The Danish landscape has many lakes surrounded by green forests. That is why it is not surprising that the lake is a popular motif in the history of Danish art. In the landscapes of the Golden Age, of which Vestsjællands kunstmuseum has many, the depiction of the lake is characterized by certain ideas about nature and the Danish landscape, which is emphasized trough the choice of motif, palette, point of view and composition. The artists often portray a relatively harmonious landscape, which is perceived as particularly Danish in comparison to the more dramatic nature in the closest neighboring countries, just as the historical changes in the Danish landscape are often incorporated into the narrative in the shape of the of natural and cultural traces of ancient and present times in the same image. These subjects are the basis of Ulrik Weck´s two large white-painted exhibition walls, which are placed in strategic locations in the landscape around Sorø Lake. Golden frames are mounted on the walls and trough a hole in they offers passers-by a framed, yet variable view of the lake. Here the “Image” only arises when you look trough the empty frame. Motif and section change when you look trough the unfilled frame, just as the weather will always leave its mark on the colors and lighting in the “motif”. Weck´s intervention frames an event, which we fill out ourselves and which arises in the interplay with the surroundings. Landscape images are “live” here – in contrast to the hardened strokes and handed-down tales in historical landscape paintings. ANDREAS BRØGGER 2009 Fotograf Anders Sune Berg
Fotograf Ulrik Weck

The Danish landscape has many lakes surrounded by green forests. That is why it is not surprising that the lake is a popular motif in the history of Danish art. In the landscapes of the Golden Age, of which Vestsjællands kunstmuseum has many, the depiction of the lake is characterized by certain ideas about nature and the Danish landscape, which is emphasized trough the choice of motif, palette, point of view and composition. The artists often portray a relatively harmonious landscape, which is perceived as particularly Danish in comparison to the more dramatic nature in the closest neighboring countries, just as the historical changes in the Danish landscape are often incorporated into the narrative in the shape of the of natural and cultural traces of ancient and present times in the same image.
These subjects are the basis of Ulrik Weck´s two large white-painted exhibition walls, which are placed in strategic locations in the landscape around Sorø Lake. Golden frames are mounted on the walls and trough a hole in they offers passers-by a framed, yet variable view of the lake. Here the “Image” only arises when you look trough the empty frame. Motif and section change when you look trough the unfilled frame, just as the weather will always leave its mark on the colors and lighting in the “motif”.
Weck´s intervention frames an event, which we fill out ourselves and which arises in the interplay with the surroundings. Landscape images are “live” here – in contrast to the hardened strokes and handed-down tales in historical landscape paintings.

Andeas Brøgger / Museum Director vestsjællands kunst museum

Photo / Anders Sune Berg