ARoS Aarhus Kunstmuseum
Aros Allé 2, DK-8000 Aarhus C
Introduction with Ole G. Jørgensen, Programme Manager for ARoS’ new international residency programme and New York-based artists in residence Flux Factory.
A bit about ARoS Aarhus Kunstmuseum (from their website)
With a total of 20,700 square metres distributed on ten storeys, ARoS is one of the largest art museums in Northern Europe. Each year, ARoS has about one million visitors, making it the most frequented art museum in Scandinavia.
ARoS has an ambition to be among the ten most eminent art museums in the world. To achieve this, a different and untraditional strategy will be applied where the museum e.g. will cultivate close links to society/the local community.
Further, ARoS has instituted the ARoS Triennial, held for the first time in 2017; dedicated an entire storey to the innovative gallery ARoS Public, and there are plans to extend the museum to provide additional space to accommodate greater numbers of people and more art.
ARoS features four spacious galleries, an ARoS Focus gallery, and a storey featuring installational art. In each of these galleries, ARoS presents art from either the museum collection or by national and international artists, including e.g. Grayson Perry, Robert Mapplethorpe, Joana Vasconcelos, Bill Viola, Olafur Eliasson, Paul McCarthy, Shirin Neshat, Lucian Freud, and Francis Bacon.
A bit about ARoS Aarhus Kunstmuseum (from my notes)
The venue was closed for the day when we arrived but we were lucky enough to be shown round some of the exhibitions and residency spaces at the museum. The Flux Factory artists in residence were busy when we arrived preparing for a performance the next day. The residency space was open for the public to come into, something that ARoS wants, for the public to see what artists get up to in their studios. Group residencies are welcome there but there always needs to be one person in the space in case any of the public do come in for them to talk to.It was a great space but as there was no proper ventilation it wouldn’t be suitable for anyone working with paints with fumes or woodwork (sawdust) for example. The cinema space allowed you to chose which film you wanted to watch.