People From Copenhagen

"But through the 1990's I developed signatures, somewhat radical and unmistakably mine. Francis Picabia remains my hero. The more you dive into his work, the wilder it becomes. He painted the skewed Cubist paintings that we all know. Then came the kitsch works. And he ended up doing these strange, abstract works that are impossible to grasp. Whenever you think you’ve got him, he’s always moved along. That’s what I aspire to do."

"I have a garden and across the road, a park. I never go for walks, but I look out the window and 'ask for permission' [to paint the view] as I call it. If I need some green, I find it there. In that sense, I’m a very old-fashioned painter, tied to nature. But I remain modern in that I execute some rather impious structures. I will react if I feel that my paintings, though abstract, become too naturalistic. I have another studio in Italy and I worked a lot there this summer. I still depend on my surroundings, so some of my work was very influenced by the Italian landscape, its olive trees and the very cold green color of the leaves. You could identify the specific landscape in those paintings and it drove me crazy. So I had to destroy them. But even destruction can still help underline what is good about a picture."

"At my age [74], you realize that some things have caught you. You can see that as a positive or a negative. On the negative side: Are you in a routine, unconsciously adapting to things that work well?.. ..The black Masonite [board, Kirkeby used to underlayment for his painting].. ..by not painting them black and instead making them beautiful, I’ve wondered if I have sold that particular idea. Edvard Munch, as he got older, sat at his home and painted like a wild man. Those works were not very popular and have come to be considered the 'wrong' Munch. But that’s how you need to be when you get old. I call it the arrogance of age: You don’t need recognition. You just don’t care."

"A structure-less painting is, to me, a painting that does not matter. Structure mirrors your degree of responsibility toward the work. You can’t just let it float around in pretty colors. It needs a kind of core. But this is an inner structure. It does correspond to being a geologist — the metaphor may be trite, but it works. Like when you see these breathtaking mountains in strange colors in eastern Greenland. As a geologist, you want to know what exactly they’re doing."

"it doesn't care too much if it's from the 60's or from last year - it's kind of the same thing [in his paintings].. ..apparently there are certain structures, certain ways of organizing a painting that's there, that I'm born with as a painter."

"To achieve the structure it takes a damn long time, so my paintings are always in work for a very long time—sometimes a year. Not that I work on them every day. I will have them, and then come back to them after a year, and also return intermittently. It’s not easily done. I am not able to do “one, two, a painting.” I try to do it very quickly, but it doesn’t work with me. I simply can’t do it. Very often people look and say, 'Ah, fantastic! That’s a beautiful painting.' But the moment they are out the door I start working on it. I rework it."

"Like Willem de Kooning, Kirkeby is a virtuoso at creating unity from.. ..visual chaos.. .We Americans tend to think that Abstract Expressionism is a style of the past, dependent upon a worldview that no longer commands assent. And we have become suspicious of painterly virtuosity. This exhibition shows that we are wrong - Kirkeby’s splendid paintings demonstrate that Abstract Expressionism is a living tradition."

"Painting is laying layer upon layer. Without exception it is fundamental to all painted pictures even if they look as if they were done in one movement. The movement has always crossed its own track somewhere. It is easy to understand that a picture is layer upon layer when it comes to Picabia's puzzle pictures or my own material works, but it is difficult with the 'synchronos'. By the 'synchronous' I mean all those pictures where all the layers aim at the same picture, where the under-painting and following layers – glazed or not – fall on top of each other. The 'unsynchronous' are the ones where each new layer is a new picture. It is like geological strata with cracks and discordances. But each new layer, however furious, is always infected and coloured by the underlying one. Even when it is slates where the previous payer is completely removed physically, wiped off."

"Thus it is with all pictures, there are many layers, and with good reason an analysis nearly always deals with the last [layer]. The last layer in a superficial sense. But how then can one talk of what one cannot see, the overpainted or wiped-off layers, how to go about for example, photographs that are like slates with layers which no longer exist. The answer is that they exists nevertheless, taken up into the visible layer by a rubbing-off, but the problem, on the whole, is how one deals with the visible layer. The angle-sure, viewpoint seeking and in the worse sense 'analytic' intercourse with the picture."

"..I also got to meet w:George Maciunas, the father of Fluxus. I wanted to know what this Fluxus was, so I asked him, 'If I put salt in a tea bag and then into hot water, then the salt will dissolve, and when you pull the bag up, there is nothing in it. Is that Fluxus?' 'Let’s make that one right away,' Maciunas replied. And it became a Fluxus object. I told him that I was a painter and that I would keep painting. 'Well,' he said, 'that doesn’t matter, as long as you do it the right way.' Getting to know him, I understood that the right way was with a certain sense of justice."

"chapter 'Caption', p. 84"

"I believe that painting, in our meaning, is structures. Each application of paint to a surface is structure. This is, of course, self-evident, but a superstructure of meaning can occur. One can have various motives for doing it. And here that difficult motif comes in. I believe that a ruthless accumulation of structure reworkings leads to one meeting one's motif. One's life-motif, so to speak. That which one has and does not know that one has it. A sort of geology, as when, in a constant process, sedimentation and erosion makes the earth we live on like it is now, without any meaning in itself in a rational sense, but accepted as that upon which we live in this life.."

"Throughout history, people have never before expected to be as comfortable as people do today."

"The lesson from the Cold War is, if you give in to totalitarian impulses once, new demands follow... The West prevailed in the Cold War because we stood by our fundamental values and did not appease totalitarian tyrants."

"For me, it [being Queen] is a responsibility that does not include abdication. It is a task one has been given and taken upon oneself, and one does not relinquish it because it would perhaps be convenient personally to be rid of some of it."

"I will remain on the throne until I fall off!"

"In February this year I underwent extensive back surgery. Everything went well, thanks to the competent health personnel, who took care of me. Inevitably, the operation gave cause to thoughts about the future – whether now would be an appropriate time to pass on the responsibility to the next generation."

"I have always felt that it is a task that you are given, and that you have it as long as you live. That is my fundamental view. It is an integral part of the job that you have it for life."

"Being Queen is a profession, a job, a position, an office that one cannot put aside when you come home from work. It is there all the time - and it is there all your life."

"I have decided that now is the right time. On 14 January 2024 – 52 years after I succeeded my beloved father – I will step down as Queen of Denmark. I will hand over the throne to my son Crown Prince Frederik."

"I would like to stress that the obligation [of being Queen] has always been driven by joy. The joy is rooted in the warmth that has met me and my family everywhere through every year, in celebration and joy as in sorrow, in the so-called "big days", as well as in everyday life."

"I do not think one should chase the fashions of the day, concerning neither sweaters nor opinions."

"You are not just 'Denmark's Queen'. You are the Danes' Queen."

"Dear mother – it is always parents who say they are proud of their children. I know your father, my grandfather, King Frederik IX, would have repeated: "I'm proud of you, my girl". But I stand here today as your eldest son, proud of his mother, and all she has achieved so far. Dear mother, you appear as the mother both of your sons remember from their youth: a beautiful queen, a stalwart girl."

"We can be very relaxed in our relationship with the Danish people...I feel extraordinarily privileged."

"There is nothing so clever as people you agree with."

"God's help, the love of the people, the strength of Denmark."

"That cold January day - and so many people... I'd never imagined it would happen nowadays."

"I hope I will be able to paint as long as I live."

"We were so busy that we didn't have time to think about how terrible it was or - in fact it felt strangely natural."

"One shouldn't write one's own epitaph. I hope people will remember me as one who did her best - and who wasn't an anachronism."

"Gradually he [King Frederik] showed me everybody was going to help me in this...it was not a terrifying thing, but a great challenge."

"One should never be so formal that one loses life, but one should never be so informal that one becomes without form of any kind."

"I think that people imagine protocol and etiquette as some kind of great dragon that hovers behind the pageantries of the palace to pounce on you and eat you up if you aren't behaving as you should. But in fact etiquette is saying how to do when you meet people, saying good night to your parents before going to bed, opening a door to a woman, getting up if an older person wants to sit down on the bus and it's all full, that is etiquette, or protocol, if you wish. At the everyday level, all the time, all of us. It's a way of knowing what you've got to do so that you have your mind free to do other things and think of other things."

"One would not die from my cooking, but I am not sure one would survive my driving."

"I think, for me, nature has always been my main point of reference. I think as a child I was fascinated by landscapes and nature wherever I went. I was able to travel all over Denmark, which is not that large, everywhere in this country where I've been I always loved the landscape."

"One may well use one's head even though one is in love. Someone has said that one cannot prevent lightening from striking – but one may prevent the whole town from burning down."

"For me it is always the colour, first and foremost."

"In spite of the many initiatives our society offers to help and support, recovery can be such a monumental task that some give up. They withdraw into themselves. Not least during Christmas and New Year is it hard to feel left out. Tonight my thoughts are with them."

"I was supported from every side by my family and by the ministers, but so much also by the people."

"We do not have that much to moan about when one thinks of what people did not moan about before."

"In the course of the last few generations, society has developed in such a way that we can live more and more safely, both financially and socially. We have got used to being able to pick and choose quite freely in big and small matters. Our circumstances are so good now that we have almost forgotten that our decisions also have consequences and that we cannot opt into or out of all life’s conditions."

"Painting is not what my life is about, but it is very important to me, and I am very lucky to be able to give some time to it. The time that I devote to painting is not a lot of time, but I do it 100 percent while I am working, and then there's nothing else that counts."

"You are handed your job as the old king or queen dies... It is not a life sentence, but a life of service."

"The fact that I am a woman has never really played into what I have done or not done. I have just been lucky that things have played out so that I could do things."

"When people say that I may not speak, they forget that I may well think. I may think what I want, like everyone else. I shall just refrain from saying everything I think. That might be something many people should do once in a while."

"With dignity, with proximity and wisely have you been an anchor for the Danes."

"But are we seeing indications these years that we have become more selfish, that we have become inclined to first and foremost make demands, and make sure that we all get what we ourselves think we are entitled to? Are we becoming distrustful of each other, and beginning to ascribe less than pure motives to each other? If that is the case, we are not only in an economic crisis. Then it is our attitudes that are slipping. It is a crisis that is insidious because it creeps upon us and poisons our relationships with each other. It means that we are jeopardising something that may be irretrievable."

"Knowledge of inner processes in body and mind is as helpful for one’s own preparation for death as it is for people who care for others who are dying. If one knows what to expect while dying, the conditions can be used and fears specifically removed."

"If one is wild and doesn’t like anything angry, when meeting with Buddha’s teaching one experiences joy and natural totality, as if two rivers flow into each other. And if one is basically trusting, the Pure Land is near, and in death, perhaps one will enter something deeply known."