natgillin/translations-raw huggingface dataset:
Hans maleri lever sit helt eget liv uden for tidens modeluner. 
His painting takes on a life of its own, independent of the whims of fashion.
Det var også derfor, at Viggo Jensen i 1963 blev indbudt til at være medlem af Martsudstillingen, der netop dyrkede fordybelsen i den kunstneriske proces. 
This was also the reason why Viggo Jensen was invited in 1963 to become a member of Martsudstillingen (the March Exhibition), an artists' association whose members emphasised immersion in the artistic process.
Det er arkitekt Hanne Kjærholm (1930-2009), der har tegnet Færchfløjen. 
The architect Hanne Kjærholm (1930-2009) has designed the Færch Wing.
Hun har også tegnet Holstebro Kunstmuseums bygning fra 1981 og fløjen fra 1991, der rummer Holstebro Museum. 
She also designed the extension to Holstebro Kunstmuseum built in 1981 as well as the wing dating from 1991 housing Holstebro Museum.
Færchfløjen er disponeret omkring en åben gård. 
The Færch Wing gives on to an open yard.
En række afvekslende udstillingssale med tre meters ophængshøjde grupperer sig omkring en højloftet udstillingssal med fem meters ophængshøjde. 
A series of varying exhibition rooms with a mounting height of three metres are grouped around a high-ceilinged exhibition hall with a five-metre mounting height.
Færchfløjen er en arkitektonisk og materialemæssig videreførelse af museumsbygningen fra 1981. 
The Færch Wing is an architectural and material continuation of the museum building from 1981.
Den er bygget over det samme grundmodul på 5x5 meter som 1981-bygningen. 
It has been built according to the same basic module of 5x5 metres as the 1981-building.
Og der er anvendt de samme materialer i de to bygninger: Ølandsfliser på gulvet, vandskurede, hvidmalede murstensvægge og vinduesrammer af aluminium. 
Again, the same materials have been used in the two buildings: the flooring consists of natural stone tiles from Öland, thinly rendered, white-washed brick walls, and window frames made of aluminium.
Fløjen er på 1.200 kvadratmeter, heraf er 527 kvadratmeter underetage. 
The Færch Wing totals 1,200 square metres - the lower floor comprising 527 square metres.
Det centrale udstillingsrum adskiller sig dog både med hensyn til arkitektur og materialer fra det øvrige byggeri. 
The central exhibition hall, however, differs from the remainder of the buildings with regard to both architecture and material choice.
Salen har en loftshøjde på fem meter, vægge og loft er beklædt med gipsplader, og gulvet er et egeplankegulv. 
The hall has a ceiling height of five metres, the walls and ceiling are clad with plasterboard and the floor is made of oak planks.
Der er ikke mange vinduer i Færchfløjen. 
There are not many windows in the Færch Wing.
Dagslys er svært at styre, når man laver udstilling, så derfor er den primære lyskilde i Færchfløjen kunstlys. 
Natural light from windows is difficult to manage when setting up an exhibition, so the primary light source in the Færch Wing is artificial light.
Desuden har museet prioriteret, at der skal være så mange meter væg som muligt til kunsten. 
Also, the museum has decided to dedicate as much wall area as possible to displaying art.
Kun i facaden ud mod den indre gård og i det yderste nordøstlige hjørne af museet er der vinduespartier. 
There are windows only in the part of the building facing the inner yard and in the extreme north-eastern corner of the museum.
I det nordøstligste hjørne er indrettet et rum, hvor man i første sals højde kan sidde i Poul Kjærholms møbler og kigge ud i Museumsskoven. 
Here is a room where you can enjoy the view to the Museum Wood seated in furniture designed by Poul Kjærholm .
Også her er der trægulve, og der er indsat mahognipaneler i loftets betonkupoler. 
Here, too, there is wooden flooring and the concrete cupolas in the ceiling have been lined with mahogany panels.
En mahognivæg med skydedøre adskiller rummet fra et serveringskøkken, hvortil der dog kun er adgang ved særlige lejligheder. 
A mahogany wall with sliding doors separates the room from a catering kitchen, to which there is access on special occasions only.
Køkkenet er også tegnet af Hanne Kjærholm. 
The kitchen, too, has been designed by Hanne Kjærholm.
I Færchfløjens underetage findes udstillingssal og -rum samt magasiner og tekniske installationer. 
On the lower floor of the Færch Wing, there is an exhibition room together with store rooms and technical installations.
Holstebro Kunstmuseum og museumskomplekset i det hele taget er et hovedværk i Hanne Kjærholms arkitektoniske arbejde. 
Holstebro Kunstmuseum is one of Hanne Kjærholm's principal design projects.
Pablo Picasso (1881-1973) blev født ind i en kunstnerfamilie. 
Pablo Picasso (1881-1973) was born into a family of artists.
Hans far var maler, underviste i tegning og var konservator ved Museet i Malaga. 
His father was a painter, taught drawing and was a restorer at the museum in Malaga.
Allerede tidligt viste den unge Picasso talent, og som 14-årig kom han på Kunstakademiet i Barcelona og to år efter på Akademiet i Madrid, som han dog forlod hurtigt for at tilslutte sig avantgardemiljøet i byen. 
The young Picasso's talent was evident already at an early age, and at the age of 14 he was admitted to the Academy of Fine Arts in Barcelona and two years later to the Academy in Madrid, which he soon quit, though, to join the artistic avant-garde in the city.
I 1901 besøgte han første gang Paris, og i 1904 flyttede han permanent dertil. 
In1901 he visited Paris for the first time, and in 1904 he moved there permanently.
I 1907 færdiggjorde han det epokegørende billede ”Frøkenerne fra Avignon”, der vakte stor opsigt. 
In 1907 he finalised the epoch-making painting ”Les Demoiselles D'Avignon”, which created much sensation.
I den forbindelse gjorde Picasso for første gang brug af masken, og brød med alle hidtidige maleriske traditioner. 
In that painting Picasso used the mask motif for the first time and broke with all previous painting traditions.
”Suite Vollard” er en serie på 100 grafiske arbejder - primært ætsninger og koldnål - skabt i perioden 1930-37. 
”Suite Vollard” is a series of 100 graphic works - primarily etchings and dry point - created in the period 1930-37.
Serien blev til på opfordring af Ambroise Vollard, en parisisk kunsthandler og forlægger, som havde arrangeret en af Picassos første udstillinger i Paris, og som i årene i forvejen havde købt og publiceret tryk af Picasso. 
The series was produced at the request of Ambroise Vollard, a Parisian art dealer and publisher, who had arranged one of Picasso's first exhibitions in Paris, and who in the preceding years had purchased and published prints by Picasso.
De 100 tryk grupperer sig i fem grupper: Billedhuggerens atelier, Rembrandt, Minotaurus, den blinde Minotaurus og Elskovskampen. 
The 100 prints are grouped into five groups: The sculptor's studio, Rembrandt, Minotaur, the blind Minotaur and the Love Fight.
Desuden består serien af tre portrætter af Vollard samt 27 enkeltblade, der ikke kan grupperes. 
The series furthermore contains three portraits of Vollard and 27 separate prints, which cannot be grouped.
De blev lukket i Labyrinten i Knossos på Kreta, hvor Minotaurus boede. 
They were shut in the Labyrinth in Knossos in Crete, where Minotaur lived.
Helten Theseus formåede at slå den ihjel og slippe ud af labyrinten ved hjælp af det garnnøgle, han havde fået af Ariadne. 
The hero Theseus managed to kill it and escape from the labyrinth by means of the ball of string that Ariadne had given to him.
Picasso opfattede Minotaurus som et billede på sig selv - på samme tid følsom, viril og dyrisk vild, for så til sidst at synke dødeligt såret sammen i tyrefægterarenaen. 
Picasso regarded Minotaur as an image of himself - at the same time sensitive, virile and brutish, just to finally collapse deadly wounded in the bullring.
Det er suiten i øvrigt en stemning af en svunden tid - en fortabt guldalder med ynglinge, helte, skønne kvinder, mytologiske væsner, uendelige strande og et blåt Middelhav. 
Moreover, the suite holds an atmosphere of a bygone age - a lost golden age with youth, heroes, beautiful women, mythological creatures, endless beaches and a blue Mediterranean.
Men fra tid til anden brydes idyllen af voldtægt og gru. 
From time to time the idyll is interrupted, however, by rape and horror.
”Suite Vollard” er et højdepunkt i Picassos kunst, der i 1937 fulgtes af endnu et hovedværk, maleriet ”Guernica”. 
”Suite Vollard” is a zenith in the artwork of Picasso, followed in 1937 by yet another major work, the painting ”Guernica”.
Her skildres krigens rædsel og nazisternes bombardement af civilbefolkningen i byen Guernica under den spanske borgerkrig. 
This painting depicts the horror of war and the Nazis' bombardment of the civilian population of the town of Guernica during the Spanish civil war.
I øvrigt optræder i flere af trykkene i ”Suite Vollard” et eller flere elementer, der indgår i ”Guernica”. 
Besides, in several of the prints of the ”Suite Vollard” there are one or more elements that are repeated in ”Guernica”.
Picasso er en af de mest betydningsfulde kunstnere i det 20. århundrede. 
Picasso is one of the most important artists of the 20th century.
Han var uhyre produktiv, beherskede både maleri, grafik, skulptur og keramik og var samtidig nytænkende. 
He was extremely productive, mastered painting, etching, sculpture and ceramics, and was at the same time innovative.
Kirsten Christensen arbejder i stentøj og bruger keramiske metoder i sit kunstneriske arbejde. 
Kirsten Christensen works in stoneware and applies ceramic methods in her artistic work.
Hun tegner og ridser i stentøjsplader, der begittes og brændes som traditionel keramik. 
She draws and scratches in stoneware plates that are slipped and fired like traditional ceramics.
Men hun laver ikke det, man umiddelbart forstår ved keramik som skåle, kander eller fade. 
She does not, however, make what we spontaneously mean by ceramics, such as bowls, pitchers or dishes.
Hun laver stentøjsbilleder - gerne i serier - der nærgående og åbenhjertigt fortæller om livets grundvilkår: Fødsel, barndom, pubertet, køn, seksualitet, sygdom, alderdom og død. 
She creates stoneware pictures - for choice in series - which in a direct and frank way tell about the fundamental conditions of life: Birth, childhood, adolescence, sex, sexuality, illness, old age and death.
Som udgangspunkt for sine billeder bruger Kirsten Christensen vigtige begivenheder i sit liv. 
Kirsten Christensen uses important events in her own life as the basis of her pictures.
Billederne kan f.eks. være bygget op som en side i et fotoalbum med billeder af hende selv og hendes moder. 
The pictures can for instance be composed as a page of a photo album with pictures of herself and her mother.
Eller de kan have karakter af opslagstavler eller rebusser, hvor liv og død både skildres på et fysisk virkelighedsplan og et åndeligt, symbolsk plan. 
Or they may be formed as notice boards or picture puzzles, where life and death are depicted at a physical reality level and a spiritual, symbolic level.
Kirsten Christensen tager afsæt i en personlig livshistorie, men hendes bekendelser handler også om almene og universelle emner som kroppens forfald, ensomhed, lidelse, ydmygelser og den fremmedgjorte død - alt sammen ømtålelige emner for det moderne menneske. 
Kirsten Christensen's works are based on her personal life story, but her confessions are also about common and universal subjects such as the decay of the body, loneliness, suffering, humiliations and the alienation of death - all of them delicate questions for the modern human being.
Men også emner som menneskets rovdrift på naturen og verdensrummets uendelighed er Kirsten Christensen optaget af. 
Moreover, Kirsten Christensen is preoccupied with subjects such as man's exploitation of nature and the infinity of space.
I Holstebro by kan der ses værker af kunstneren i Vestjysk Bank, Holstebro Posthus ved Banen og DR Midt Vest. 
In the town of Holstebro works of the artist can be seen in Vestjysk Bank, Holstebro Posthus (post office) by the railway and DR Midt Vest (Radio Denmark's local TV station).
Jonathan Meese er født 1970 i Tokyo. 
Jonathan Meese was born 1970 in Tokyo.
Hans far er waliser og hans mor tysk. 
His father is Welsh and his mother is German.
Som barn flyttede han med sin mor til Tyskland. 
As a child, he moved to Germany with his mother.
I årene 1995-1998 studerede Jonathan Meese ved Hochschule für Bildende Kunst i Hamborg, men færdiggjorde ikke sine studier. 
During the years 1995-1998, Jonathan Meese attended Hochschule für Bildende Kunst in Hamburg, but never completed his studies.
Ved første øjekast virker Jonathan Meeses kunst voldsom, vild og kaotisk. 
At first glance, Jonathan Meese's art seems fierce, wild, and chaotic.
Farven ser ud som om den nærmest er kastet på lærredet, hvis ikke den er trykket direkte ud fra tuben i tykke plamager. 
The colour appears to have been thrown onto the canvas or squeezed directly from the tube in thick blobs.
Og symboler som hagekors og de tre orange Adidas-striber finder vej til lærredet. 
Symbols such as the swastika and the three orange Adidas-stripes also find their way to the canvas.
En træningstrøje fra Adidas hører blandt kunstnerens foretrukne beklædningsgenstande, og striberne henviser derfor til kunstneren selv, der i øvrigt igen og igen optræder som hovedpersonen i billederne. 
An Adidas zip top is among the artist's favourite items of clothing and the stripes, therefore, is a reference to the artist himself who, incidentally, figures repeatedly as the main character in the pictures.
Endelig er der gerne elementer fra populærkulturen i hans værker som f.eks. superskurken Dr. Fu Manchu eller en preussisk soldat, som vi genkender ham fra film og karikaturer. 
Also, elements from popular culture tend to pop up in his works such as the super villain, Dr. Fu Manchu, or a Prussian soldier readily identifiable from films and caricatures.
Dertil kommer alskens ord og sætninger skrevet tværs hen over billederne. 
In addition to this, all sorts of words and sentences have been scribbled across the pictures.
Alle de mange og forskellige referencer virker umiddelbart som et stort sammensurium. 
The numerous and various references seem, at first, like a shambles.
Skal man tage tingene for pålydende? 
Should you take it all at face value?
Eller er det hele en stor joke? 
Or is it just one big joke?
De normer og værdier vi kender, forvrænger Jonathan Meese og skaber absurde og morbide spejlbilleder af vores verden. 
Familiar norms and values are distorted by Jonathan Meese to create absurd and morbid mirror images of our world.
Jonathan Meeses univers er fyldt med humor og ironi, der ikke altid placerer ham selv i det mest flatterende lys. 
Jonathan Meese's universe is filled with humour and irony, not always placing him in the most flattering light.
Samtidigt sætter han den kunstneriske udtryksform på spidsen ved sin tydelige og voldsomme kropslighed og med sin dynamiske leg med symboler, identitet og kunstnerrollen. 
At the same time, he stretches the artistic mode of expression to its limits by virtue of his clear and fierce physicality and his dynamic play with symbols, identity, and the role of the artist.
Jonathan Meese er ikke en politisk kunstner i gængs forstand. 
Jonathan Meese is not a political artist in the usual sense.
Men hans værker er aktioner, hvor han demonstrerer, at kunsten i sig bærer et kreativt og frigørende potentiale for det enkelte individ. 
His works are actions in which he demonstrates that art possesses an inherently creative and liberating potential for the individual.
Denne så positive hensigt omtaler Jonathan Meese ikke overraskende i tvetydige vendinger som ”Kunstens Diktatur”. 
Jonathan Meese refers, not surprisingly, to this positive intention in ambiguous terms such as the ‘Dictatorship of Art'.
Jonathan Meese har ved flere lejligheder arbejdet sammen med den danske kunstner Tal R, der også er repræsenteret i Holstebro Kunstmuseums samling. 
Jonathan Meese has, on several occasions, collaborated with the Danish artist, Tal R, who is also represented in Holstebro Kunstmuseum's collection.
I 2005 skabte de to kunstnere i fællesskab totalinstallation "MOR" i X-rummet på Statens Museum for Kunst. 
In 2005, the total installation 'MOTHER' was created jointly by the two artists in the X-room at the National Gallery of Denmark.
Værker af Jonathan Meese kan i Danmark udover i Holstebro også ses i Statens Museum for Kunst og Louisiana, Museum for moderne Kunst. 
In addition to Holstebro, works by Jonathan Meese can be seen at the National Gallery of Denmark and Louisiana, Museum of Modern Art.
Jonathan Meese, foto Jan Bauer. 
Jonathan Meese, photography Jan Bauer.
Martsudstillingen blev dannet i 1951 på initiativ af Ejler Bille og Erik Thommesen . 
‘Martsudstillingen' (the Month of March Exhibition) was established in 1951 on the initiative of Ejler Bille and Erik Thommesen.
Fra begyndelsen var sammenslutningen tænkt som et alternativ til tidens andre kunstner-sammenslutninger, blandt andre Cobra, hvor Ejler Bille og Erik Thommesen havde været medlemmer. 
From the start the association was intended as an alternative to the other artists' associations of the time, for instance Cobra which had counted Ejler Bille and Erik Thommesen among its members.
Den første Martsudstilling fandt sted i marts måned 1951. 
The first ‘Martsudstilling' took place in March 1951.
Martsudstillingen reagerede på Cobra-bevægelsens dyrkelse af det primitive og spontane. 
‘Martsudstillingen' was formed in response to the Cobra movement's cultivation of primitive art and spontaneity.
Martsudstillingen så desuden Cobras og andre kunstnersammenslutningers mange formeksperimenter som eksperimenter for eksperimentets skyld og ikke som kilde til en ny kunstnerisk kreativitet. 
Moreover, ‘Martsudstillingen' saw the many formal experiments performed by Cobra and other artists' associations as experiments for the sake of experimenting and not as a source of new artistic creativity.
Martsudstillingen søgte i en anden retning. 
The members of ‘Martsudstillingen' moved in another direction.
I stedet søgte medlemmerne et ståsted i traditionen, hvor det var indholdet og ikke det ydre formudtryk, der var det vigtigste. 
Instead they chose an approach founded on tradition and the idea that content, not form is what matters the most.
I modsætning til mange andre kunstnersammenslutninger kunne Martsudstillingen derfor rumme både abstrakte og figurative kunstnere. 
Contrary to several other artists' associations ‘Martsudstillingen' was therefore able to embrace both abstract and figurative artists.
Et andet fællestræk var, at det kunstneriske håndværk og den kunstneriske proces var centrale. 
Another common feature was the high weighting given to artistic workmanship and the artistic process.
For flere af gruppens kunstnere havde selve den kunstneriske proces karakter af noget meditativt. 
Several of the artists in the group associated the artistic process itself with an almost meditative state.
Der var ofte tale om lange og møjsommelige arbejdsprocesser og en selvvalgt isolation. 
Often the work processes were long and arduous, carried out in self-imposed isolation.
Martsudstillingen var fra begyndelsen en tæt sluttet kreds af kunstnere. 
From the start ‘Martsudstillingen' was a closed group of artists.
De kunstnere, der blev medlemmer var - for de flestes vedkommende - trofaste og vedblev med at udstille helt frem til sammenslutningens sidste udstilling i 1981. 
Most of the artists who joined the association remained faithful and continued to take part in its exhibitions right up until the very last one in 1981.
Albert Mertz var medlem i 1959. 
Albert Mertz was a member in 1959.
I værker fra netop dette år ses naturens farver og former, og der er for en meget kort tid slægtskab med Martsudstillingens kunstnere. 
The colours and shapes of nature can be seen in works from precisely this year, and for a short period of time his work shows an affinity with the artists of ‘Martsudstillingen'.
Men Albert Mertz ville nyt og rejste snart til Paris. 
However, Albert Mertz wanted to explore new territory and soon travelled to Paris.
Han blev her optaget af tidens internationale strømninger som popkunst og Op Art. Med årene udviklede Albert Mertz en personlig, konceptuelt baseret kunst - meget genkendelig i kraft af den særlige røde og blå farve, som han havde forkærlighed for. 
Here he became engaged with the international artistic movements of the day such as Pop Art and Kinetics Art. With the passing of time Albert Mertz developed a personal, conceptually based art - easily recognisable for the particular red and blue colours that he had a preference for.
Emil Westman Hertz (1978-2016) har markeret sig som én af sin generations mest opsigtsvækkende kunstnere. 
Emil Westman Hertz (1978-2016) has made his mark as one of his generation's most remarkable artists.
Han er født og opvokset på Bornholm, uddannet fra Det Kgl. Danske Kunstakademi samt MauMaus School of Fine Arts i Lissabon. 
He was born and raised on the island of Bornholm, graduated from the Royal Danish Academy of Fine Arts and Maumaus School of Fine Arts in Lisbon.
Westman Hertz arbejder inden for en lang række kunstneriske medier, herunder skulptur, installation, fotografi, collage og papirarbejder. 
Westman Hertz works in a wide variety of artistic media, including sculpture, installation, photography, collage and paper works.
I sin kunst tager han ofte udgangspunkt i naturlige materialer, såsom træ, bivoks, ler, muslingeskaller, kæmpebjørneklo og andre fundne genstande. 
His artworks are often based on natural materials such as wood, beeswax, clay, mussel shells, giant hogweed and other found objects.
Ikke sjældent antager værkerne karakter af ophobninger, der refererer ligeligt til anatomiske modeller, arkitektoniske bygningsmasser, konstruktioner i naturen, besjælede kulturobjekter og visualiseringer af paralleluniverser. 
Not infrequently, the works assume a composite character that refers equally to anatomical models, architectural buildings, structures in nature, animate cultural objects and visualisations of parallel universes.
Det kunstneriske virke rummer dertil bevidst gådefulde fortællinger fra nær og fjern. 
The artistic work also contains consciously enigmatic stories from near and far.
Ofte antager fortællingerne karakter af indre rejser, hvor de bærer vidnesbyrd om sygdommens, febervildelsens eller drømmesynets forvrængede oplevelsestilstande. 
The narratives often assume the character of inner journeys in which they bear testimony to the distorted realities of illness, fever or dream visions.
Mange af kunstnerens værker kan desuden betragtes som selvportrætter i form af en krop, der undergår transformation. 
Many of the artist's works may also be considered as self-portraits, in the form of a body that is undergoing transformation.
Et særligt undersøgelsesområde hos Westman Hertz vedrører dødekulter og sjælevandringens tærskelerfaringer. 
A special area of study for Westman Hertz comprises death cults and the threshold experiences of metempsychosis.
Dette sidstnævnte aspekt ses især ved kunstnerens anvendelse af bivoks og bronzeafstøbninger af naturens forgængelige materialer. 
This latter aspect can especially be seen in the artist's use of beeswax and bronze casts of the perishable materials of nature.
I det hele taget er Westman Hertz optaget af livets bestanddele og komplekse egenskaber. 
Westman Hertz is in general fascinated by the components and complex properties of living organisms.
Han opstiller endvidere modeller for, hvordan virkeligheden kan tage sig ud, hvis vi for et øjeblik ikke lader os begrænse af rationalitet, traditionel videnskabelig logik og naturbeherskelse, men i stedet prøver at forstå tilværelsens mere hemmelighedsfulde sammenhænge. 
He also sets out models for what reality might look like if, for a moment, we refused to allow ourselves to be limited by rationality, traditional scientific logic and mastery of nature, but instead tried to understand life's more mysterious aspects.