Broth
Julie Falk (DK)
07.08.26 - 26.09.26
Broth
Julie Falk (DK)
07.08.26 - 26.09.26
Julie Falks nyproducerede soloudstilling Broth tager form som en række skulpturer i pap og epoxyresin. Broth er et billede på reduktion. En kondensering af stof, der får stoffet til at svinde ind - og blive et andet, koncentreret stof. I Falks udstilling er der tale om en kunstnerisk proces med interesse for en slags negativ bevægelse, hvor form koncentreres gennem belastning, opløsning, tid, og tilbagekastning. Her skal form forstås som noget, der frem for at blive udledt af et materiale snarere er en afledning af materialet; af pap, resin og overflade. Skulpturernes kapacitet, deres last og omgivelser koges ned til form.
Falks praksis er funderet i en trimmende, manuel tilgang til produktion. Arbejdet med skulpturer stræber ikke efter at opnå en realisering af et forudbestemt resultat, men mod en åben proces, der imødekommer materialets egne forskydninger, begrænsninger, muligheder. Værkerne insisterer på at rumme det ukontrollerbare, hvor tvivl, modstand og uafsluttethed ikke skal være forhindringer, men derimod kan fungere som intentionelle betingelser.
Udstillingen undersøger ikke stedet Skagen som motiv eller tema, men de systemer og ydre forhold, der former det. Hvordan handling giver anledning til form. Hvordan materialer responderer på indgreb. Hvordan betydning opstår i relationen i mellem krop, materiale og omgivelser.
Ved at flytte opmærksomheden væk fra kunstværket som et singulært objekt retter Broth blikket mod de strukturer og betingelser, der organiserer rum, liv og perception. Mængden af skulpturer på gulvet er en destabilisering af skulpturelle hierarkier og tunge piedestaltraditioner, men det er også et forsøg på at skabe et installatorisk miljø, og placere beskueren i en flydende tilstand snarere end foran fastlåste genstande med fastlåste betydninger.
Inden for den globale varecirkulation fremstår standardiserede former som neutrale. Broth tager i stedet udgangspunkt i, at form og materiale allerede er indlejret i logikker om cirkulation, ejerskab, adgang og kontrol. Frem for at illustrere globale strømninger synliggør udstillingen, hvordan disse systemer virker konkret og aflejrer sig i relationer mellem objekter, kroppe og rum.
På samme måde er værkernes reflekterende overflader ikke tænkt som afslutning, men som et aktivt sted for registrering. Som en render er overfladen ikke et billede af verden, men et sted hvor verden løbende omsættes til billede. Den rummer både fravær og tilstedeværelse – af genstande, varer, skulpturerne selv og de sammenhænge, de indgår i.
Julie Falk er uddannet fra Malmö Art Acadamy og har bl.a. senest udstillet på Inside-Out Art Museum (CHI), O-Overgaden (DK), All All All (DK) og KØS Museum for kunst i det offentlige rum (DK). I 2023 modtog Falk Anne Marie Carl Nielsens Talentpris for billedhuggere og hendes værker indgår i samlingerne hos bl.a. Københavns Kommune, Statens Kunstfond og Ny Carlsbergfondet. Julie Falks praksis udfolder sig gennem et fysisk og et formelt sprog med interesse for spørgsmål om autonomi, sårbarhed og gensidig afhængighed i et skæringspunkt mellem koncept og skulptur, hvor subtraktion og abstraktion står centralt.
Broth er kurateret af Anne Møller Christensen og er støttet af Statens Kunstfond, Slots- og Kulturstyrelsen, 15. Juni Fonden, Beckett Fonden, Knud Højgaards Fond, Det Obelske Familiefond, Augustinusfonden og Frederikshavn Kommune.
I 2026 markerer vi Skal Contemporarys 5 års jubilæum med et ambitiøst udstillingsprogram i Det Grå Fyr, der består af fire stedsspecifikke og nyproducerede udstillinger og et eventprogram, der tager afsæt i de lokale omgivelser og omstændigheder ved Skagen og samtidig rejser spørgsmål om fx natur, magt, økonomi og tilhørsforhold.
Falks praksis er funderet i en trimmende, manuel tilgang til produktion. Arbejdet med skulpturer stræber ikke efter at opnå en realisering af et forudbestemt resultat, men mod en åben proces, der imødekommer materialets egne forskydninger, begrænsninger, muligheder. Værkerne insisterer på at rumme det ukontrollerbare, hvor tvivl, modstand og uafsluttethed ikke skal være forhindringer, men derimod kan fungere som intentionelle betingelser.
Udstillingen undersøger ikke stedet Skagen som motiv eller tema, men de systemer og ydre forhold, der former det. Hvordan handling giver anledning til form. Hvordan materialer responderer på indgreb. Hvordan betydning opstår i relationen i mellem krop, materiale og omgivelser.
Ved at flytte opmærksomheden væk fra kunstværket som et singulært objekt retter Broth blikket mod de strukturer og betingelser, der organiserer rum, liv og perception. Mængden af skulpturer på gulvet er en destabilisering af skulpturelle hierarkier og tunge piedestaltraditioner, men det er også et forsøg på at skabe et installatorisk miljø, og placere beskueren i en flydende tilstand snarere end foran fastlåste genstande med fastlåste betydninger.
Inden for den globale varecirkulation fremstår standardiserede former som neutrale. Broth tager i stedet udgangspunkt i, at form og materiale allerede er indlejret i logikker om cirkulation, ejerskab, adgang og kontrol. Frem for at illustrere globale strømninger synliggør udstillingen, hvordan disse systemer virker konkret og aflejrer sig i relationer mellem objekter, kroppe og rum.
På samme måde er værkernes reflekterende overflader ikke tænkt som afslutning, men som et aktivt sted for registrering. Som en render er overfladen ikke et billede af verden, men et sted hvor verden løbende omsættes til billede. Den rummer både fravær og tilstedeværelse – af genstande, varer, skulpturerne selv og de sammenhænge, de indgår i.
Julie Falk er uddannet fra Malmö Art Acadamy og har bl.a. senest udstillet på Inside-Out Art Museum (CHI), O-Overgaden (DK), All All All (DK) og KØS Museum for kunst i det offentlige rum (DK). I 2023 modtog Falk Anne Marie Carl Nielsens Talentpris for billedhuggere og hendes værker indgår i samlingerne hos bl.a. Københavns Kommune, Statens Kunstfond og Ny Carlsbergfondet. Julie Falks praksis udfolder sig gennem et fysisk og et formelt sprog med interesse for spørgsmål om autonomi, sårbarhed og gensidig afhængighed i et skæringspunkt mellem koncept og skulptur, hvor subtraktion og abstraktion står centralt.
Broth er kurateret af Anne Møller Christensen og er støttet af Statens Kunstfond, Slots- og Kulturstyrelsen, 15. Juni Fonden, Beckett Fonden, Knud Højgaards Fond, Det Obelske Familiefond, Augustinusfonden og Frederikshavn Kommune.
I 2026 markerer vi Skal Contemporarys 5 års jubilæum med et ambitiøst udstillingsprogram i Det Grå Fyr, der består af fire stedsspecifikke og nyproducerede udstillinger og et eventprogram, der tager afsæt i de lokale omgivelser og omstændigheder ved Skagen og samtidig rejser spørgsmål om fx natur, magt, økonomi og tilhørsforhold.
Julie Falk’s newly produced solo exhibition Broth takes shape as a series of sculptures made from cardboard and epoxy resin. Broth functions as a metaphor for reduction: the condensation of matter into a smaller, transformed, and more concentrated substance. Falk’s exhibition explores an artistic process concerned with a kind of negative movement, in which form is condensed through pressure, dissolution, time, and return. Here, form is understood not as something derived from an idea imposed upon a material, but as something that emerges from the material itself—from cardboard, resin, and surface. The sculptures’ capacities, their loads, and their surroundings are reduced to form.
Falk’s practice is rooted in a disciplined, hands-on approach to production. Her sculptural process does not seek to realise a predetermined outcome, but rather unfolds as an open-ended process that embraces the material’s own shifts, limitations, and possibilities. The works insist on accommodating the uncontrollable, where doubt, resistance, and incompleteness are not obstacles but intentional conditions.
Rather than investigating Skagen as a motif or subject, the exhibition examines the systems and external conditions that shape it. It asks how action gives rise to form, how materials respond to intervention, and how meaning emerges through the relationship between body, material, and environment.
By shifting attention away from the artwork as a singular object, Broth instead focuses on the structures and conditions that organise space, life, and perception. The abundance of sculptures placed directly on the floor destabilises sculptural hierarchies and the tradition of monumental plinths, while simultaneously creating an immersive installation in which the viewer is positioned within a fluid environment rather than before fixed objects with fixed meanings.
Within global systems of commodity circulation, standardised forms often appear neutral. Broth, however, begins from the premise that form and material are already embedded within logics of circulation, ownership, access, and control. Rather than illustrating global flows, the exhibition reveals how these systems operate in concrete ways, leaving their traces in the relationships between objects, bodies, and spaces.
Similarly, the reflective surfaces of the works are not conceived as finished exteriors but as active sites of registration. Like a render, the surface is not an image of the world but a place where the world is continually translated into image. It holds both absence and presence—of objects, commodities, the sculptures themselves, and the contexts in which they exist.
Julie Falk graduated from Malmö Art Academy and has recently exhibited at the Inside-Out Art Museum (China), O—Overgaden (Denmark), All All All (Denmark), and KØS Museum of Art in Public Spaces (Denmark). In 2023, she received the Anne Marie Carl-Nielsen Talent Award for Sculptors, and her works are held in the collections of the City of Copenhagen, the Danish Arts Foundation, and the New Carlsberg Foundation, among others. Falk’s practice unfolds through a physical and formal language that explores questions of autonomy, vulnerability, and mutual dependency at the intersection of conceptual art and sculpture, with subtraction and abstraction as central strategies.
Broth is curated by Anne Møller Christensen and supported by the Danish Arts Foundation, the Danish Agency for Culture and Palaces, the 15 June Foundation, the Beckett Foundation, the Knud Højgaard Foundation, the Obel Family Foundation, the Augustinus Foundation, and Frederikshavn Municipality.
In 2026, Skal Contemporary celebrates its fifth anniversary with an ambitious exhibition programme at Det Grå Fyr. The programme comprises four newly commissioned, site-specific exhibitions alongside a public events programme rooted in the local surroundings and conditions of Skagen, while raising broader questions concerning nature, power, economy, and belonging.
Falk’s practice is rooted in a disciplined, hands-on approach to production. Her sculptural process does not seek to realise a predetermined outcome, but rather unfolds as an open-ended process that embraces the material’s own shifts, limitations, and possibilities. The works insist on accommodating the uncontrollable, where doubt, resistance, and incompleteness are not obstacles but intentional conditions.
Rather than investigating Skagen as a motif or subject, the exhibition examines the systems and external conditions that shape it. It asks how action gives rise to form, how materials respond to intervention, and how meaning emerges through the relationship between body, material, and environment.
By shifting attention away from the artwork as a singular object, Broth instead focuses on the structures and conditions that organise space, life, and perception. The abundance of sculptures placed directly on the floor destabilises sculptural hierarchies and the tradition of monumental plinths, while simultaneously creating an immersive installation in which the viewer is positioned within a fluid environment rather than before fixed objects with fixed meanings.
Within global systems of commodity circulation, standardised forms often appear neutral. Broth, however, begins from the premise that form and material are already embedded within logics of circulation, ownership, access, and control. Rather than illustrating global flows, the exhibition reveals how these systems operate in concrete ways, leaving their traces in the relationships between objects, bodies, and spaces.
Similarly, the reflective surfaces of the works are not conceived as finished exteriors but as active sites of registration. Like a render, the surface is not an image of the world but a place where the world is continually translated into image. It holds both absence and presence—of objects, commodities, the sculptures themselves, and the contexts in which they exist.
Julie Falk graduated from Malmö Art Academy and has recently exhibited at the Inside-Out Art Museum (China), O—Overgaden (Denmark), All All All (Denmark), and KØS Museum of Art in Public Spaces (Denmark). In 2023, she received the Anne Marie Carl-Nielsen Talent Award for Sculptors, and her works are held in the collections of the City of Copenhagen, the Danish Arts Foundation, and the New Carlsberg Foundation, among others. Falk’s practice unfolds through a physical and formal language that explores questions of autonomy, vulnerability, and mutual dependency at the intersection of conceptual art and sculpture, with subtraction and abstraction as central strategies.
Broth is curated by Anne Møller Christensen and supported by the Danish Arts Foundation, the Danish Agency for Culture and Palaces, the 15 June Foundation, the Beckett Foundation, the Knud Højgaard Foundation, the Obel Family Foundation, the Augustinus Foundation, and Frederikshavn Municipality.
In 2026, Skal Contemporary celebrates its fifth anniversary with an ambitious exhibition programme at Det Grå Fyr. The programme comprises four newly commissioned, site-specific exhibitions alongside a public events programme rooted in the local surroundings and conditions of Skagen, while raising broader questions concerning nature, power, economy, and belonging.