Extension of Simone Aaberg Kærn’s exhibition
Due to huge interest from our guests, as a result of the extensive media coverage of Simone Aaberg Kærn's painting and exhibition, it has been decided to extend the exhibition period until mid January.
Simone Aaberg Kærn’s exhibition was originally intended to be on view until November 6, but due to the massive interest in Batalje, Kunsthal Charlottenborg in collaboration with Simone Aaberg Kærn have decided to extend the exhibition until January 15. This means that from Wednesday November 9, it will again be possible to experience the war painting, the controversial draft and parts of the media coverage, the painting has resulted in.
The opening of Simone Aaberg Kærn’s exhibition and the story about the rejection by The Museum of National History of an earlier sketch, with reference to statements from the Danish National Defence, caused a media storm. The story was picked up by national radio and television as well as nationwide newspapers under the titles “The painting the National Defence didn’t want to see”. The media coverage reached it’s climax at the opening of the exhibition on October 5, which was covered live by e.g. the News on Denmark’s national television.
The interest in the exhibition and the story of the painting has not only been huge among the media, but also among visitors – both at the opening, at Culture Night where Simone Aaberg Kærn hosted a workshop, at a following debate event and throughout Kunsthal Charlottenborg’s regular opening hours. As a result Kunsthal Charlottenborg and SimonE Aaberg Kærn have decided to give even more visitors the chance to experience the painting by extending the exhibition period.
The tripartite painting shows the aerial war in Libya executed professionally and coldly. The aerial war fought from the height of 30.000 feet is in sharp contrast to the chaotic resistance against Gadaffi on the ground. Centrally placed in the painting is a young man with Libyan roots from the Danish neighbourhood of Nørrebro, who jumps over a burnt-out car. According to Kærn he is also part of the Danish effort in Libya. A young girl carrying an “I Love Libya”-string bag over her shoulder is facing the spectator completely unaffected by the fighting, while she’s filming us with her smartphone and making a V-sign.
In addition to the artist’s own observations, the painting includes quotations from the history of art and works of contemporary war photographers.