Anna Aagaard Jensen's design practice interrogates the preconceived dictated behavioral patterns of women and the social factors allowing them to continue existing today. Her objects are alternative representations of the archetypes that surround us, made with a hyperfeminine aesthetic language where she uses makeup and extracts shapes related to the female body. In creating function, Jensen sculpts form into a story that advocates for a new way of looking at design, and inevitably at our environment.
A Basic Instinct 2018 (ongoing) - In our contemporary society and throughout history our behaviour has been
dictated by social norms. Through these norms we sculpt our body to an
appropriate behaviour as seen in the eyes of our culture. Whereas men has the
tendency to take as much space as needed in the public domain, women tend to
live up to a strict line of societal norms and restrictions given to us by our context
and culture.
‘A Basic Instinct’ aims to facilitate a more provocative, empowering and
confronting attitude in the body language of todays women. The chairs physically
re-sculps the female body and her way of sitting, in order to give the women more
confidence in a more outspoken body posture and create a body language that
makes women occupy more space in the public domain.
The chairs can only be used by women and is not only confronting by their looks,
but when women sit in them they will quickly realise that what they are basically
forcing one to do, is to confidently lean back, spread ones legs and claim space!
‘Spring Fling’ - Exhibition view (lower level). In the picture is 3 lights made specifically for the this show. Miss Anne (ceiling lamp), Madonna (leaning lamp) and Miss Lily (walking lamp).
Exhibiton text :
'Spring fling' is an exhibition about the blossoming energy, manifested in warm lights and flirtatious silhouettes. The exhibition focuses on the playful and flirty feeling of spring. The flower is a central symbol of the composition, understood as the representation of the female body and the innocent, sometimes shy, sweetness of a moment. Flowers are enchanting anthems of spring. They dictate the seasons and announce the renaissance. They are the allegory of renewal, pleasure and desire. Is there anything more sensual, delicate and tender than a flower? Perhaps the delightful singing of a spring lovebird - one that prepares its soft feathers for the season of charming encounters venturing into the world more gracefully than ever before. Spring has its own harmony. It unfolds gradually, like a gentle stream of desire and fruition, and so does the exhibition. Starting on the lower level of the gallery, with the encounter of bigger sculptural lights - while one casually leans against the wall another will curiously walk towards you. In the center, a branch grows out of the ceiling with a confronting floral light, almost forcing you into the playfulness of the scene. The upper level continues to please the viewers within the garden of curiosities. The show is accompanied with a soundtrack and two love birds gracing the works and teasing the visitors into the landscape of a spring fling.
I put my foot on the table as I please - Anna Aagaard Jensen is a sculpture that embodies a powerful statement. This artwork can only be placed on the edge of a table, demanding both balance and strength. The act of placing her “foot” - a high-heeled shoe - on a table, where it doesn’t belong, not only goes against etiquette and good manners, but also asserts her authority in certain situations. I put my foot on the table as I please represents a simple yet resolute gesture characterized by its intrinsic power, balance, and grace. It is a subtle act of rebellion.
Reaching for the sun 2020 show at Functional art gallery and Peres projects, Berlin - I love flowers. I have always loved them, but in May 2020 darkness was manifested in them - the sun was gone. How could something so beautiful suddenly represent such darkness. Flowers withhold a certain promise - a promise of joy, happiness, beauty, love - but suddenly, those days in May, that promise was not kept - it was empty. Could it be retrieved? For weeks on end we received flowers. Thoughts of love manifested in bouquets of 'nature in decay'. Stacked on the dining table and in every room. The stench of newly cut flowers and death mixed in the air of the house. We borrowed vases from friends and family, we tried to keep them alive for as long as possible. In the end they died. On the 5th of May 2020 my father died of a heart attack.
‘Between here and the sun’ - Commission for Central museum utrecht
‘Taffel’ - At the Pink Taffel, Now Cleaned
Text by Rawad Baklini
Above the wine and cigarettes
Below the jest that flies
I catch with hal-amused insistence—
A throb of music in the distance—
Your eyes!
Eunice Tietjens
Two large tables decked in salty and sweet delights, stretched across the room. They gathered around with sparkling eyes and gleaming ideals of royal banquets -- but royalty was not present that night. That did not stop them. Chewing under the iridescence of immortal flowers, they devoured sumptuous foods and chugged expensive bubbles. But their physique! Look, look in the mirrors, check for the presence of sleek, sexy lines-- shapes shaded in by empty conversations and bellies filled with culinary pleasures. Then, the ending. After satisfaction, they wiped their hands with curtain sized napkins and retreated back to their homes. All that was left behind was an abundance of meats still sweating in anticipation and icing melting in defeat. Half eaten foods for no one to finish. What was once an extravagant taffel for royalty is cleared away.
Rebellious Daisy - Vase from the show Taffel
‘Her’ 2020 - Solo booth at Collectible 2020 with Functional Art Gallery.
Women have been painted, fainted and exposed on divans, an uplifting of beauty seen from the eyes of the man looking at 'Her'
