natgillin/translations-raw huggingface dataset:
Af kunstformidler Mette Houlberg Rung 
By art educator Mette Houlberg Rung
En udstilling er et fortællemedie. 
An exhibition is a medium that tells stories.
Forskellige virkemidler, fortællegreb og dramaturgiske overvejelser bliver taget i brug, når vi arbejder med særudstillinger på SMK. 
Many different devices, narrative methods and dramaturgical deliberations are brought into play when we work with special exhibitions at SMK.
I dette indlæg reflekterer jeg lidt over, hvad en udstilling er, hvordan udstillingen Flygtige øjeblikke – Tegninger af Auguste Rodin blev til og hvilke valg, vi tog under udarbejdelsen af den. 
In this blog entry I muse a little on the question of what an exhibition actually is, how the exhibition Fleeting Moments – Drawings by Auguste Rodin was created, and the choices we made while preparing it.
Helt grundlæggende er en udstilling en fortælling i rum. 
Fundamentally, an exhibition is a story told in a space.
Kunstværker, tekster, billeder, lyde osv. arrangeres mere eller mindre struktureret i et designet miljø, som vi som brugere så bevæger os igennem. 
Works of art, texts, images, sounds etc. are arranged in a more or less structured manner in a designed environment that we users move through.
Udstillingen adskiller sig på den måde fra fx filmen, hvor publikum sidder stille foran lærredet og får præsenteret billeder og lyd i fortløbende sekvenser. 
Exhibitions differ from creative formats such as films, where audiences sit still in front of the screen as images and sounds are presented to them in predetermined sequences.
Den adskiller sig også fra teateret eller dansen, hvor kroppe i bevægelse traditionelt er på scenen, mens man selv holder sig i ro. 
They are also different from theatre or dance performances, where bodies in movement are usually found on the stage while the spectator’s own body keeps still.
Udstillingen er altså en unik genre. 
This is to say that the exhibition is a unique genre.
Brugeren bevæger sig gennem den, stopper, fokuserer og lader sig rive med af specifikke dele. 
Users move through it, stop, focus and let themselves be enthralled by specific parts.
Det er en oplevelse, hvor både krop og hjerne er i spil, og hvor både følelser og intellekt stimuleres. 
It is an experience that engages body and mind alike, stimulating our emotions as well as our intellect.
Forskning her på SMK har vist, at vores nysgerrighed og vores umiddelbare tiltrækning af ting leder os rundt i udstillingen. 
Research conducted here at SMK has shown that we are directed by our curiosity and immediate attraction to objects as we move around the exhibition.
Den franske filosof Michel de Certeau beskriver i sin bog The Practice of Everyday Life (1984), hvordan grundplanen af en by er udtænkt af kommunale byplanlæggere og organiseret af regler osv. 
In his book The Practice of Everyday Life (1984), the French philosopher Michel de Certeau describes how the basic plan of a city is devised by municipal urban planners, organised by rules, etc.
Dette er byen som helhed. 
This is the city as a whole.
Men fodgængeren ser aldrig denne by. 
But the pedestrian never sees that city.
I stedet bevæger hun sig rundt i sine egne kvarterer, skyder genveje og laver stier, som ingen havde planlagt. 
Instead she moves around her own neighbourhoods, makes shortcuts and forms pathways that no-one had planned.
Hun skaber sin egen by. 
She makes her own city.
Disse tanker passer godt på udstillingen. 
In many ways exhibitions are like that too.
Man drives rundt af, hvad der tiltrækker en, finder sine yndlingssteder og bruger tid, der hvor det giver mening for en selv. 
You are directed by whatever happens to appeal to you, you find favourite spots and spend your time where it makes sense to you.
Man klipper sin egen oplevelse sammen, som når man klipper en film ud fra et råmateriale. 
You piece together your own experience, rather like cutting and editing a film out of raw footage.
Ingen mennesker ser derfor den samme udstilling. 
No two people ever see exactly the same exhibition.
Forskningsbaserede udstillinger 
Research-based exhibitions
På SMK har udstillingerne næsten altid rod i et kunsthistorisk forskningsprojekt. 
The exhibitions presented at SMK are almost always rooted in an art historical research project.
Gennem flere år har en forsker arbejdet med et projekt, og konklusionerne bruges som udgangspunkt for den historie, der fortælles i udstillingen. 
A researcher has spent several years working on a given project, and their findings are used as the basis for the story told in the exhibition itself.
Hovedingrediensen er altid værkerne. 
The art works themselves are always the main ingredient.
Udstillingen er en unik mulighed for at samle originale kunstværker – nogle gange bliver de fløjet ind fra hele verden og ses sammen for første og måske sidste gang. 
An exhibition offers a unique opportunity for bringing together original works of art – sometimes they are flown in from every corner of the world to be shown together for the first – and possibly last – time.
Værkerne fremhæver bestemte ting ved hinanden, og sammenstillingerne giver derfor nye oplevelser af værkerne. 
The works bring out and accentuate certain traits in each other, thereby prompting us to see and experience them in new ways.
Værkernes organisering underbygges traditionelt med tekst og måske billeder, lyd og film. 
Traditionally, the arrangement of the works is supplemented by texts and perhaps images, sound and film.
Der knyttes også typisk et katalog til udstilling, hvor man kan fordybe sig yderligere i forskningen. 
Exhibitions are also typically accompanied by a catalogue that enables visitors to immerse themselves further in the exhibition’s subject.
Nye fortællegreb 
New narrative devices
Men der er også andre måder at fortælle på i en udstilling end med tekst, lyd eller film. 
However, stories can be told in other ways than through text, sound or film.
Er det fx muligt at formidle gennem materialitet, sanselighed og rum? 
For example, might it not be possible to convey the exhibition’s subject matter through materiality, sensory stimulation and physical spaces?
På SMK har vi i flere år eksperimenteret med udstillingsarkitekturen som et kropsligt og sanseligt møde, hvor farver, former og materialer bidrager til oplevelsen. 
In recent years, we at SMK have experimented with exhibition architecture as a setting for physical, sensuous encounters where colours, shapes and materials contribute to the overall experience.
Men vi vil gerne undersøge dette dybere. 
But we would like to explore this in greater detail.
Kan man engagere kroppen og kommunikere ved at bruge specifikke materialer, stemninger og arkitektur? 
Is it possible to engage the entire body and communicate by using specific materials, moods and architectures?
Det var det benspænd, vi gav os selv, i forbindelse med udstillingen Flygtige øjeblikke – Tegninger af Auguste Rodin. 
When creating the exhibition Fleeting Moments – Drawings by Auguste Rodin we set out to explore this question, deliberately forcing ourselves to think outside the box.
Rodin og hans tegninger 
Rodin and his drawings
Udstillingens hovedperson, billedhuggeren Auguste Rodin (1840-1917), er en af de helt store mestre i kunsthistorien. 
The star of this exhibition, Auguste Rodin (1840–1917), is one of the greatest masters in all of art history.
Og hvorfor er han så det? 
But why is that?
Rodin var en af de første billedhuggere, der moderniserede skulpturen. 
Rodin was one of the first sculptors to modernise sculpture.
Indtil Rodin havde skulpturen mest været anvendt til klassiske og idealiserende portrætter og monumenter. 
Before Rodin, sculpture had mainly been used for classical, idealising portraits and monuments.
Rodin begyndte at skildre erotik, følelser og bevægelse. 
Rodin, however, used it to depict emotions, movement and sexual desire.
Men udstillingen handler ikke om skulpturerne, heller ikke selvom der er seks styk med – den handler om hans tegninger. 
But this exhibition is not about his sculptures, even though six of them are included – it is about his drawings.
Rodin tegnede gennem hele sin karriere, og der findes flere tusinde tegninger fra hans hånd. 
Rodin drew prolifically throughout his career – several thousand drawings from his hand still exist today.
De er ikke skitser til skulpturerne, men værker i deres egen ret. 
They are not sketches for sculptures, but works in their own right.
Rodin forklarede selv i 1910, at tegningerne er nøglen til hans kunst, og at skulptur for ham var tegning i samtlige dimensioner. 
In 1910 Rodin himself explained that his drawings are the key to his work, and that he regarded sculpture as a form of drawing in all dimensions.
I tegningerne eksperimenterede Rodin med at indfange bevægelse, han legede med rummet og med materialerne. 
In his drawings Rodin experimented with capturing movement, playing around with space and with materials.
I tegningen var alt muligt, og erfaringerne han gjorde sig her, tog han med sig i arbejdet med leret. 
In drawings all things were possible, and he transposed the lessons learned here to his work with clay.
Sanselighed og materialitet 
Sensuousness and materiality
Rodins tegninger er forskellige. 
Rodin’s drawings differ greatly.
Nogle er lag på lag af blæk, pen og gouache, andre har løse konturer og udflydende vandfarve. 
Some are created as layer upon layer of pigments, executed in ink, pen and gouache, others sport loose contours and flowing watercolour washes.
De fleste skildrer nøgne kvindefigurer. 
Most of them depict naked female figures.
De virker flygtige, men er samtidig også gennemarbejdede og præcise – de har sarte farvesammensætninger, men er også kraftfulde og lidenskabelige. 
They seem ephemeral and volatile, yet also carefully finished and precise – their colour schemes can be delicate, yet at the same time powerful and passionate.
For at pege på disse kvaliteter blev formidling og arkitektur tænkt helt tæt sammen. 
In order to highlight these qualities, we envisioned the overall presentation and the exhibition architecture as an interconnected whole.
Til en vis grad har vi forsøgt at lade værkernes kvaliteter flyde ud og bliver en del af udstillingsarkitekturen. 
We have to some extent sought to let the properties found in the works themselves flow out and spill over into the exhibition architecture.
Dette ses fx i valg af væggens materialer, som med deres bejdsede overflader understøtter den laserende vandfarve eller betonvæggene, der taler med Rodins lag af blæk og gouache. 
This is, for example, evident in the choice of materials for the walls: their stained surfaces echo the watercolour washes, and the concrete walls interact directly with Rodin’s layers of ink and gouache.
Samtidig står værkerne alene på væggen. 
At the same time the works stand alone on the walls.
De traditionelle værkskilte er taget væk og informationen ligger i et ark, som man kan finde i hvert tema. 
The signs traditionally seen next to exhibits are nowhere to be found; instead the information is presented on sheets of paper, with a separate sheet provided for each themed area.
Den øvrige tekst i udstillingen er placeret på lave borde, for at holde dem nedenfor værkniveau. 
The other texts within the exhibition are placed on low tables, keeping them below the level of the works themselves.
Auguste Rodin, Kentaur der kidnapper en ung mand, ca. 1880 
Auguste Rodin, Centaur Abducting a Young Man, c. 1880
Pen og brunt blæk, brun lavering, forhøjet med hvid dækfarve. 
Pen and brown ink, brown wash, heightened with white opaque colour.
Foto fra udstillingen 
Exhibition view
Valgene om at bruge rene materialer og ikke bare male væggene i udstillingen har været nervepirrende for hele udstillingstemaet, fordi det er svært at forudsige, hvordan de store plader egentlig ser ud, når de er samlet og står som store vægge. 
The decision to use pure materials instead of simply painting the walls of the exhibition space was quite nerve-wracking for the entire exhibition team: it is difficult to predict what the large sheets will actually look like once they have been pieced together to form large walls.
Vil de tage magten fra værkerne? 
Would they become overpowering, distracting attention away from the works?
Hvordan ser det ud, når det bliver belyst? 
What do they look like when lit?
Hvordan ser pladernes samlinger ud? 
How will the joins between the sheets show up?
Bevægelsen af kroppen 
Moving the body
Det er små greb som disse, der sætter kroppen i spil, og som er medskaber af den fortælling, som udstillingen lægger frem. 
Devices such as these get the body involved, co-creating the narrative presented by the exhibition.
Bænkene og podierne er med vilje designet brede og lave, så man skubbes ud mod værkerne og automatisk kommer helt tæt på. 
The benches and podiums are deliberately designed to be broad and low, pushing audiences out towards the works, prompting them to get close to the art.
Udstillingen som mødested for historier 
The exhibition as a place where stories meet
Måske vil man opdage det, måske ikke, men en ting er sikkert: Udstillingen vil af publikum blive brugt på mange forskellige måder. 
Perhaps audiences will spot this, perhaps not – but one thing is certain: the exhibition will be used in many different ways.
De vil gøre udstillingen til deres egen, kaste historier ind i den, der blandes med dem, vi lægger frem – men forhåbentlig mærke i kroppen, hvordan Rodin arbejder med materialitet, sanselighed og rum. 
Hopefully, they will feel an echo in their own bodies of how Rodin works with materiality, sensuousness and space.
Udstillingsteamet bag Flygtige øjeblikke – Tegninger af Auguste Rodin består af rumdesigner Pernille Jensen, museumsinspektør Thomas Lederballe og kunstformidler Mette Houlberg Rung. 
The exhibition team behind Fleeting Moments – Drawings by Auguste Rodin comprises room designer Pernille Jensen, curator Thomas Lederballe and art educator Mette Houlberg Rung.
Af: Mette Houlberg Rung 
By: Mette Houlberg Rung
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Læs med, når museumsinspektør og seniorforsker Henrik Holm blogger om tankerne og processen bag spot-udstillingen Ufortalte historier. 
Curator and senior researcher Henrik Holm blogs about the ideas and processes behind SMK’s new themed display, What Lies Unspoken.
En udstilling, der gennem et lydunivers af nutidige samtaler og diskussioner undersøger værker i SMK's samlinger, der afbilder mennesker af afrikansk afstamning eller kan knyttes til Danmarks fortid som kolonimagt. 
The new exhibition uses a sound collage of present-day conversations and discussions to explore works from the SMK collections that depict people of African heritage or can be associated with Denmark’s past as a colonial ruler.
Vi må dække et maleri over med et tæppe, fordi de kunstnere, billedaktivister og debattører, vi har inviteret ind til at diskutere vores nye spot-udstilling, får det fysisk dårligt af at se på det. 
We had to cover a painting with a blanket because viewing it made the artists, picture activists and debaters we had invited to discuss our new themed display physically sick.
Hvordan kan vi overhovedet være så ufølsomme, når vi beskæftiger os med netop dette emne, kolonitiden og fremstillingen af sorte mennesker i vestlig kunst? 
How could we possibly be that insensitive when addressing this very subject: colonialism and the portrayal of black people in Western art?
Hvorfor skildrer de hvide slaveriet som en fest? 
Why do white people depict slavery as a party?
På maleriet er personerne fremstillet som liderlige, upåklædte og primitive. 
The figures in this painting are depicted as naked, lecherous and primitive.
Hvordan fester man egentlig, når man er blevet taget fra sit hjemland og sin familie for at blive ført bort til hårdt arbejde og daglige, unævnelige krænkelser af kroppen? 
How are you supposed to party when you have been snatched away from your native country and family to a place of hard labour and unspeakable offences against your body every day?
Kunstværket selv er en krænkelse, synes vores gæster. 
The work of art is offensive in itself, our guests agree.
Vi gentager krænkelsen ved ikke at vise hensyn og tænke nærmere over, hvad vi gør. 
We reiterate the offence by not being sensitive and thinking more closely about what we are doing.
Vi havde ellers udvalgt værket af Dirk Valkenburg til at være selve hovedværket, som skulle introducere vores lille ophængning af kunstværker til Ufortalte historier. 
This prompted us to change our minds: we had originally picked this work by Dirk Valkenburg to be the main work of the exhibition, the one introducing our small-scale display for What Lies Unspoken.
Det er et meget fint udført, velbevaret og meget sjældent maleri fra så tidligt som 1706-8, som viser slavegjorte, som fester i en plantage i Sydamerika. 
It is a very well executed, well-preserved and very rare painting dating all the way back to 1706-8, showing enslaved people engaged in celebrations on a plantation in South America.
Efter at maleriet har været dækket over, flytter vi det til en anden plads i ophængningen. 
After covering the painting we relocate it to another position in the display.
Vi er ved at lære at lytte til andre stemmer og meninger end vores egne. 
We are learning how to listen to voices and opinions other than our own.
Vi lærer på den direkte måde i dette projekt. 
And we are learning it very directly in this project.
Vores synspunkter og handlinger er med vilje sat under pres udefra, så vi ikke bare kan gøre, som vi plejer. 
We have deliberately subjected our points of view and actions to external pressure so that we cannot simply do what we usually do.
Ideen 
The basic idea
Hele ideen bag projektet Ufortalte historier kommer udefra. 
The entire idea behind the project What Lies Unspoken came from outside the museum.
Det er forskningsstipendiat i kunsthistorie ved Living Archives i Malmø, Temi Odumosu, som har opfordret SMK til at invitere en række personer ind til at diskutere værker fra vores store samling. 
A research fellow in art history at Living Archives in Malmö, Temi Odumosu, urged SMK to invite a range of people to discuss works from our large collections.
Billeder af kolonien Dansk Vestindien, som åbner 19. maj 2017. 
Images of the Danish West Indies colony, opening 19 May 2017.
Alle museets værker er produceret ud fra en vestlig synsvinkel på kolonitiden, på slaveriet og de fremmede. 
All of the works found at the museum were produced on the basis of a Western perspective on colonialism, slavery and the Other.
Museet som institution er et produkt af den tid, hvor statsmagter konsoliderede sig ved at kolonisere andre dele af verden. 
As an institution, the museum is a product of an age where nations consolidated themselves by colonising other parts of the world.
Samlingen afspejler, hvordan den danske statsmagt og kulturlivet til forskellige tider har defineret den nationale selvforståelse. 
The collection reflects how state authority and the cultural scene have shaped and defined Denmark’s national self-image through the ages.
Vi har med stor selvfølge skildret andre kulturer og mennesker med anden hudfarve ud fra et vestligt perspektiv og hængt dem op på museer. 
We have depicted other cultures and people of other skin colours from a Western perspective as a matter of course, exhibiting the results in museums.
I museets rum bliver det hele nemt til noget om skønhed og sjældenhed, selv fremstillinger af slavegjorte, der danser. 
In the museum space, things can often become all about beauty and rarity – even depictions of enslaved people dancing.
Her er stereotyper og idylliseringer skabt, som lever videre i dag. 
Here we find examples of stereotypes and romanticised imagery that have persisted until the present day.
Nutiden har mange relationer til kolonitiden, og de findes også i et museum som SMK. 
Our present has many ties to colonial times, and some of them can be found in museums such as SMK.
Men det kræver en særlig indsats at kalde dem frem og få historierne fortalt. 
But getting these stories out in the open requires special effort.
Jens Juel, Niels Ryberg med sin søn Johan Christian og svigerdatter Engelke, f. Falbe, 1797 
Jens Juel, Niels Ryberg with his Son Johan Christian and his Daughter-in-Law Engelke, née Falbe, 1797
Det ufortalte 
Untold stories
Historien om den mørke side af det skønne forbliver ufortalt, medmindre vi skaber plads til den og fortæller om den. 
The stories of the dark aspects behind the beauty remains untold unless we create a space for them and give them voice.
Nogle gange er den åbenlys, som i tilfældet med scenen fra plantagen. 
At times these stories are quite obviously present, as in the scene from the plantation.
Men den mørke side udgør undertiden en skjult baggrund, som fx i maleriet af Familien Ryberg på deres gods (1797). 
But at other times the darkness lies hidden, as in the painting of the Ryberg family on their estate (1797).
Ryberg arbejdede sig op fra stavnsbundet bondedreng til ”Storkøbmand” og fik råd til at blive malet af tidens bedste portrætmaler Jens Juel (i meget stort format). 
Ryberg worked his way up from being a smallholder, almost a serf, to become a “grand merchant”, growing rich enough to have his portrait painted by the very best portrait painter of the age, Jens Juel (and on a monumental scale, too).
Ryberg tjente en del af pengene på slavehandel. 
Ryberg made some of his money from the slave trade.
Men det kan ikke ses i maleriet. 
But this is nowhere evident in the painting.
Han levede i det, vi i Danmark kalder ”Den florissante tid”, fordi landets økonomi blomstrede på grund af den internationale trekantshandel. 
He lived during the period that Danes call call the “Florissant” (flourishing) age because of the economic boom brought about by the international triangle trade.
For de tusindvis af slavegjorte, der med tvang blev solgt og sejlet fra deres hjemland til vesten under horrible forhold, vil perioden næppe kunne beskrives som ”blomstrende”. 
The period would hardly be described as “flourishing” by the thousands of enslaved people who were forcibly sold and shipped away from their home countries to the West under horrific conditions.
Dialog 
Dialogue
Hovedproduktet i projektet er de workshops, som er blevet gennemført på SMK og på Det Kgl. 
The main product generated by this project was the workshops held at SMK and the Royal Library in Copenhagen.
Bibliotek, hvor mange stemmer og udsagn fra diskussionerne om værker fra de to samlinger er blevet brugt i de særlige lyduniverser, som Temi Odumosu har produceret til de to institutioner. 
Many voices and statements from discussions of works from the two collections have been incorporated into the special sound collages produced by Temi Odumosu for the two institutions.
Lyduniverser, audioguide, tekster, værkudvalg og præsentation på SMK er alt sammen produkter af den proces, som disse workshops har afstedkommet. 
The soundscapes, audio guides, texts, selection of works and the overall presentation at SMK are all outcomes of the process prompted by these workshops.
At have mange stemmer – og ikke-kunsthistoriske stemmer – der taler ud fra deres egen viden og erfaring, står i modsætning til institutioner, der ofte taler med én, autoritativ stemme. 
Having a plethora of voices – voices not founded in art history – speak on the basis of their own knowledge and experience runs counter to institutions that often speak with a single, authoritative voice.
Stemmer kan være autoritære, men de kommer altid fra et individ. 
Voices can be authoritative, but they always come from an individual.
Stemmer kan også bære noget emotionelt med sig, og mundtlige udsagn kan ikke spille helt så neutrale, som en tekst på et stykke papir kan. 
Voices can also carry emotional overtones, and oral statements cannot claim neutrality to the same extent that a written text can.
I lyduniverset er det kun stemmerne, der høres. 
The soundtrack for this exhibition only lets us hear voices.
Vi kan ikke se, hvem der taler. 
We cannot see who is speaking.
Ingen er vist frem, og ingen er skjult. 
No-one is on display, and no-one is hidden.