{"id":31,"date":"2026-04-23T15:45:11","date_gmt":"2026-04-23T15:45:11","guid":{"rendered":"https:\/\/example.com\/osaka-vol-1\/"},"modified":"2026-04-27T03:50:20","modified_gmt":"2026-04-27T03:50:20","slug":"osaka-vol-1","status":"publish","type":"page","link":"https:\/\/vol2.arthitecture.art\/index.php\/om-udstillingen\/osaka-vol-1\/","title":{"rendered":"Osaka \/ Vol. 1"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"31\" class=\"elementor elementor-31\" data-elementor-post-type=\"page\">\n\t\t\t\t<div class=\"elementor-element elementor-element-7096f6d7 e-flex e-con-boxed e-con e-parent\" data-id=\"7096f6d7\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-e198bdb e-con-full e-flex e-con e-child\" data-id=\"e198bdb\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-5f8b8684 elementor-widget__width-initial elementor-widget-tablet__width-initial elementor-widget elementor-widget-text-editor\" data-id=\"5f8b8684\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-size: 24pt;\">Hvordan gik det i Osaka?<\/span><\/p><p>ARThitecture i Osaka blev p\u00e5 mange m\u00e5der mere end en udstilling. Den blev en pr\u00f8ve p\u00e5, om id\u00e9en bag projektet kunne b\u00e6re sig selv i m\u00f8det med et andet sted, en anden arkitektur og et andet publikum.<span style=\"font-size: 8pt;\">\u00a0<\/span><\/p><p><b>Et hus, der selv deltog<br \/><\/b>Udstillingen fandt sted i maj 2025 i Nipponbashi House, tegnet af Tadao Ando \u2014 et hus, hvor lys, beton, proportioner og stilhed allerede i sig selv skaber en st\u00e6rk rumlig oplevelse. Netop derfor blev stedet ikke bare en ramme om v\u00e6rkerne, men en aktiv medspiller. V\u00e6rkerne blev set gennem arkitekturen, og arkitekturen blev oplevet p\u00e5 ny gennem v\u00e6rkerne.<\/p><p><b>Kuratering og samarbejde<br \/><\/b>ARThitecture vol. 1 var ogs\u00e5 kurateret af Helga Jensen og blev arrangeret i samarbejde med \u2014 og hjulpet uvurderligt godt p\u00e5 vej af \u2014 den japansk-danske kunstner <b>Yuko Takada Keller.<\/b> Hendes kendskab til b\u00e5de den danske og japanske kunstscene, hendes gener\u00f8se netv\u00e6rk og hendes blik for projektets kulturelle nuancer var afg\u00f8rende for, at udstillingen kunne finde sin form i Osaka.<\/p><p><b>De deltagende kunstnere<br \/><\/b>De deltagende kunstnere var <strong>Arne Kvorning<\/strong>, <strong>Niels Bak Rasmussen<\/strong>, <strong>BackhausBrown<\/strong> ved <strong>Nanna Backhaus og Andrew Jason Brown<\/strong>, <strong>Mogens Jacobsen<\/strong>, <strong>Mette Salomonsen<\/strong> og <strong>Yuko Takada Keller<\/strong>.<br \/>Sammen viste de v\u00e6rker, der p\u00e5 hver deres m\u00e5de unders\u00f8gte gr\u00e6nsefladerne mellem kunst, design og arkitektur \u2014 fra lys, glas, spejlinger og digitale byrum til materialefort\u00e6llinger, arkitektoniske modeller og poetiske spor af liv og sted.<\/p><p><b>I dialog med EXPO 2025<br \/><\/b>Udstillingen blev afholdt parallelt med EXPO 2025 i Osaka, hvis tema \u201cDesigning Future Society for Our Lives\u201d l\u00e5 i naturlig forl\u00e6ngelse af ARThitectures unders\u00f8gelse af fremtidens m\u00e5der at bo, bygge og leve p\u00e5.<br \/>Forbindelsen til EXPO var samtidig helt konkret til stede i udstillingen gennem <strong>Arne Kvorning<\/strong>, der med KVORNING var involveret i <strong>design og indretning af den nordiske pavillon, Nordic Circle, p\u00e5 EXPO 2025 i Osaka<\/strong>. Hans bidrag til ARThitecture tog afs\u00e6t i dette arbejde og viste, hvordan rumlig fort\u00e6lling, arkitektur, design og oplevelse kan smelte sammen i \u00e9n samlet helhed. KVORNING beskriver selv deres arbejde som projekter, hvor storytelling, design og rumlig forst\u00e5else g\u00e5r t\u00e6t sammen.\u00a0<br \/>P\u00e5 den m\u00e5de blev EXPO ikke kun en ydre ramme om udstillingen, men en del af dens indhold. ARThitecture stod midt i en by pr\u00e6get af internationale visioner for fremtiden \u2014 og stillede samtidig det mere n\u00e6re og sanselige sp\u00f8rgsm\u00e5l: Hvordan former vores omgivelser os, og hvordan kan kunst, design og arkitektur \u00e5bne dem p\u00e5 ny?<\/p><p><b>M\u00f8der p\u00e5 tv\u00e6rs<br \/><\/b>Undervejs opstod der mange samtaler, m\u00f8der og forbindelser, som ikke kunne planl\u00e6gges p\u00e5 forh\u00e5nd. Kunstnere og arkitekter m\u00f8dte bl.a. studerende og undervisere fra Kyoto University of the Arts, lokale arkitektmilj\u00f8er, unge fagfolk og et internationalt publikum fra mere end 20 nationaliteter.<br \/>Det gav projektet en uventet bredde: ARThitecture blev ikke kun l\u00e6st som en dansk udstilling i Japan, men som et \u00e5bent rum for samtaler om kultur, materialer, sansning, b\u00e6redygtighed og de rum, vi former \u2014 og formes af.<\/p><p><strong>Det vigtigste resultat var m\u00e5ske ikke \u00e9t bestemt v\u00e6rk, \u00e9n bestemt begivenhed eller \u00e9t bestemt publikumstal, men den m\u00e5de projektet viste, at en udstilling kan fungere som et midlertidigt laboratorium.<\/strong><\/p><p><strong>Osaka blev derfor et vigtigt f\u00f8rste kapitel. 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class=\"elementor-gallery-item__overlay\"><\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Hvordan gik det i Osaka? ARThitecture i Osaka blev p\u00e5 mange m\u00e5der mere end en udstilling. Den blev en pr\u00f8ve p\u00e5, om id\u00e9en bag projektet kunne b\u00e6re sig selv i m\u00f8det med et andet sted, en anden arkitektur og et andet publikum.\u00a0 Et hus, der selv deltogUdstillingen fandt sted i maj 2025 i Nipponbashi House, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":29,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"_angie_page":false,"footnotes":""},"class_list":["post-31","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/vol2.arthitecture.art\/index.php\/wp-json\/wp\/v2\/pages\/31","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vol2.arthitecture.art\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/vol2.arthitecture.art\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/vol2.arthitecture.art\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/vol2.arthitecture.art\/index.php\/wp-json\/wp\/v2\/comments?post=31"}],"version-history":[{"count":19,"href":"https:\/\/vol2.arthitecture.art\/index.php\/wp-json\/wp\/v2\/pages\/31\/revisions"}],"predecessor-version":[{"id":654,"href":"https:\/\/vol2.arthitecture.art\/index.php\/wp-json\/wp\/v2\/pages\/31\/revisions\/654"}],"up":[{"embeddable":true,"href":"https:\/\/vol2.arthitecture.art\/index.php\/wp-json\/wp\/v2\/pages\/29"}],"wp:attachment":[{"href":"https:\/\/vol2.arthitecture.art\/index.php\/wp-json\/wp\/v2\/media?parent=31"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}