Graduation Show from the Royal Danish Academy of Fine Arts at Charlottenborg Art Gallery, Copenhagen (DK), 2019
Good Place for a Bad Time is an installation based on the work of my two grandmothers Ingrid and Grete and what it has meant to them to express themselves. The installation circulates around two video-works that document the actions and the conversations I have with them. The materials they use in their artifacts, where they get them and the need to express themselves aesthetically are discussed. We also touch on expressing oneself in oppressive relationships and the power and strength this can have to create an aesthetic language, which is sometimes invisible to the uninitiated.
Completing an education as a visual artist is joy-filled, but also a profession that demands hard work, especially for individuals who are not supportive of a Eurocentric white male gaze and the invocation of a concept of "universal" art history. On the ceiling of Charlottenborg, women's studios from 1870 to 1920 are caught as the installation Good Place for a Bad Time wants to contextualise itself in the historical space Charlottenborg represents and link present and past narratives. Where do we come from and where are we going?

Good place for a bad time 

Installation, window sill and conversation kitchen, Charlottenborg's window frame color. View of the Sculpture Garden at the Royal Danish Academy of Fine Arts. 

17:55 min. Documentation of actions 

19:55 min. Documentation of actions 

Grandma Ingrid's hedgehog

Carved granite.

The eyes the survive by its supplies 

Pom pom with rolling eyes, nest willow sticks, black flag, hoppy sticks, carved stick.

Grandma Grete´s Volcane

Leaves and paint on cardboard in framed

Text by Maria Berrios and Katarina Stengbeck, Exhibition Catalogue
Good place for a bad time
In her practice Mathilde Bjerre is occupied with the minor gestures, actions or events that go by practically unnoticed, generating change in the form of subtle shifts. Her work for this exhibition unfolds in an installation prolonging the windowsill of the Gallery, creating a small space for slow contemplation. Here a number of works by Bjerre’s grandmothers Grete Sørensen and Ingrid Bjerre are  placed in two digital displays, each showing a meditation on these tho women, filmed by Bjerre. The conversations with Ingrid Bjerre revolve around flowers, various objects in her home and the relationships with her own grandparents. In the other film Grete Sørensen talks about artistic handicraft, her thoughts on death, technological developments and her memories of the German occupation during the Second World War. Both films reveal how the presence of and the questions raised by Mathilde Bjerre generate a space for acts of defiance against oppressive domestic structures. The works together with the films present us with fragments of lived lives and past events, big and small, interlacing intriguing stories of minor gestures of disturbance. 

Grandma Grete's leaves from the garden, her flower pots, Thailand, The forest, and corn leaves from the supermarket. 

Leaves and paint on cardboard in framed

Grandma Ingrid flower on porcelain 

Flower vase from flower painting course

Grandma Ingrid's branch from 2003 

One of several silver-colored branches from 2003, hidden mental pictures of her deceased husband


Rubber car tires, flower bouquet by Grandma Grete. 


Coffee cup choreography with after hours eyes

Coffee cup stains, bar and conversation kitchen frame, Charlottenborg's window frame color. 


7 anamotphosis legs and a knob

Soft-close drawer, chrome knob, Charlottenborg's window frame color.


360 degree chairs and 7 anamorphosis legs and a knob 

Bar and conversation kitchen chairs, chrome legs, Charlottenborg's window frame color.

7 anamotphosis legs and a knob

Butter knives on Raspberry-pi computers, 7 inch screens, headphones

7 anamotphosis legs and a knob

Chrome telescopic leg.