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Journal articles on the topic 'Art – Denmark'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Bojesen, Benedicte. "Art Libraries in Denmark." Art Libraries Journal 11, no. 3 (1986): 16–19. http://dx.doi.org/10.1017/s0307472200004740.

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A number of public libraries in Denmark have acquired original prints or other works of art since the Danish Library Act of 1964, but only some lend pictures to individuals. Special art departments, bringing together literature, pictures, and other material, have been created in a few major libraries. Art exhibitions are an important activity undertaken by libraries as part of their role of making art accessible to the public. (Originally published in Scandinavian Public Library Quarterly, v. 18 n.4 1985).

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Lollesgaard, Anja. "Art librarianship in Denmark." Art Libraries Journal 22, no. 2 (1997): 4–9. http://dx.doi.org/10.1017/s030747220001035x.

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Art libraries in Denmark mostly fall into one of two categories: art departments’ in public libraries, and research libraries attached to colleges, universities, and museums. Librarians in research libraries are in many cases scholars in their own right, while library staff at the Kunstakademiets Bibliotek are responsible for the Bibliografi over dansk kunst (sadly not published since 1981) and for Danish contributions to the BHA. The Royal Library and some art libraries hold collections of visual resources and of archival materials; in addition, there is an autonomous national archive of Dani

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3

Andersen, Gunhild Leth, Sissel Schultz, and Claus Christensen. "Pages from the diary of an art department in Denmark." Art Libraries Journal 10, no. 2 (1985): 80–83. http://dx.doi.org/10.1017/s0307472200004211.

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The art department of the Gladsaxe Bibliotek, near Copenhagen, is one of several art departments in public libraries, and one of the art libraries created in Denmark as a result of the Public Libraries Act of 1964 and two subsequent reports, in 1967 and 1971, on the provision of audiovisual material under the terms of the new Act. In addition to providing books and journals, these art libraries lend slides, posters, and original prints, and mount exhibitions of works of art by local and other artists. The librarians concerned have formed a subsection of the Danish Library Association, the ‘Fag

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4

Hatt, Michael, and Margit Thøfner. "Thinking through Denmark: Connected Art Histories." Art History 43, no. 2 (2020): 240–57. http://dx.doi.org/10.1111/1467-8365.12495.

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5

Petersen, Anne Ring. "Spectres of Colonialism in Contemporary Art from Denmark." Art History 43, no. 2 (2020): 258–83. http://dx.doi.org/10.1111/1467-8365.12496.

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Gelfer-Jørgensen, Mirjam, and Hanne Horsfeld. "The National Art and Design Library in Denmark." Art Libraries Journal 28, no. 4 (2003): 21–26. http://dx.doi.org/10.1017/s0307472200013328.

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In 1997, the Danish Folketing made a grant of 200 million Danish kroner, the DEF grant, to upgrade IT facilities in research libraries throughout the country and help create Denmark’s Electronic Research Library. Most of the money was assigned to the major research libraries, but funds were also made available to some medium-sized libraries, among which was the National Art and Design Library in the Danish Museum of Decorative Art in Copenhagen.

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7

Rømer, Lars. "Ghost, Broken Narratives and the Art of Dying." Bulletin for the Study of Religion 42, no. 4 (2013): 15–22. http://dx.doi.org/10.1558/bsor.v42i4.15.

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This article investigates how experiences of ghosts can be seen as a series of broken narratives. By using cases from contemporary as well 19th century Denmark I will argue that ghosts enter the world of the living as sensations that question both common sense understanding and problematize the unfinished death. Although ghosts have been in opposition to both science and religion in Denmark at least since the reformation I will exemplify how people deal with the broken narrative of ghosts in ways that incorporate and mimic techniques of both the scientist and the priest. Ghosts, thus, initiate

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Wagner, Malene. "Eastern Wind, Northern Sky." Journal of Japonisme 1, no. 1 (2016): 41–65. http://dx.doi.org/10.1163/24054992-00011p04.

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Among countries like Germany, France and England, Denmark took part in the ‘japanomania’ that swept the West in the second half of the nineteenth and early twentieth centuries. Key figures in promoting Japanese art were art historian Karl Madsen and artist and museum director Pietro Krohn. Both played a significant role in trying to establish Denmark in the field of Japanese art on a par with serious international art collectors and connoisseurs. Their connections to Justus Brinckmann in Hamburg and Siegfried Bing in Paris enabled them to put on exhibitions that would introduce to a Danish aud

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9

Maddison, David, and Anders Jul Pedersen. "The death effect in art prices: evidence from Denmark." Applied Economics 40, no. 14 (2008): 1789–93. http://dx.doi.org/10.1080/00036840600905191.

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Trap-Jensen, Lars. "State-of-the-art on monolingual lexicography for Denmark (Danish)." Slovenščina 2.0: empirical, applied and interdisciplinary research 7, no. 1 (2019): 1–12. http://dx.doi.org/10.4312/slo2.0.2019.1.1-12.

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This minireview provides an overview of the lexicographic situation in Denmark, introducing the most important dictionary works. The major historical dictionaries are mentioned but the main focus is on contemporary lexicography and the companies and institutions currently active in the field. In particular, it is noted whether dictionaries are digitally available and if they are subject to regular updating.

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Gade, Rune. "Art, Sexuality and Images: The legalization of pornography in Denmark." Performance Research 15, no. 2 (2010): 23–28. http://dx.doi.org/10.1080/13528165.2010.490425.

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12

Greaves, K. "Hell-Horse: Radical Art and Resistance in Nazi-Occupied Denmark." Oxford Art Journal 37, no. 1 (2014): 47–63. http://dx.doi.org/10.1093/oxartj/kct043.

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Groth, Sanne Krogh, and Kristine Samson. "Sound Art Situations." Organised Sound 22, no. 1 (2017): 101–11. http://dx.doi.org/10.1017/s1355771816000388.

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This article is an analysis of two sound art performances that took place in June 2015 in outdoor public spaces at the social housing areaUrbanplanenin Copenhagen, Denmark. The two performances wereOn the Productions of a Poor Acousticsby Brandon LaBelle andGreen Interactive Biofeedback Environments (GIBE)by Jeremy Woodruff. In order to investigate the complex situation that arises when sound art is staged in such contexts, the authors of this article suggest exploring the events through approaching them as ‘situations’ (Doherty 2009). With this approach it becomes possible to engage and combi

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French, Sonia. "Viewpoint." Art Libraries Journal 10, no. 2 (1985): 3–4. http://dx.doi.org/10.1017/s0307472200004132.

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The articles in this issue of the Art Libraries Journal all relate to developments in fine art services in public libraries in the United Kingdom. Denmark and Germany.Within the United Kingdom the City of Westminster’s Fine Art Library has been in existence for twenty years; the great Mitchell Library in Glasgow opened its Fine Arts Department in 1981; Essex County Library has an innovative and expanding Fine Arts service. Subject specialisation, it would seem, is alive, well and flourishing.

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SHARAPENKOVA, NATALIA, and IOLANTA SUKHOTSKAYA. "CATEGORIES OF “OWN” AND “ALIEN” IN PETER HøeG’S NOVEL MISS SMILLA&amp;#039;S FEELING FOR SNOW." Studia Humanitatis 19, no. 2 (2021): 38–42. http://dx.doi.org/10.15393/j12.art.2021.3725.

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The article examines the categories of “own” and “alien” using Peter Høeg’s bestselling novel Miss Smilla’s Feeling for Snow (1992), which addresses compelling issues of modern Scandinavian society. The main character Smilla, half Danish, half Greenlander, tries to find out who is responsible for the tragic death of her neighbors’ small boy. She was born in Greenland, spent her childhood there and grew up in Denmark, so the investigation helps Smilla to understand her place in the modern world. The categories of “own” and “alien” are closely intertwined both in Smilla’s mind and in the surroun

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Calvo Manuel, Ana. "Conservation in the Nineteenth Century." Ge-conservacion 6 (December 11, 2014): 102–3. http://dx.doi.org/10.37558/gec.v6i0.250.

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Reseña del libro: Conservation in the Nineteenth CenturyArchetype Publications in association with the National museetof Denmark and CATS (Centre for Art Technological Studies andConservation), Copenhagen. London, 2013.232 páginas, 220x300 mm.ISBN: 978-1-904982-91-3.

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Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.

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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the m

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Viljanen, Eeva. "ARLIS/Norden: 10 years of co-operation." Art Libraries Journal 22, no. 2 (1997): 15–19. http://dx.doi.org/10.1017/s0307472200010373.

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ARLIS/Norden was founded in 1986 to bring together art libraries and art librarians of all kinds in the five Nordic countries: Denmark, Finland, Iceland, Norway and Sweden. The association has maintained close links with the IFLA Section of Art Libraries, and it hosted the Section’s meetings at Stockholm in 1989. ARLIS/Norden has received guests from other countries, while Nordic colleagues have participated in events in other countries. Its own annual meetings are the key events in ARLIS/Norden’s own programme.

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French, Sonia. "Art library services in public libraries." Art Libraries Journal 12, no. 3 (1987): 12–15. http://dx.doi.org/10.1017/s030747220000523x.

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The mixed fortunes of art, and of subject specialisation, in British public libraries in recent years is compared to the situation in Denmark where librarianship in the service of art has as its main focus the good of the people. The principles which give art librarianship its own integrity are reiterated and the gradual invasion of public library services by the commercial ethic is rejected. Art librarianship can still achieve new successes, and some of these are noted. The scope for new initiatives which the public library service offers is recognised and new areas for development are sugges

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Sørensen, Tina Louise Hove, and Birgit Eriksson. "Threads of participation: Crafting female agency in a collaborative art project in Denmark." Conjunctions 9, no. 1 (2022): 1–16. http://dx.doi.org/10.2478/tjcp-2022-0003.

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Abstract In 2020, Trapholt (a Danish museum of modern art, craft and design) and textile designer Iben Høj launched a grand collaborative art project involving almost 800 embroiderers. The project, named Stitches Beyond Borders, was part of the centenary celebratrions of Denmark’s reunification with Southern Jutland, and participants were asked to embroider their personal vision of borders. By using a mixed method approach we firstly analyse how Stitches Beyond Borders, as a collaborative art project, created a strong sense of community and cultivated creative agency. Secondly, we focus on the

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Kurbanova, Dilafruz. "ITEMS OF THE DAVID FOUNDATION AND COLLECTIONS OF THE X CENTURY OF UZBEKISTAN AND THEIR DISTINCTIVE FEATURES." CROSSROADS OF CULTURE 4, no. 2 (2020): 4–8. http://dx.doi.org/10.26739/2181-0737-2020-4-1.

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This article provides information about the samples of ceramics of the X century of Uzbekistan stored in the David Foundation and collection in Denmark, as well as their specific features, processing, decoration and scientific significance of their study, that the art of ceramics is the oldest type of craft art, and the cultural heritage of Uzbekistan serves as a bridge between museums of the world

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22

Ipsen, Max. "Danish Sixties Avant-Garde and American Minimal Art." Nordlit 11, no. 1 (2007): 169. http://dx.doi.org/10.7557/13.1758.

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Denmark is peripheral in the history of minimalism in the arts. In an international perspective Danish artists made almost no contributions to minimalism, according to art historians. But the fact is that Danish artists made minimalist works of art, and they did it very early.Art historians tend to describe minimal art as an entirely American phenomenon. America is the centre, Europe the periphery that lagged behind the centre, imitating American art. I will try to query this view with examples from Danish minimalism. I will discuss minimalist tendencies in Danish art and literature in the 196

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23

Søndergaard, Morten. "Punctures in the Periphery. Show-Bix and the Media Conscious Practice of Per Højholt." Nordlit 11, no. 1 (2007): 115. http://dx.doi.org/10.7557/13.1754.

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Around 1967 and onwards, Per Højholt (1923-2004) performs a series of punctures in the periphery of a small and self-conscious avant-garde in Denmark - experiments that combine most of the known art forms and genres in a still more active dialogue with new media and technology.One of the first things Højholt engaged himself in at the time was Show-Bix, which is best described as an artist group consisting of the photographer and visual artist Poul Ib Henriksen, composer Gunner Møller Pedersen, and Per Højholt (at the time described largely as a poet). The group was operative from 1968 and unti

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Płonka, Tomasz. "MESOLITHIC ART IN STEFAN KAROL KOZŁOWSKI’S PAPERS." Światowit, no. 61 (December 29, 2023): 331–42. http://dx.doi.org/10.31338/0082-044x.swiatowit.61.15.

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In his publications on the Mesolithic in Poland and Europe, S. K. Kozłowski mostly focused on lithic artefacts in terms of their styling, cultural origin, and archaeological context. On the margins of the above pursuits, S. K. Kozłowski examined finds of Mesolithic art from Poland, his main interest here being their cultural classification. Additionally in his works, S. K. Kozłowski mentioned the possibility of dating zoomorphic figurines and some amber pendants to the Mesolithic due to the similarity of their forms to those known from today’s Denmark. In his opinion, Mesolithic art objects fo

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Vest Hansen, Malene. "Samtidskunsthistorie? Noter om samtidskunst og kunsthistoriefaget i dag." Periskop – Forum for kunsthistorisk debat, no. 27 (June 15, 2022): 80–101. http://dx.doi.org/10.7146/periskop.v2022i27.133730.

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ABSTRACT “Contemporary art history? Notes on contemporary art and art history today” discusses the significant role played by contemporary art in art history as an academic discipline today, based on the understanding of both contemporary art and art history as informing the radical postmodern changes in conceptions of art, history, canon, gender, and colonialism. Taking as a starting point the case of art history at the University of Copenhagen, Denmark since the 1990s and the author’s experiences through more than three decades working as an art historian and art critic, the article dr

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Hodgson, Andrew. "A Contagious Ophthalmic Psychosis: Carl Julius Salomonsen and the Epidemic of Artistic Modernism in Europe, 1919–20." Modernism/modernity 31, no. 2 (2024): 289–313. https://doi.org/10.1353/mod.2024.a947733.

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abstract: In 1919, chief medical officer of Denmark, Carl Julius Salomonsen, began giving public lectures focused on his art-medical theory of Dysmorphism. His theory was that modernist art and writing were the pathogens of a contagious psychopathy passed via the eye that was, in the wake of World War I, sending the European populace insane. He published the scripts for the lectures as pamphlets and in newspapers. This article looks to this heteroclite art-medical attempt to decode the social affect of early modernist artwork as contagious psychopathy, and in doing so opens up new avenues of c

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NYBOE ANDERSEN, ANDERS, and KARIN ERB. "Register data on assisted reproductive technology (ART) in Europe including a detailed description of ART in Denmark." International Journal of Andrology 29, no. 1 (2006): 12–16. http://dx.doi.org/10.1111/j.1365-2605.2005.00577.x.

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Winkelhorn, Kathrine. "Københavns Internationale Teater – en banebryder for scenekunst." Peripeti 19 (October 11, 2022): 128–39. http://dx.doi.org/10.7146/peri.v19isaernummer2.134031.

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Copenhagen Interanational Theatre – breaking new grounds in performing artsMetropolis is organized by Copenhagen International Theater (KIT), which has been the primary driving force behind international, cross-disciplinary performing arts in Denmark since 1980 with festivals, seminars, workshops, and residencies. KIT has organized the legendary Fools Festivals, Dancin’ City, Images of Africa, Sommerscene, Dancin’ World, New Circus Festival, etc. as a major international platform in the Nordic countries. Presently KIT is working as an art-based metropolitan laboratory for the performative, sit

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Verrall, Krys. "Childhood Undone: Four Contemporary Art Projects with Children." Jeunesse: Young People, Texts, Cultures 4, no. 2 (2012): 87–106. http://dx.doi.org/10.3138/jeunesse.4.2.87.

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Children’s contemporary culture is a phenomenon of interest to many scholars. While most research focuses on digital media and Web 2.0, fewer studies have examined young people’s engagement with contemporary art as artists and creators. This paper introduces current research on art projects realized through collaborations between children and professional artists. It analyzes five international projects from Denmark, Canada, and the UK in order to make four points about how childhood is currently constituted in post-industrial democratic societies. On the one hand, artistic collaboration illum

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Ellegaard, Line. "Kunstfaggruppens infrastrukturelle aktivisme." Passage - Tidsskrift for litteratur og kritik 39, no. 92 (2025): 21–38. https://doi.org/10.7146/pas.v39i92.152558.

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“The Infrastructural Activism of Kunstfaggruppen: A Feminist Reading of Art Librarians’ Work in the 1970s” This article explores the art librarians in Kunstfaggruppen’s (the Art Subject Group’s) infrastructure-creating and agenda-setting activities, situated at the inter- section between visual arts and the library system. During the 1970s the group, dominated by women informed by feminism, ensured that art libraries became a recognised part of the art institutional landscape in Denmark. This article argues that this happened through a form of “infrastructural activism” (Smith). Seeking to cre

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Irvall, Birgitta, and Gyda Skat Nielsen. "Dyslexia is everywhere: what does your library do?" Art Libraries Journal 28, no. 1 (2003): 41–42. http://dx.doi.org/10.1017/s0307472200012980.

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The authors of this article, one from Sweden, the other from Denmark, have recently completed a collaborative project under the IFLA umbrella to produce guidelines for libraries providing services to users suffering from dyslexia. Many artists and art students have problems reading published material, yet art librarians still know far too little about how they can make access easier for them. This new publication stresses the importance of knowledge about dyslexia by all library employees and gives practical help and advice about training staff, producing information materials and setting up w

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Konopka, Emiliana. "Antropologia sztuki rdzennej ludności regionu nordyckiego: reprezentacja Kalaallit Nunaat i Sápmi w muzeach skandynawskich." Porta Aurea, no. 22 (December 29, 2023): 154–71. http://dx.doi.org/10.26881/porta.2023.22.08.

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This essay is an attempt to present the most important points of the current discussion about the cultural remains of colonialism in Scandinavia by analyzing the representation of indigenous art in museums. I would like to focus on the reasons why Saami and Inuit art was usually excluded from the traditional art history narrative and placed almost exclusively in collections of ethnographic or historical museums. On the examples of the strategies applied by three museums: the National Museum of Denmark in Copenhagen, Nordic Museum in Stockholm, and the National Museum of Art, Architecture and D

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Boelsbjerg, Hanne Bess, and Carlo Leget. "Art of Spiritual Care." Tidsskrift for Forskning i Sygdom og Samfund 20, no. 38 (2023): 71–86. http://dx.doi.org/10.7146/tfss.v20i38.131917.

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The article defends the position that providing spiritual care first and foremost is an art in which tools and instruments are subordinate to practical knowledge, experience, and wisdom of the phenomenon. A growing number of instruments and tools for spiritual care have been developed, tested, and validated. Some have been designed for the purpose of doing research, others have been developed for the practice of spiritual caregiving. These instruments and tools have impact both on the way we provide spiritual care, and the way we look upon spiritual care. Behind these developments are di

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Ravn Borggreen, Gunhild. "Transkulturel kunsthistorie. Om epistemologi og appropriation af japansk kunst i Danmark." Periskop – Forum for kunsthistorisk debat, no. 27 (June 15, 2022): 16–35. http://dx.doi.org/10.7146/periskop.v2022i27.133727.

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The article discusses transcultural art history with Danish examples about Japanese art. This includes an introduction to the concept of transculturation, and how the concept is used in art history research. The core of the argument concerns two interrelated aspects of Danish art historiography: the role of ethnography and the myth of modernism as a Western phenomenon. For the first of these aspects, I analyse the only existing Japanese art history in Danish language, published in 1885. For the other aspect, I analyse recent interpretations of the Danish painter Anna Ancher and her alleged use

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Haarmark, Bodil. "Pharmacist's dispensaires in Denmark from baroque to art nouveau a culture-historical research." Revue d'histoire de la pharmacie 84, no. 312 (1996): 465–68. http://dx.doi.org/10.3406/pharm.1996.6280.

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Griniuk, Marija. "Performance Art Using Biometric Data." Art History & Criticism 17, no. 1 (2021): 101–12. http://dx.doi.org/10.2478/mik-2021-0009.

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Summary This research analyzes performance art that uses biometric data, based on two concept perspectives – inhuman interconnections and transcorporeality – applied to examples of European performance art from Lithuania, Finland, Poland, and Denmark. The term performance art theoretically refers to all art that involves the human body, human biometric data, inhuman interconnections, transcorporeality, and liminal space. This study examines the differences between wide-scope interactive art and design and performance art involving biometric data created through the application of recent develo

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Whyte, Zachary. "Meetings of the Art: Cultural Encounters and Contact Zones in an Art Project for Asylum-seeking Minors in Denmark." Journal of Intercultural Studies 38, no. 6 (2017): 679–93. http://dx.doi.org/10.1080/07256868.2017.1386634.

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Pedersen, Merete, Søren Jacobsen, Peter Garred, et al. "Strong combined gene–environment effects in anti–cyclic citrullinated peptide–positive rheumatoid arthritis: A nationwide case–control study in Denmark." Arthritis & Rheumatism 56, no. 5 (2007): 1446–53. http://dx.doi.org/10.1002/art.22597.

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Christensen, Charlotte. "The Prince, the Noblemen and the Painter: Collectionso Works of Art in Copenhagen Between 1800 and 1848." Artium Quaestiones, no. 34 (December 27, 2023): 81–109. http://dx.doi.org/10.14746/aq.2023.34.3.

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The history of collecting in Denmark and Norway in the 19th century is intimately connected with the history of the painters and sculptors active during that period. Only in Copenhagen were the Royal and private collections accessible to the artists, for whom copying paintings by Old Masters formed an important part of their curriculum. Major collectors of the Age were Prince Christian Frederik (later King Christian VIII of Denmark), who mainly acquired paintings and sculptures by contemporary artists, and the portrait painter Christian Albrecht Jensen, whose preference was to buy and sell the

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Petersen, Anne Ring. "“In the First Place, We Don’t Like to Be Called ‘Refugees’”: Dilemmas of Representation and Transversal Politics in the Participatory Art Project 100% FOREIGN?" Humanities 10, no. 4 (2021): 126. http://dx.doi.org/10.3390/h10040126.

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100% FOREIGN? (100% FREMMED?) is an art project consisting of 250 life stories of individuals who were granted asylum in Denmark between 1956 and 2019. Thus, it can be said to form a collective portrait that inserts citizens of refugee backgrounds into the narrative of the nation, thereby expanding the idea of national identity and culture. 100% FOREIGN? allows us to think of participatory art as a privileged site for the exploration of intersubjective relations and the question of how to “represent” citizens with refugee experience as well as the history and practice of asylum. The conflictin

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Jensen, Anita, Theodore Stickley, Wenche Torrissen, and Kjerstin Stigmar. "Arts on prescription in Scandinavia: a review of current practice and future possibilities." Perspectives in Public Health 137, no. 5 (2016): 268–74. http://dx.doi.org/10.1177/1757913916676853.

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Aims: This article reviews current practice relating to arts and culture on prescription in Sweden, Norway, Denmark and in the United Kingdom. It considers future possibilities and also each of the Scandinavian countries from a culture and health policy and research perspective. The United Kingdom perhaps leads the field of Arts on Prescription practice, and subsequent research is described in order to help identify what the Scandinavian countries might learn from the UK research. Method: The method adopted for the literature search was a rapid review which included peer-reviewed and grey lite

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Valtysson, Bjarki, Sanne Lynge Nilsson, and Christine Eva Pedersen. "Reaching Out to be in Reach. Museum Communication in the Current Museum Zeitgeist." Nordisk Museologi 31, no. 1 (2021): 8. http://dx.doi.org/10.5617/nm.8821.

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This article focuses on art museums as multi-layered media- and eventmakers. By discussing the National Gallery of Denmark’s Mysteries from the Museum podcast series and the event SMK Fridays, Louisiana’s digital platform Louisiana Channel and the Glyptotek’s Slow arrangements, we scrutinise these museums’ onsite and offsite outreach techniques and strategies. These are further discussed regarding the current museum zeitgeist, and how this relates to dominant cultural policy paradigms in Denmark. The article is based on interviews with museum professionals, observations of onsite events and do

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Kjærgaard, Thorkild. "Freden i Kiel, Grønland og Nordatlanten 1814-2014." Fund og Forskning i Det Kongelige Biblioteks Samlinger 54 (March 3, 2015): 379. http://dx.doi.org/10.7146/fof.v54i0.118891.

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Thorkild Kjærgaard: The Peace in Kiel, Greenland, and the North Atlantic, 1814–2014 At the peace conference in Kiel (North Germany) in January 1814, the Danish-Norwegian North Atlantic Empire that controlled an enormous area of land and water, including not only Denmark (with Schleswig-Holstein) and Norway but also Iceland, the Faroe Islands and the huge, thinly populated ice-covered island of Greenland, was dissolved by the victorious powers of the Napoleonic wars. Norway was given to Sweden as compensation for Finland, which Sweden — now in the victorious coalition — had lost to Russia

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Kobbernagel, Christian. "Factors enhancing learning possibilities in digital workshops." MedieKultur: Journal of media and communication research 30, no. 56 (2014): 21. http://dx.doi.org/10.7146/mediekultur.v30i56.9762.

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<p>This article presents a study of processes supporting student learning possibilities in digital workshops planned and held at art museums in Denmark. The investigation aims to provide insights into factors enhancing learning possibilities, including the educator’s dialogic performance, experiences of art, and perceived qualities of digital content creation processes in art museum education workshops. To address the research question of what conditional and processual factors can be said to support learning possibilities, a model was developed on the basis of fieldwork and theories of

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Laugesen, Kristina, Katalin Veres, Sonia Hernandez-Diaz, et al. "Overweight or obesity in children born after assisted reproductive technologies in Denmark: A population-based cohort study." PLOS Medicine 20, no. 12 (2023): e1004324. http://dx.doi.org/10.1371/journal.pmed.1004324.

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Background The association between assisted reproductive technologies (ARTs) and the body mass index (BMI) of children remains controversial. Confounding by morbidity and other factors associated with parental infertility may have biased studies comparing children born after ART with children born after no treatment. We investigated the associations between different fertility treatments and BMI in children at age 5 to 8 years, adjusting for and stratifying by causes of parental infertility. Methods and findings This Danish cohort study included 327,301 children born between 2007 and 2012 (51%

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Vassard, D., L. Schmidt, C. H. Glazer, J. Lyng Forman, M. Kamper-Jørgensen, and A. Pinborg. "Assisted reproductive technology treatment and risk of ovarian cancer—a nationwide population-based cohort study." Human Reproduction 34, no. 11 (2019): 2290–96. http://dx.doi.org/10.1093/humrep/dez165.

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Abstract STUDY QUESTION Does hormone stimulation during assisted reproductive technology (ART) treatment increase the risk of ovarian cancer? SUMMARY ANSWER No increased risk of ovarian cancer was found among ART-treated women, with the exception of ART-treated women with endometriosis. WHAT IS KNOWN ALREADY Previous studies on the association between ovarian stimulation during ART and ovarian cancer have shown conflicting results. The risk of ovarian cancer varies according to the cause of infertility, and only a few studies on ART treatment and risk of ovarian cancer have had sufficient data

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Henningsen, A. A., M. Gissler, S. Rasmussen, et al. "Imprinting disorders in children born after ART: a Nordic study from the CoNARTaS group." Human Reproduction 35, no. 5 (2020): 1178–84. http://dx.doi.org/10.1093/humrep/deaa039.

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Abstract STUDY QUESTION Is the risk of imprinting disorders increased in children conceived after ART? SUMMARY ANSWER We found an adjusted odds ratio (AOR) of 2.84 [95% CI: 1.34–6.01] for Beckwith–Wiedemann syndrome in ART children, while the risk of Prader–Willi syndrome, Silver–Russell syndrome or Angelman syndrome was not increased in children conceived after ART. WHAT IS KNOWN ALREADY Earlier studies, most of them small, have suggested an association between ART and imprinting disorders. STUDY DESIGN, SIZE, DURATION This was a binational register-based cohort study. All children conceived

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Lenskjold, Tau, Anders V. Munch, and Vibeke Riisberg. "Crafting platforms: Student rebellion, gender struggles and collectivism in Danish crafts 1969–77." Clothing Cultures 10, no. 2 (2023): 177–93. https://doi.org/10.1386/cc_00077_1.

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During the 1960s and 1970s, Denmark experienced a significant shift in arts and crafts, driven in particular by younger women. This paper examines how such upheavals took place across different platforms, such as the 1969 student rebellion at the Copenhagen School of Arts and Crafts, the initiation of a collective crafts shop, and the staging of an international feminist art exhibition. Despite challenges posed by patriarchal hierarchies in art and craft, female practitioners, especially in textiles, leveraged these platforms to foster collaborative practices, reshape their status and secure l

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Konopka, Emiliana. "Landscape Painting and the Construction of “Icelandicness”: Icelandic Modern National Art vis-à-vis its Danish Origins." Biuletyn Historii Sztuki 85, no. 1 (2023): 95–116. http://dx.doi.org/10.36744/bhs.1112.

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The article constitutes an attempt at developing a new approach to Icelandic national art, supported by an analysis of its role in the process of constructing “Icelandicness” and the Icelandic identity. It enters a dialogue with the study Kryptokoloniale landskaber: tid, sted og rum i billeder af islandsk landskab 1874–2011 by Ann-Sofie Nielsen Gremaud, with a concurrent focus on Icelandic landscape painting of the period 1874–1944 and its relation to Danish art. The Nordic, and especially the Icelandic art was routinely overlooked in the European artistic and historical narration, including t

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Graves-Brown, Paul, and John Schofield. "The filth and the fury: 6 Denmark Street (London) and the Sex Pistols." Antiquity 85, no. 330 (2011): 1385–401. http://dx.doi.org/10.1017/s0003598x00062128.

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In case readers are wondering whether this paper is written tongue in cheek — or with tongue sticking out — it is worth recalling that modern archaeology includes recent periods in its remit, and uses recent materiality to help understand more ancient times as well as a critique on modernity itself. Here the authors find graffiti left by a notorious group of popular musicians and probe it for social meaning as earnestly as students of cave art. Their archaeological study finds an underlying driver that is part political, part personal and therefore also part (anti-)heritage.

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