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Estonia 100 - Table for Two - Art Meal

KĂźlli Suitso & Jonna Pedersen

Estonia 100 - Table for Two - Art Meal KĂźlli Suitso & Jonna Pedersen

2018 March 1st – April 7th

Bredgade Kunsthandel Bredgade 69 DK-1260 Copenhagen K +45 26216773

INTRODUCTION Art Meal on Helmet and Plate Welcome to a cultural exchange of Danish and Estonian fine art at the occasion of Estonia 100. It is with great pleasure that we introduce the exhibition Estonia 100 - Table for Two - Art Meal at Bredgade Kunsthandel. Since 2014 the two artists Külli Suitso and Jonna Pedersen have each been working on their respective suites of helmets and plates. In 2017, they each published an art book and we are very pleased to have them seated together here at the Table for Two. We are grateful to enclose in this catalogue contributions by the Estonian Ambassador to Denmark Märt Volmer, Prev. Foreign Minister to Denmark Uffe Ellemann-Jensen and food historian, lector Ph. D., Svend Skafte Overgaard. As you will see from the contributions in this Art Meal we are met by a contrast of realities and the deep inspiration the artists have each received from their cultural backgrounds. Both artists, using food elements, mirror issues and items from daily life. Although the genre is still life, there is nothing quiet about them when you observe the colourful motives, the exquisite technique, the complexity and size of their work. The terrible sounds of war in Ukraine were echoing as Külli Suitso painted her A Helmet with Blue and Yellow. While Jonna Pedersen painted her Stegt flæsk med persillesovs - As Mom Made It, a Danish minister used a million kroner to start a public debate on which dish was the favoured by most Danes. Helmets and plates can both be seen as a kind of protection in a political context. But the two artists invite us to listen to our own stories, inner voices, as we interact with their art. TIME is the air we breathe. Tools to deal with the challenges of our times - the paintbrush, the saxophone, the spoken or written word – allow us to respond. Külli Suitso and Jonna Pedersen both give us a bite of their time. The helmet has been inverted and filled with apples, still water, ice, snow, dough, meat, sweets and flowers. The kettle is boiling for a break. Please, take your time, and enjoy! Welcome ∙ Tere tulemast ∙ Velkommen Inge Schjødt, Curator of Estonia 100 - Table for Two - Art Meal Copenhagen, 2018

Preface The artists presenting their works at Estonia 100 - Table for Two - Art Meal are from Denmark and Estonia. Both nations have lived in their respective countries for thousands of years and have been shaped by different dramatic twists and turns of history. Estonia is celebrating its 100th anniversary this year and whenever somebody celebrates an anniversary, it is useful to sense the local context. Here, in Denmark, the context is clear – if you start counting from Gorm the Old you get over a thousand-year history of continuous sovereignty, governance and population. In Estonia, the only continuity we experienced was the continuity of our culture, way of life, population and territory. Our paths have crossed repeatedly. So we are similar, intertwined and different at the same time. The two artists tell a similar story in two different ways. When Külli Suitso blends the ecological palette of dandelions and white clouds with military helmets in her paintings, the outcome is striking. Military uniforms, war and suffering create a powerful contrast to everyday food which was poor and scarce in time of war. When looking at Jonna Pedersen’s paintings, you sense something very human, or even have a hyggelig feeling of a dinner prepared somewhere on the shores of Kattegat. This is a journey and a homecoming at the same time. But the history has not ended yet, the helmets are still in active use in the middle of Europe. We can enjoy the beer from Ærø and keep our culture and habits dating back to the distant past, the family traditions, and the small but important things that make our lives here in the Nordics so enjoyable. We have come a long way to get to the situation where our Østersø region is one of the most stable, peaceful and prosperous regions on planet Earth. This exhibition has many messages, everyone will see it in their own way. Estonia celebrates its centenary this year and this is only the beginning. This is a journey and there are many good things to come along. Estonian Ambassador to Denmark Märt Volmer

Estonia over 100 Years This year Estonia celebrates its centenary as a state. It has been a dramatic 100 years. For half of its short existence, this little country was deprived of its freedom and independence. So no wonder this anniversary is a grand celebration. Estonia first appeared in Danish history 800 years ago, when Valdemar Sejr went on a crusade against the heathen tribes on the other side of the Baltic Sea. According to legend, it gave us the Danish flag, Dannebrog, which fell from the heavens when the Danes were in need. For the next 127 years, Danish kings ruled northern Estonia. The great island of Saaremaa (Ă–sel) was Danish until 1645. There are numerous castle ruins throughout Estonia as reminders of this time and the following centuries, when the German knight orders, the Russian Empire and Sweden variously ruled over Estonia. From 1721 to the Russian Revolution in 1917, Estonia was part of the large Russian Empire and was largely allowed to function peacefully with a high degree of autonomy. The first World War and the Russian Revolution led to the three Baltic countries - Estonia, Latvia and Lithuania - becoming independent states. But Estonia first had to fight a bloody war for freedom because the Red Army tried to make the country a part of the new communist state, the Soviet Union. In that battle, 200 Danish soldiers participated in a voluntary corps. At the peace in Tartu in 1920, the Soviet Union renounced "forever" its sovereignty over Estonian territory. However, less than 20 years later, Stalin signed a secret pact with Hitler on the partition of Europe. In 1940 Stalin occupied the Baltic states and forced them to be part of the Soviet Union. After a short German occupation from 1941 to 1944, Estonia was once again occupied by the Soviet Union and was only given its freedom again with the other Baltic states in August 1991. Today, only a quarter of a century later, Estonia is an active and respected member of all the major European and Western organizations: in particular the EU and NATO. However, Estonia's independence is threatened by the newly aggressive Russia under Putin, which has violated sovereign rights by annexing Crimea and waging war in eastern Ukraine, and in addition taken a number of aggressive actions against its other neighbours: for example propaganda, fake air attacks, border violations. This is why 200 Danish soldiers are again stationed in Estonia - to remind an aggressive neighbour that Estonia is a member of NATO and that we therefore are ready to stand with the Estonians if they are attacked. Denmark is here with many other NATO countries to show our flag - and our soldiers.

The Danish contribution has particular relevance for several reasons: firstly, the historical coincidence between the effort 100 years ago and the effort today. Secondly, the fact that Estonia's security is also Denmark's security because the Baltic countries have taken over Denmark's old Cold War role as a "front line" against an aggressive opponent. Thirdly, because Denmark through the years has nurtured a special relationship with our small neighbours: Denmark never recognised their forced incorporation into the Soviet Union and therefore we were able to be first in restoring diplomatic relations after the Soviet era. Finally, in the cultural sphere, Danish cultural institutions have contributed to countless contacts with Baltic cultural life, which were kept remarkably active during the long occupation. Knowing the short but brutal history of this little country, it gives meaning that a visual artist like KĂźlli Suitso has chosen a steel helmet as a recurring theme in her art. In addition, when it is associated with the well-known Danish knife and fork theme, which illustrates peacefulness in our approach to existence. Prev. Foreign Minister to Denmark (1982-93) Uffe Ellemann-Jensen

The first president to Estonia after the independence, Lennart Meri (1929-2006) together with Uffe Ellemann-Jensen posing at the old crusader castle by Valdemar the Conquerer and close to the present Estonian/ Russian border. (Narva 1997)

The Gravy Era // or Danish Food Culture in the Gravy Epoch There is gravy and there is sauce. The definition of gravy is that there is enough of it, it is brown and above all, it must have a thickness so it nestles around the peeled boiled potatoes and grilled meat. If Jonna Pedersen had not realised this before she began to portray Danish food culture in pictorial form, she certainly came to that realisation along the way. All the elements on the dish have their history, but minced beef patties with tender onion, beetroot and brown gravy varies, just like medister pork sausage with red cabbage, brown gravy and potatoes; a theme all about grilled meat, most of the time minced, and boiled potatoes, accompanied by something pickled. It is the story about a certain pattern in tastes, ingredients and cooking techniques. And it is the story of how Danish food culture has been shaped through the arrangement and interpretation of ingredients in an exchange between material, political and identity related factors. From when the cooperative movement achieved its breakthrough in the 1880s and simultaneously meat mincers and stoves became vital cogs in the kitchen’s machinery, the main warm meal of the day has been has been underpinned by (minced)meat, gravy, potatoes and a side dish of pickled vegetables. At the same time, the kernel of Danish societal development has been a redistribution of material, identity and power balances, with cooperative agriculture, the unionised labour market and parliamentary politics as key elements. Here the saying “the few who have too much and the fewer that have too little” has functioned as a unifying story despite contradictions and disputes. Gravy, not sauce, is a part of this story. True, whisky and soda was on the drinks trolley the evening the Kanslergade Agreement was reached, achieving a truce in the political upheavals of the 1930s. However, most of the delegates at the meeting were in no doubt that the real meal was of course based on gravy, potatoes and meat. The gravy tasted of meat, butter or margarine, sugar and vinegar; its consistency was smooth, nestling, juicy and elastic. Bavarian beer completed the meal, piercing with its bitterness. Thus the beer played the same culinary role as rye bread, in its central role in the gravy meal’s cold counterpart: the traditional Danish open sandwich lunch. Here we are also talking about a part of Danish cuisine, which brought together workers, peasants and the middle class in a culinary manifestation of Danish identity. Regardless of possible distinctions between social classes in gravy and sauce cuisine, the open sandwich’s role as focal point for lunch, supper or festive get-togethers has marked an identity, which has kept foreign taste buds at arm’s length through pickled

herring, fresh onion rings, jellied meat stock, cress, cold meat and dark bittersweet rye bread. Gravy and potato cuisine has, together with the traditional Danish lunch, carried us through the long 20th century. Looking at the Danish food culture landscape in the 21 st century, this unity has ended. The technologies, exchanges and values follow new patterns and traditional Danish cuisine is one of many in a landscape of pluralistic identity, where it has even been necessary to invent a new Danish cuisine with a Nordic theme. Meat grinders, bacon and margarine are no longer enough to satisfy the culinary and identity needs of a society, where an abundance of food is taken for granted. Thus, gravy no longer binds it, but accounts for a culinary interpretation of a past historical era. It will not be the death of gravy, but rather an interpretation point for new stories. Svend Skafte Overgaard is a foodhistorian Lecturer, PhD, Head of Studies at Nutrition and Health Education Department of Nutrition and Midwifery, Faculty of Health and Technology, Metropol University of Applied Sciences, Copenhagen

Külli Suitso: ”Helmet with a Crown”, 2016, Oil on canvas, 60 x 80 cm.

Külli Suitso – artist statement Between 2014 and 2017, I worked with the series of "Helmet". One of the first works was the oil painting "A Helmet with Blue and Yellow," which was completed in March 2014, shortly after Russia annexed Crimea. The series includes 37 oil paintings, 1 drypoint, 1 video and 1 installation. The helmet is a strong symbol. It is usually associated with war, destruction, suffering, death ... but also protection. Concrete and recognizable symbols of a soldier`s belonging and as well as hierarchy are attached to military helmets of different forces. But underneath the helmets and uniforms, inside the human soul of the person, sent to fight for or against something, there are totally personal thoughts, feelings, wishes, dreams, longings… and fate. In this helmet series of works, I play with strong, absurd contrasts. I paint strawberries, daisies and white clouds on the helmets. I fill helmets with apples, still water, ice, snow, dough, meat, sweets and flowers, to balance the dark sides of a human being. - Külli Suitso

Külli Suitso: ”Helmet filled with Apples”, 2015, Oil on canvas, 120 x 130 cm.

KÜLLI SUITSO * Tartu, Estonia 1974 Education

1992-1998 Painting department of Tartu University, Estonia

SELECTED SOLO EXHIBITIONS: 2017 Estonian War Museum, together with filmmaker Imbi Paju 2017 Tartu Art House, Estonia 2016 Galleri Udengaard, Århus, Denmark 2015 Galleri NB, Viborg, Denmark 2011 Galleri NBex Project, Galleri NB, Viborg, Denmark 2010 SAK, Svendborg, Denmark 2008 Hobusepea Gallery, Tallinn, Estonia 2008 Kerteminde Toldboden, Denmark 2007 ArtDepoo, Tallinn, Estonia 2003 City Gallery, Tallinn, Estonia SELECTED GROUP EXHIBITIONS: 2017 Realistisk Set, Bredgade Kunsthandel, Denmark 2016 Den Sorte Skole, FGV, Brandts 13, Odense, Denmark 2014 Den Fynske Forårsudstilling, Johannes Larsen Museet, Kerteminde, Denmark 2013 Estonian art, Berchtoldvilla, Salzburg, Austria 2013 Artists group Kursi Koolkond, Riga Art Hall, Latvia 2012 Viborg Billboard Painting Festival, Denmark 2012 Charlottenborg Spring Exhibition, Copenhagen, Denmark 2009 KE. Gamle Holtegaard, Denmark 2007 DCK# 007, Odense, Danmark 2005 KE, Copenhagen, Danmark 2005 Charlottenborg Spring Exhibition, Copenhagen, Denmark 2003 Artists group Kursi Koolkond, Tallinn Art Hall, Estonia 2002 Art from Tartu, Tampere, Finland 2001 Art from Tartu, Bror Hjorts Hus, Uppsala, Sweden 1994 Sôktôvkar, Komi, the 1. Exhibition of Finno-Ugrian Artists, Russia SELECTED SCHOLARSHIPS: 2015 Estonian Fund of Culture 2004 SLEIPNIR, Faroe Islands 2002 SLEIPNIR, workshop in litography, Jyväskylä Centre for Printmaking, Finland 2001 Artist in Residency, Loviisa, Finland REPRESENTED: Private collections in Estonia, Finland, Sweden, Denmark; town collection of Loviisa, Finland; town collection of Uppsala, Sweden; Middelfart Kunstfond, Denmark.

Külli Suitso: ”War is over - Helmet filled with Water”, 2016, Oil on canvas, 120 x 150 cm.

Külli Suitso: ”War is over - Helmet filled with Rotten Apples”, 2016, Oil on canvas, 120 x 150 cm.

Külli Suitso: ”Helmet filled with Chicken Meat”, 2016, Oil on canvas, 60 x 80 cm.

Külli Suitso: ”Helmet with Candy”, 2016, Oil on canvas, 60 x 80 cm.

Külli Suitso: ”Helmet and Daisies”, 2016, Oil on canvas, 60 x 80 cm.

Külli Suitso: ”Helmet with Green Berries”, 2016, Oil on canvas, 60 x 80 cm.

Külli Suitso: ”A Helmet with a thin Layer of Ice ”, 2015, Oil on canvas, 80 x 100 cm.

Külli Suitso: ”Helmet with Ice”, 2015, Oil on canvas, 80 x 100 cm.

Külli Suitso: ”An Apple and a Helmet”, 2014, Oil on canvas, 80 x 100 cm.

Külli Suitso: ”Helmet after Baking Bread in it”, 2015, Oil on canvas, 60 x 80 cm.

Külli Suitso: ”Helmet filled with Apples”, 2014, Drypoint, 28x38 cm.

KĂźlli Suitso: Helmets at Tartu Art House, Estonia, 2017 Exhibition view

Külli Suitso: ”Helmet and the Doll”, 2016, Oil on canvas, 50 x 70 cm.

Külli Suitso: ”Helmet with a Real Scull”, 2016, Oil on canvas, 70 x 60 cm.

Jonna Pedersen: ”Hop ud I det – Go Ahead”, 2014, Acrylic on canvas, 170 x 134 cm.

Jonna Pedersen – artist statement Central to my artistic work, I have an interest in what we most often stop noticing, in other words, the blind spots in our consciousness. I am particularly curious about the meanings that we humans attach to elements from our everyday lives. In the works, which are part of the exhibition "Table for Two", I have focused on the meanings we attach to food. It interests me how those meanings are shaped by our common culture - both historically and contemporarily, and constantly changing. My artistic approach is a narrative documentary and figurative study where my works become a form of "time images" that can both bring forth our memories of the importance of elements, invite to reflect on the meaning and help to sharpen our perception of the surrounding world, and hence own point of view. The works in the exhibition "Table for Two" are included in my work series "Burning Love". Here I have studied Danish food culture based on everyday dishes and cakes, and transformed our cultural history so that we meet our cultural heritage again. The focal point of my artistic survey has been tradition, humor and sensuality. Several cakes and dishes have been invented in Denmark and are strongly rooted in Danish culture. Since food is also a very sensual experience, I have made an effort to make the paintings sensuous. First, I cooked the food in the motives, then I ate a serving and finally I made a serving to bring to my studio. That serving then "stood model" in my studio, and has served as an inspiration source for the individual painting. This has enabled me to tactilely sense, smell and observe the subjects closely, portraying the present in the literal sense. In seven poems, I have put words on the sensuality and have enjoyed playing humorously with words. The poems are written based on seven of the paintings and therefore have the same title. I have used the poems as a free space to express a different meaning of the subject, based on my own dining experiences. The poems are reproduced in the book "Burning Love. Danish food culture according to Jonna Pedersen". The exhibition “Table for Two� also includes a table set for two people, where one person could be Estonian and the other Danish because of the references in the colors of the table cloth. One side is set with a blue tablecloth, one black and one white napkin, this tricolor constitutes the Estonian flag. The other side is set with a white tablecloth, a napkin with the Danish flag, red service and a red Tuborg beer. The dinner dishes are roast pork stew and beef stroganoff with reference to pork, meat and potatoes, which are traditional ingredients in both Danish and Estonian cuisine. In the middle of the table, I have placed a head on a plate in memory of the heads that have been inside military helmets - and still are.

Jonna Pedersen *1971 Lives and works in Copenhagen. Member of Danish Visual Artists and Female Artists Society. Exhibited at Den Frie, Kunsthal Charlottenborg, Gammelgaard, Heerup Museum, Frederikshavn Art Museum, Kirsten Kjær’s Museum, Deutsches Sport & Olympia Museum in Germany, Fondazione Giorgio Cini in Venice and Freshpaint Contemporary Art Fair in Tel Aviv. Also exhibited in galleries in New York, London, Berlin, Boston, Amsterdam, Barcelona, Cape Town, Jerusalem, Avignon, China among others. Debuted at Charlottenborgs Forårsudstilling in 2005. Works admitted to all juried exhibitions in Denmark in 2006. Selected to represent Denmark as the only female artist at FIFA World Cup 2010 in South Africa. Represented by Mika Contemporary Art, Tel Aviv, Israel. Education 2017 / Performance education, actress and singer Isabella Kragerup 2004/3 / Visual Art School 2000-2003 / Painter Håkan Nyström 1999 / Ealing Art College, London 1996 / Cand. Negot, University of Southern Denmark Upcoming exhibition 2018 / Overgang, Museum Ovartaci, Risskov 2018 / International Sculpture Exhibition, Agger Exhibitions - selected 2018 / Table for Two, Bredgade Kunsthandel, Copenhagen with Külli Suitso. Curator Inge Schjødt 2017 / Freshpaint Contemporary Art Fair, The Steinhardt Museum, Tel Aviv 2017 / Velbekomme! Kunstforeningen Det Ny Kastet, Thisted with Lars Heiberg and Jesper Aabille 2016 / Kirsten Kjær’s Museum, Frøstrup 2016 / En Hyldest til Anna Ancher, Skagen Odde Naturcenter 2016 / Buket, Kvindelige Kunstneres Samfund 100 års Jubilæum, Gammelgaard 2016 / Freshpaint Contemporary Art Fair, Tel Aviv 2015 / Mika Contemporary Art Gallery, Tel Aviv 2015 / Bozar de Schuurman, Koel310, Holland 2015 / Map of the New Art, Imago Mundi, Fondazione Giorgio CINI, Venedig. Curator S. Gether 2015 / Voyage, Voyage, Enschede, Holland. Curator Jeroen van Paassen 2015 / AAF Art Fair New York 2014 / De Kunst 10 Daagse, Bergen, Holland 2014 / Are We Already Gone?, FlickerLab, New York. Curator Negin Sharifzadeh 2014 / Viborg International Billboard Painting Festival

2014 / Global Village, Landshut, Germany. Curator Jeroen van Paassen 2014 / Mit Sted, Heerup Museum. Curator Anni Lave 2014 / Byens Ansigt, Augustiana Kunstcenter, Augustenborg / Du Søde Liv, Galleri North, 2013 / Global Village, ABC Treehouse, Amsterdam. Curator Jeroen van Paassen 2013 / BLIKFANG, Galleri Hegnhøj & Blyme, Copenhagen 2013 / Verden findes et sted, Frederikshavn Art Museum 2012 / FootAction, GX Gallery, London 2012 / The Big Show 7, Silas Marder Gallery, New York. Curator Silas Marder 2012 / Æglageret, Holbæk 2012 / New York City Blues, Kunstpakhuset Ikast, with Grace Pillard, Robin Tewes, Bjørn Eriksen. 2011 / Chain Letter, Samsøn Projects, Boston 2011 / New York Art Marathon, Alexandre Gertsman Gallery, New York 2011 / Parcours de l'Art, Avignon / DadaPost, Berlin Working grants / Danish Arts Foundation 2011 / Hielmstierne-Rosencrone Foundation 2010, 2006 Travel grants / Danish Arts Foundation 2008 / The Danish Art Council 2009 / Oticon Foundation 2006 / Toyota Foundation 2006 Bibliography - selected Brændende Kærlighed. Dansk madkultur ifølge Jonna Pedersen. Book by Inge Schjødt, Cinnober Edition 2017, 60 pages En blues om New York. Catalogue by Ole Lindboe and Bente Jensen, Cinnober Edition, 2012 Documentary. Book by Trine Ross, Bente Jensen, Ed McCormack. Cinnober Edition, 2011, 160 pages Global Village - a catalogue. By Jeroen van Paassen, Gigaboek, 2010, 140 pages Urbane Fortællinger. Catalogue Ole Lindboe, 2007 Virkelighedens Fylde. Jonna Pedersen og Maleriet. Book by Ole Lindboe. ArtPage, 2005, 48 pages Press - selected 2017 / Interviewartikel Kunstavisen / 2016 / North Art Magazine 2014 / Alwan For the Arts, New York 2013 / Nordjyske Stiftstidende / North Art Magazine 2012 / DR Kunstklub 2011 / Magasinet Kunst Commissions / Finansforbundet / Danmarksindsamlingen / Happy Xmas Tree / Headspace Collections / Luciano Benetton Collection / Viborg International Billboard Painting Foundation / Alexandre Gertsman Contemporary Art Collection, New York / Sociale Verzekeringsbank, Zaanstad, Holland / Gladsaxe Kommunes kunstsamling / Rødovre Kommune

Jonna Pedersen: ”Når Kaffen er Klar – When the Coffee is Ready”, 2014, Acrylic on canvas, 60 x 80 cm.

Jonna Pedersen: ”Farmors Bedste – Grandmothers Best”, 2014, Acrylic on canvas, 80 x 100 cm.

Jonna Pedersen: ”Hakkedreng med det Hele – Danish Steak with Garnish”, 2014, Acrylic on canvas, 134 x 170 cm.

Jonna Pedersen: ”Gris på Gaflen – Pig On the Fork”, 2014, Acrylic on canvas, 134 x 170 cm.

Jonna Pedersen: ”En Vingummibamse – A Jelly Bear”, 2014, Acrylic on canvas, 30 x 24 cm.

Jonna Pedersen: ”Pingvin Oplukker”, 2014, Acrylic on canvas, 30 x 24 cm.

Jonna Pedersen: ”Knasende og helst med Øl til – Crispy and Preferably Served with Beer”, 2014, Acrylic on canvas, 60 x 80 cm.

Jonna Pedersen: ”Som vor Mor lavede det – As Mom made It”, 2014, Acrylic on canvas, 134 x 170 cm.

Jonna Pedersen: ”Dansk Sommertid – Danish Summertime”, 2014, Acrylic on canvas, 77 x 88 cm.

Jonna Pedersen: ”Bagerens Dårlige Øje – Danish Pastry”, 2014, Acrylic on canvas, 54 x 60 cm.

Jonna Pedersen: ”Pirring af Sanser – Stimulation of Senses”, 2014, Acrylic on canvas, 60 x 80 cm.

Jonna Pedersen: ”Et Øjeblik – One Moment”, 2014, Acrylic on canvas, 60 x 90 cm.

Jonna Pedersen: ”Knasende Sødme – Crunchy Sweetness”, 2014, Acrylic on canvas, 54 x 60 cm.

Jonna Pedersen: ”En Himmelsk Mundfuld – A Heavenly Mouthful”, 2014, Acrylic on canvas, 54 x 60 cm.

Jonna’s private recipe for her Danish Beef contains the following ingredients and instruction. ”You shape the beef, roast it until it gets Burnt Sienna. Spice it up with Mars Black and Titanium White. Turn it often and let it cook approx. 6 min. The pan is boiled with broth, and smoothed with Van Dyke Brown. The onions are pealed and chopped. Roast them Raw Sienna in Danish butter, stir regularly. Take them off the heat, but keep them warm. Meanwhile the potatoes has been boiling Cadmium Yellow Light. Put it all on a plate of 134x170 cm, place it on a Cadmium Orange tablecloth. Serve with Phatalo Green Yellow pickles.” Bon Appetite ∙ Head Isu ∙ Velbekomme!

Jonna Pedersen: ”En Vingummi Kringle – One Jelly Pretzel”, 2014, Acrylic on canvas, 24 x 30 cm.

What are we having for dinner?

Jonna Pedersen:”Bøf stroganoff – Beef Stroganoff”, 2017, Collage, 30 x 21 cm.

Jonna Pedersen:”Flæskesteg – Roast Pork”, 2017, Collage, 30 x 21 cm.

What are we having for dinner?

Jonna Pedersen: ”Farsrulle med Æg – Meatloaf with Eggs”, 2017, Collage, 30 x 21 cm.

Jonna Pedersen: ”Persillerulle – Meatloaf with Parsley”, 2017, Collage, 30 x 21 cm.

Jonna Pedersen: Table installation Exhibition view

Estonia 100 – Table For Two – Art Meal Külli Suitso & Jonna Pedersen Bredgade Kunsthandel 1.3. – 7.4. 2018 Curated by Inge Schødt, Catalogue: Annegrethe Davis Photos: Bredgade Kunsthandel and artist archive Organised by Bredgade Kunsthandel Supported by the Estonian Embassy

Version 1.0 printed in 300 copies © Bredgade Kunsthandel

Bredgade Kunsthandel Bredgade 69 DK-1260 Copenhagen K +45 33135041

Catalog Estonia 100  
Catalog Estonia 100  

This catalog is a Danish -Estonian cultural exchange to celebrate Estonian 100 year anniverary as a state