Photographs by  David Stjernholm

    Landskaber
Kunsthal Varte, Varde, DK, 2019  In a time when measurability is emphasized and endorsed, how do we look upon nature? Is a forest only a standing reserve of trees? Is a cherry tree anything other than a click-bate on social media? Is a beautiful open landscape worth something beyond its grain yield? Is a sea anything more than an attractive view on the property market? 

The set for the exhibition Landskaber is Konsthall Varte, an artist’s residency housed in a renovated 18th century terraced house, run by the property magnate Poul Eric Bech. Emilia Bergmark’s exhibition explores the landscape as a commodity on the property market and asks how we can understand the value of things such as nature, or artistic labour, in a time when market value reigns supreme. The exhibition combines previous works with new pieces produced on site during a one month residency in the village of Varde. The exhibition was supported by Poul Eric Bech Fonden, Statens Kunstfond and Grosserer L.G. Foghts fond. 

For Sale, 2019

A manipulated cross-stitch embroidery in frame, 50 x 64 cm.


    Udsikter (Hav), 2019  
Acrylic on board, 30 x 48 cm


    Udsikter (Murstens mur), 2019
Acrylic on board, 30 x 48 cm.

    Abstract Piggy Bank (II), (III), (IV), 2019 
A piggy bank in ceramics that contains an undisclosed amount of the artist’s savings in cash. Each piece is for sale for 4900 DKK, an amount that is equal to the artist’s monthly rent. The buyer can access the savings by smashing the work.

    Selected Accidents (III), (XIII), 2018 
Drawing in birch wood frame, with drawing on the frame, 23 x 23 cm.  


    Flat Pigeon, 2016
Woolen carpet, 60 x 75 cm.

    Green, 2019
Reverse painted mirror, 27 x 43 cm.

    Still Life (Can’t live with you, can’t live without you), 2017 
A bouquet that combines different flowers to spell out the message 'Can’t live with you, can’t live without you' in the language of flowers – a form of cryptological communication that was popularly used in Victorian England to express feelings that could not be spoken aloud. Much like how we use emojis today the language of flowers ascribed each type of flower a specific meaning and a grammar was developed that could silently express love, sexual desire, deceit, friendship, hate and envy.

    Karins Blomsterhylla, 2016
Shelf designed by the Swedish artist Karin Larsson (1859 - 1928).



    Abstract Container (You fuck me so good), 2019
A vase in ceramics containing a floral arrangement of Cactus Opuntia, Arum Maculatum, Dianthus and Solanum Tuberosum that spells out the sentence ’You fuck me so good’ in the language of flowers.

    Figurative Piggy Bank, 2018
Piggy bank in glazed ceramics. The piggy bank is for sale for a sales price that is relative to the income of the buyer. The asking price equals 1/5 of the buyer’s average monthly income.