum Art Museum 1989 and Museet for Samtidskunst, Museum of contemporary arts, Roskilde 1990
Project for Childrens’ house, the LouisianaMuseum 1995

Literature:

Hvedekorn, periodical, 1971/-1 and 1983/-4
Poul Gammelbo: Illusion og virkelighed, 1980
Cras, periodical, 1975/-8 and 1983/-36 

Supplier to magazine on drawing, illustration and book-craft: Numer (Norway)

Scholarships:

Statens Kunstfond 1972 and 1977 (National Art Foundation)
Henry Heerup 1983 and 2008
Anna Klindt Sørensen 1996 – 1997
Anne Marie Telmanyi, født Carl-Nielsens fond 2000
Ole Haslunds Kunstnerfond 2002
Anna E. Munch’s legat 2003 and 2011
Vilhelm Thaning og Hustrus Minde- og Rejselegat 2012

 

In Weilbach's Artist dictionary, Museum Director Nina Hobolth wrote:

Bodil Damgaard is interested in the illusory character of art as already shown in her early work.
The realistic portrayal of objects lies in continuation of the classical, European trompe l'oeil painting in which the appearance of objects witnesses spiritual and physical dimensions.
But the handling of motive by Bodil Damgård has also been inspired by American art of today, such as concept art, superrealism and pop art.
Bodil Damgård visualizes the ambiguity of art, in which the beholder meets the motive as recognition and the imagery as realization. 

 

The following is an abstract from an article by Art Historian and Art Critic Lisbeth Tolstrup:

Bodil Damgaard does not doubt the necessity of having to relate and work with her art. Through the years it has been a condition for her life, determining so much more. A constant presence, making it an actual need for her to see and feel the others, the early the classical cave paintings in all of their prehistoric beauty. Or to near herself to the old Dutch painters, for whom perfectionism was essential to their expression and not least to the examination of the media itself, providing space for interpretation and subtle images.

Vanitas and presence

From still life to observation through a spontaneous search. From making registrations on a walk to a graphic experiment. Every time the pencil is chosen and put to paper, a quiet move in the process toward the motive is taking place. Vanitas, in her own interpretation and intense insistence on wanting the drawn motive, not knowingly dangerous amd perhaps therefore often uncomfortable in its revealing closeness. As the punk, crewdly cut through the cock's comb, or the seemingly lovely leaf that in all its organic beauty contains the very vanity.

The constant quest

The same motive is rarely seen in variants. On the hand motives are often varied through the expression. Through the actual insistance on the media - to draw. And so it does not become a myth or an uninterrupted narrative - but rather an odysse from motive to motive - captured by the tension between the drawing and the tactile surface, the organic paper that allows itself to be stroken by changing pencils and delicate colours.

Lisbeth Tolstrup
Art critic AICA
Art historian BA

 

Bodil Damgaard says of her work:

I look at something and start to draw, then work progresses like a conversation between the three participants: The artist, the motive and the paper. The best conversations bring new insight, and in addition a picture for others to see and interpret. The pictures are motives from the world around - the near or the far, but always seen from somewhere - literaly speaking at a measurable distance and figuratively speaking as seen by a person and an experience.
My works include lines of many kinds: crayons, charcoal, pencil, pastel on paper or on  board.
Drawing does not contain much texture and not much colour. Therefore, it is important to nurture the texture that it does have - and the small changes in colour are important. Whether it is crude or neat, smooth or rough, which sort of paper - many kinds of black and grey, some brown, some bluish grey, and the pastel on the rugged paper can get a porous character like the colour in fresco paintings.
I draw to resemble something - and it does - and I go on until I have forgotten what it represents. Then, after I have drawn for some time - and it may be through several rounds through several days - then I see that the drawing in its own way reappears in accordance with the motive.
There is a likeness in the work and at that time, it is like recognition - even if it does not resemble anything I knew in the beginning.