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Visual artist Anne Louise Blicher. Based in Copenhagen, DK, Berlin, DE, and Molini (IT).

Anne Louise Blicher creates site specific works that subvert classical landscape’s ideals of patriarchy and ownership in favor feminist multitude and ecological balance. Blicher’s work seeks to change the static postcard view of landscape by rendering nature as a sensed landscape, an ecology of dynamic parts in complex interaction with their surroundings

(Deric Carner, curator & project manager, Elizabeth Foundation for the Arts, NYC)

A.L. Blicher is a graduate in classical painting from Florence Academy of Art (2011) and holds a postgraduate-degree in Fine Arts specialized in printmaking from The Royal Institute of Art Stockholm (2015). Her exhibition record includes public art commissions for Sønderborg Kommune, the EDC Poul Erik Bech Foundation in Varde, and Danderyd Sjukhus in Stockholm, exhibitions at SixtyEight Art Institute (DK)/Sharp Projects (DK) (solo), Charlottenborg Spring Exhibition (DK), The Danish Printmakers House (DK) (solo), Lofoten International Art Festival (NO), The Elizabeth Foundation for the Arts (NY), Fanø Art Museum (DK) (solo), Johannes Larsen Museum (DK), Grafiska Sällskapet (SE), Litografiska Akademin (SE), and Mark Rothko Art Centre (LV) among others. She has been an artist-in-residence worldwide including The Danish Institute in Athens and in Rome, Women’s Studio Workshop (US), Atelier Circulaire (CA), and Künstlerhaus Lucas (DE).
I work within critical plant studies based on nature’s inherent geometric and entropic structures and vegetal life dynamics like growth and decay. I work with concepts like shelters of plants, plant migration, invasive crops and foreign soil. I am interested in places to nest as fields of illusion rather than fields of observation in order to render nature as a sensed space. My approach is based on graphic anthropology as an imaginary method, which implies that a line is not important because it records what you see, but what it leads you to see. I work from site-specific observations and research data, which I unfold into supposed mirrorings and rotating symmetries using synthetic renderings and transcriptions. In this way I try to include the meaning, habitat or history of a place in the visual expression.

My work is rooted in a sculptural painting practice with focus on the way the body relates to a work when it is both a painting and an installation. I combine classical painting techniques with a spatial perspective. I mainly work with monoprint and enamel, which is a glass coating with ceramic pigments fused with steel under high temperatures over 800Cº. The technical properties result in a material that does not rust, is UV- and water resistant, antibacterial, resistant to chemical attack and fire, which makes it suited for both indoor and outdoor.

I often work with the vertical embodiment of space. I am interested in how vertical installations can affect how we feel and experience our surroundings. Like living through the air as in Emmanuel Coccia’s ‘Cosmic Garden’, where the atmosphere is the center of the planet, not the earth, and where the plants as ethereal gardeners design our surroundings. Recently I have become interested in the vertical dimension as an aesthetic field in healthcare design, wondering why this dimension is almost non existing in the care sector, where people are often bed-ridden.


      • Master in Design, The Royal Danish Academy of Fine Arts, School of Architecture, Design and Conservation, Copenhagen, DK (2017- 2018) (1. part 30 ETCS)
      • Postgraduate project studies, specialized in printmaking, Royal Institute of Art, Stockholm, SE (2014–15)
      • Diploma in classical painting, bachelor level, Florence Academy of Art, Gothenburg, SE and Florence, IT (2008 ‑11)
      • Master of Science in Information Technology, IT university of Copenhagen, DK (2004 — 2006). Exchange to The Royal Danish School of Design in the subject ‘Staging of public space’ (2005). Final thesis ‘Pervasive Gaming: piracy of reality’ about the way digital technology can extend the game experience to the physical world and stage the surroundings in new ways.


      • 2022, Grief Shrine of growth — Two Moons, part of The Curatorial Thing, SixtyEight Art Institute in collaboration with the gallery Sharp Projects, Copenhagen, DK
      • 2022, Vertical Ocean,, Sorø, DK
      • 2021, Rotations of the Heaven. Entropic Cosmos, Danske Grafikeres Hus, Copenhagen, DK
      • 2019, To Draw A Line, SE! udstillingsrum, Århus, DK (duo — Trine Bork)
      • 2018, Frozen Hawaii, Toldboden, Kerteminde, DK
      • 2017, The Animal Glow, Atelier Circulaire, Centre d’arts imprimés, Montréal, Québec, CA
      • 2016, Uncover, Fanø Kunstmuseum, Fanø, DK


      • 2022 — 2024, A Vertical Borderland, Danderyds sjukhus, etapp 2, ny vårdbyggnad 61, plan 3 — Endoskopi/Kirurgi, Stockholm region, SE
      • 2022 — 2023, The upside-down Kitchen Garden, public installation at a new day care centre in Hørup, Als commissioned by Sønderborg Kommune, DK
      • 2023, The way of the pearl mussel, 2 outdoor wall sculptures commissioned by EDC Poul Erik Bech Foundation for Varde Garten, Varde, DK
      • 2018, Foam 6 & 9, outdoor lamppost using solar power, designed for the company SeaSafe, DK



      • NAA X Winter exhibition, Nordic Art Agency, Malmö, SE
      • KP22, Kunsthal Aarhus, DK
      • Thinking of Place III, international printmaking collaboration, travelling exhibition, Impact 12, International Print Conference, Bristol, UK, North Site Contemporary Arts, Cairns, AU, Corben’s Estate Art Centre, Auckland, NZ, Studio 1, Ponsonby, NZ, Thompson River University Art Gallery, Kamloops, CA, Forma Gallery, Buenos Aires, AR


      • Spring Exhibition, Charlottenborg Kunsthal, Copenhagen, DK
      • KP20, Kunsthal Aarhus, DK
      • Memories, Galleria Napa, Rovaniemi, FI
      • Collection Mini Print Cantabria, La Mer et les Phares à Bordeaux, Cervantes Institute, Bordeaux, FR


      • The Knot Collective, Galerie Ménil’8, Paris, FR
      • Old School, Danske Grafikeres Hus, Copenhagen, DK


      • The Kelp Congress curated by Hilde Methi, Neal Cahoon, Karolin Tampere, & Torill Østby Haaland, Lofoten International Art Festival (LIAF), Lofoten, NO
      • Kunstscenen Is Closing, Kunstscenen, Copenhagen, DK
      • International Mini Print Cantabria, Faro Cabo Mayor Art Center, ES
      • Summerworks — Anne Louise Blicher & Patte Loper / Moa Alskog & Xin Son / Wilfred Wagner & Paul John / Anne Mette Schultz & Alex Gingrow, The Elizabeth Foundations for the Arts , New York City, US
      • Fugl, Johannes Larsen Museet, Kerteminde, DK
      • Klimakunst 2019, Rebildcentret, DK
      • Spazi Aperti, Accademia di Romania, Rome, IT
      • /77, art space, Milan, IT
      • Over the Bridge, Grafik i Väst, Gothenburg, SE
      • Portrait Now! 2019, The Museum of National History, Frederiksborg Castle, DK and Ljungberg Museum, Ljungberg, SE
      • The Knot Collective, Raum für drastische Massnahmen, Berlin, DE
      • Fyns Grafiske Værksted, Mark Rothko Art Center, Daugavpils, LV
      • Performance and Proces with a graphical starting point, Grafiska Sällskapet, SE


      • Performance and Proces with a graphical starting point, Danske Grafikeres Hus, DK
      • Velvet Ropes, Nevven Gallery, Göteborg, SE/initiated by 0–0 LA fine art gallery, Los Angeles, US
      • Velvet Ropes, Galleri Golsa, Oslo, NO/initiated by 0–0 LA fine art gallery, Los Angeles, US
      • Neon Camouflage, Impact Encuentro, Printmaking Conference, Santander, ES
      • Svart Färg, Den Grafiska Gerillan, Galleri Ateljé Ur, Malmö, SE
      • Discoveries, Gallery Heike Arndt Kettinge, DK/Fresh Legs, Galleri Heike Arndt,  Berlin, DE
      • 17 INTERBIFEP, International Biennial Festival of Portrait, Tuzla Culture Center, Tuzla, BA
      • 9th International Printmaking Biennial of Duoro 2018, Duoro, PT
      • Luftlinie, Ahrenshoop Art Museum,  Mecklenburg-Western Pomerania, DE


      • 3rd Global Print Biennial, PT
      • The Black School,  Kastrupgård Samlingen, DK


      • Elevator Music 3 curated by Dahlia Elsayed, Gallery Aferro, Newark, New Jersey, US
      • The Black School, Brandts, DK
      • Djuren with Helmtrud Nyström, Katinka Andersson and Mattias Bäcklin, Konstfrämjandet Bergslagen, Örebro, SE


      • 4th International Latgale Graphic Symposium, Mark Rothko Art Center, Daugavpils, LV
      • Addition, Grafiska Sällskapet, Stockholm, SE
      • The 7:th International Lithographic Symposium, Litografiska Akademin, Tidaholm, SE
      • Portrait Now! 2015, The Museum of National History, Frederiksborg Castle, Frederiksborg, DK and Ljungberg Museum, Ljungberg, SE


      • San Cataldo, Scala, IT (2023)
      • Klitgården Refugium, Skagen, DK (2023)
      • Atelier Madeleine Paris by Grafiska Sällskapet, FR (2022)
      • The Danish Institute, Athens, GR (2021)
      • Hjørring Grafiske Værksted, Hjørring, DK (2021)
      • The Danish Institute, Rome, IT (2020)
      • The Elizabeth Foundation for the Arts in collaboration with Bikuben Foundation New York and Art Hub Copenhagen, NY, US (2019)
      • The Danish Institute, Rome, IT (2019)
      • Künstlerhaus Lucas, Ahrenshoop, DE (2019)
      • Green Olives Art, Tétouan, MA (2018)
      • Atelier Circulaire, Montreal, Quebec, CA (2017)
      • Atelier Bo Halbirk, Paris, FR (2017)
      • Danish Art Workshops, Copenhagen, DK (2016)
      • Women’s Studio Workshop, Rosendale, New York, US (2016)
      • Rothko Art Center, Daugavpils, LV (2015)
      • Camac Art Center, Marnay sur Seine, FR (2015)
      • The Danish Institute, Athens, GR (2012)
      • School of Visual Art (SOVA), Dawson, CDN (2011)
      • Art Meeting, West Bengal Federation of United Nations Associations (WEBFUNA) & Indian Council for Cultural Relation (ICCR, Kolkata IND (2011)
      • Palangos Dailė, the Artists’ House of the Lithuanian Artists’ Association, LT (2011)


      • Rådet for Visuel Kunst (Copenhagen Visual Arts Council) (2021,2022)
      • Grosserer L. F. Foghts Fond (2021)
      • Danish Arts Foundation traveling grant (2019)
      • KKV Grafik Malmö traveling grant (2019)
      • The Danish Institute Rome (2019)
      • William & Hugo Evers Fond (2010, 2012, 2019)
      • The Danish Arts Foundation (2018)
      • Beckett Fonden (2016, 2017)
      • Den Hielmstierne-Rosencroneske Stiftelse (2016)
      • Knud Højgaards Fond (2008, 2016)
      • Glashandler Johan Franz Ronges Fond (2009, 2016)
      • Aage og Johanne Louis-Hansen Fond (2016)
      • Georg Harms Fond (2011, 2014)
      • Den Ingwersenske Fond (2009, 2011, 2014)
      • Fondet for Dansk Svensk Samarbejde (2014)
      • Unesco-Aschberg Bursary, Changdong Art Studio, The National Museum of Contemporary Art, Seoul, ROK (2012)


      • Artist talk and 2 days workshop lecture in monoprint, Academy of Fine Arts — Uniarts Helsinki (September, 2023)
      • Can a Garden Function as a System of Thoughts? Representation of the City: Imagining and Reimagining Cityscape, NSU winter Symposium, the Latvian Centre for Performance Art, Riga, LV, (February, 2020)
      • Art in Rural Communities — CCCA Workshop No. 4, Møn, DK, (August, 2019)
      • Graphic Anthropology – an imaginary documentation tool — talk at Site, Material, and Medium in Socially Engaged ArtCCCA Workshop No. 3, Århus, DK, (March, 2019)
      • Site-specific sensoric notation workshop in collaboration with Boers-Li Gallery, New York, (July, 2019)
      • ICA 2019 Belgrade: 21st International Congress of Aesthetics. Paper: An Empathic Aesthetics of the soil. The Design of No-thing. Published in the 21. International Congress of Aesthetics 2019’s Congress Proceedings book. (July, 2019)
      • Initiator with artist Åse Eg of the project Performance and Proces with a graphical starting point with 10 printmakers from the Danish and the Swedish printmaking organizations. Seminar, collective drawing exercises,  printmaking workshop and exhibitions at Danish Printmakers House, DK and Grafiska Sällskapet, SE (2018–19).
      • Vertical Horizon, Performance at Danske Grafikeres Hus, Copenhagen, DK (October 30, 2018)
      • Appearances of the Political, NSU Winter Symposium, University of Copenhagen, DK (February, 2018)


      • Art teacher at ARKEN, Museum of Contemporary Art, Ishøj, DK (2014-) and at Thorvaldsen’s Museum, Copenhagen, DK (2013-)
      • Developed teaching material to the touring exhibition Down to Earth — Danish Painting 1780 — 1920 and the Anthropocene Landscape created between  Faaborg Museum, Fulgsang Museum, Ribe Museum, and Hirschsprung Collection, DK (2017- 2018)
      • Initiated a workshop about portraits in art in relation to the exhibition Keeping up Appearances. Portraits and Emotions in the Golden Age for Hirschsprung (2018)
      • Assistent/studio manager to artist Kirstine Roepstorff (2011 — 2013, 2015 — 2017)
      • Assistant to sculptor Bjørn Nørgaard (2011)


      • Kunstnersamfundets Billed sektion (The Royal Danish Academy of Fine Arts, member of the Society of Artists)
      • BKF (Danish visual artists)
      • DBS (Danish sculptors society)
      • KRO (The Swedish Artist’s National Organization)
      • Danish Printmakers
      • Grafiska Sällskapet (The Swedish Printmakers’ Association)
      • KKS (The Danish Women’s Artist association)
      • CCCA (the international research network: Collaboration and Community-Building in Contemporary Art)
      • NSU (Nordic Summer University) — a nomadic academic institution for research and interdisciplinary studies that organises workshop-seminars across disciplinary and national borders. Part of the study circle: Appearances of the Political

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