Loeb Danish Ardt Collection - page 93

that the two parts of the sculpture belong together; the distance between them is so small that a ten-
sion is created between the parts. They look as though they are about to be joined together by mag-
netism, but are relentlessly held apart by imaginary energies. The spaces between the parts of the
sculpture thus become the signi
fi
cant
fi
elds of tension in the sculptural group, intensifying the
observer’s experience of extreme mobility.
From

and throughout the

’s, Peter Bonnén was occupied with concept and pop art, often
with a humorous undertone. He also executed a number of minimalist sculptures in
fl
uorescent
acrylic. In

, he planted a
fi
eld of corn on Nikolaj Plads, a square in the center of Copenhagen, as
a kind of rural art manifestation.
In

, Peter Bonnén made his
fi
rst appearance as a painter. The simpli
fi
cation down to the
absolute minimal that is characteristic of all his work is also encountered in his paintings, which con-
sist of module-like divided surfaces
fi
tted together to form large overall systems.
However, it is as a sculptor that Bonnén will be remembered, not least for his monumental

decoration of the park surrounding Western Zealand County Council O
ffi
ces (Vestsjællands Amts-
gård) at Sorø, consisting of two tall groups of sculptures executed in reddish brown Cor-Ten steel.
The groups are dispersed in uniform column-like formations and anchored in a precisely calculated
rhythmical arrangement that is static and dynamic in equal parts.
One of Peter Bonnén’s latest and perhaps most fascinating work is a mighty, multivalent granite
sculpture consisting of three black blocks hacked out of one gigantic mass of granite and worked in
a varying play of polished hard surfaces (on the fronts and backs) and soft-looking rough-hewn sec-
tions (the outer and inner surfaces).
The sculpture towers like a colossal portal in three tempi and sizes. The largest measures
½
feet
high x
¾
feet wide (
.
metres x
.
metres). The gigantic pieces of stone are placed in a carefully
contrived relationship both separating and uniting them, and undeniably maintaining a witty and
ceaseless dialogue both between the stones themselves and the spot on which they stand.
Between

and

Peter Bonnén was an energetic and enterprising chairman of the Summer
Exhibition (Sommerudstillingen). He has been a member of the Council of the Royal Danish Acad-
emy of Fine Arts for a number of years, and from

to

was president of the Academy. Since

he has headed the Society for Art in the Workplace (Foreningen Kunst på arbejdspladsen).
Bonnén has been awarded various grants and distinctions, including a Danish Arts Foundation
Three-Year Bursary (


) and the Eckersberg Medal in

.
S.L.
         :
Jens Jørgen Thorsen in:
Kunst
, no.
,

; Interview with Peter Bonnén; Grethe Grathwohl,
Peter Bonnén,
Galerie Asbæk,
Copenhagen

; Leila Krogh in:
Kunst i rummet,
Copenhagen,

; Pia Kristine Münster in:
Weilbach,
Vol.
, Copenhagen

.
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
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