People watching in the Louisiana cafeteria

Standing in line at the Louisiana cafeteria two children provide a distraction for the author waiting in the queue

I was standing in line, queuing up for lunch in the Louisiana cafeteria. It’s not self-service but you queue up to a counter with glass display cabinets. When you reach the head of the queue you get a tray and the cashier serves you with your choice from the cabinet. Your choice of sandwich, pie, biscuit, desert. You can also pay for the lunch buffet, in which case you get a plate for the food and a bowl for the soup. Anyway I was in line and the queue was moving very slowly.

Louisiana Cafeteria buffet
The Louisiana Cafeteria Buffet. The staff is clearing up. You can just see the queue in the background top left.

Ahead of me was an older woman – in her late fifties I suppose – and two kids. I took them to be her grandchildren. They were about 10 years old. Physically they looked about the same age to me, though it was obvious from his behaviour that the boy was the younger. He was sticking close to grandma and pressing up against her, and pointing and asking for things.

Meanwhile the little girl stood on the other side of him. She also pointed and asked, but her body language told me she was more independent. Still, she did try sometimes to get closer to her grandmother, but then her brother got in the way. This was clearly deliberate. The little girl didn’t seem to be upset though. A tolerant young woman.

The noise level in the cafeteria was quite high so I couldn’t hear what they were saying. I couldn’t even be sure what language they were using, though I suppose they were Danes. After a little while the grandmother received a tray with four plates of the Louisiana cafeteria’s delicious strawberry tart. She added spoons and cake-forks and paper napkins. Then she handed the loaded tray to the little girl, trusting her to carry it safely to the family’s table. The girl took the tray and carried it slowly and with great care, walking past me and heading for the doorway to the next room. There was a look of intense concentration on her face.

Louisiana Cafeteria
One of the dining rooms of the Louisiana Cafeteria. Very crowded today with all the rain outside.

I’ve said the cafeteria was noisy – it was also crowded and busy with people. Just before the girl got to the door a woman stepped in front of her. The woman stood, blocking the doorway, looking out into the other room. This wasn’t deliberate. I’m sure she just didn’t see the little girl. But she never looked around to see if she was in anyone’s way. She was looking for someone she’d lost, out there in the other room and she had no eyes for anyone else.

Even if she had looked around though, she was a good bit taller than the girl. I am not sure she’d have seen her. Her gaze would have slipped over the top of the little girl’s head.

The little girl didn’t really know what to do. There was a way around, but it was perilously close to the woman. What if she turned as abruptly as she had stepped in the way. If she caught the girl’s tray with her shoulder bag or banged the girl with her hip, the tray and all the desserts would go flying. The girl stepped back, stepped forward, stood still and looked up at the woman’s tall back in front of her. I saw the tray tilt alarmingly down towards one corner, but the little girl noticed in time and changed her hold to keep it level.

The tension was palpable (to me anyway) and I felt I ought to come to the little girl’s aid. Call out to the woman perhaps and ask her to move. But then I had a mental image of her turning in alarm and cannoning into the girl and her tray. Fortunately the woman suddenly caught sight of the person she was looking for, raised a hand and stepped through the doorway. The little girl looked very relieved and carried on her careful way through the door herself.

Louisiana shop
Part of the Louisiana museum shop – Danish design and handicrafts, and also pretty crowded.

Back at the head of the queue grandmother and grandson were still in debate. It seemed that the little boy also wanted to carry something, but grandma wasn’t keen to let him. He begged and eventually she gave him an opened bottle of pop and a glass to carry. He did this, but it looked as though he was struggling all the time with a temptation to do something with the bottle. I don’t know what – drink out of it perhaps, pour it into the glass, hold it up to the light and look through it. He actually did that last.

Then the little girl reappeared, sans tray, and the boy suddenly found it necessary to defend his position at grandma’s side. The little girl pretended to be a savage dinosaur – claws and snarling jaws – and the boy pushed back at her with his bottle and glass. One step forward against her, then one step back to grandma’s skirts.

This was awkward because the grandmother was now turning away from the counter carrying her own tray on which were four full cups of coffee. I think she told the little girl to take her brother’s bottle and glass, but he kicked up a fuss. Instead she told the children to go ahead of her, to lead her to their table. The girl pulled her brother along, pinching the arm of his shirt. He didn’t like that, and tried to twist out of her grasp, though he followed her anyway, still clutching his bottle and glass.

Grandma followed on behind, also carefully carrying her tray. She had an expression on her face not so very different from the little girl’s with the strawberry tarts.

I was watching them leave through the doorway when the man in the queue behind me asked something sharply in Danish. I realised everyone was now waiting for me.

Louisiana Cafeteria panorama

With this article I introduce a new Stops and Stories Category that I call People Watching.

I wrote this entry for the #Blogg52 challenge.

Pop art illuminations in Louisiana

Pop art illuminations in the Louisiana Museum of Modern Art in Denmark, that is – the 85th most visited art museum in the world (says Wikipedia at the time I write this)

I’ve been trying to remember how many times I’ve been to Louisiana before the present visit. Definitely twice, possibly three times. Perhaps more? Once was in high summer because the sun was shining and there were crowds of people sitting on the grass banks outside the restaurant. They were sunning themselves among the mobiles and sculptures and enjoying the view over the Öresund to Sweden. Another time I was there in the late autumn or early spring. The weather was grey and misty and there were few visitors. It felt like Mrs SC and I had the museum almost to ourselves.

Henry Moore sculpture and a white sailThis time around, on Saturday 30th July, the weather was changeable. Rain, sun, clouds, mist, clear, and all fading in and out of one another. But that doesn’t matter so much when what you’re interested in, by and large, is indoors.

Previously at Louisiana

Previous visits have all been day-trips north from Copenhagen as far as I remember. This time we came travelling south from Helsingør, from Elsinore. (Hence my last week’s photos.) In fact, we stayed overnight in Helsingborg on the Swedish side and took the ferry across. It takes just 20 minutes. Then the train to Humlebæk, and a short walk. We arrived at the museum just as they were opening at 11 o’clock. As we’d bought a combined entrance and round trip ticket in Helsingborg, we were able to jump the Louisiana queue. We were among the first visitors into the museum so I recommend that solution.

Louisiana- Alberto Giacometti - Bust of Elie LotarThe reason I’m confused about how often I’ve visited Louisiana, probably, is because I’ve quite detailed memories of several different exhibitions. Definitely more than two. Louisiana was where I saw Jana Sterbek’s meat dress (way before Lady Gaga riffed – or ripped off – the same idea). Was that sometime in the 1990s? Louisiana was certainly where I first saw Cindy Sherman’s photography. And I think it was also where I first saw Ai Weiwei’s art. I’ve got a memory also of seeing late work by Picasso there. And then there’s the permanent collection of Giacometti statues which I go back to every time. Then there are the sculptures in the gardens. And the mezzo-American collection in one of the glass corridors.

One reason for my confusion may be that, with so much space at its disposal, Louisiana always seems to be staging two or three really big exhibitions at the same time. And these are usually radically different from one another – though there may be points of contact. This summer they’re exhibiting a retrospective of the work of a Danish pop artist, a small collection of early Picasso drawings and a selection of the gallery’s new purchases made over the last three years. All alongside the regularly rotated permanent collection.

Poul Gernes

Pop art at Louisiana - Poul Gernes retrospective Gallery 2The pop artist is Poul Gernes, who I confess I’d never heard of before. I had never consciously seen his work either, though I did recognise some of it. “Recognise” in the sense that it was generic pop art. Pop art must have figured large in the training of some of the art teachers I had in my schooldays.

Blocks of colour, geometric shapes, linocut prints, found objects, sculptures and surfaces created from scrap, found prints (tire tracks and shoes for example). All these feature in the exhibition (though most of them rather better executed than my primary school self ever managed). It was quite nostalgic really.

Pop art - Poul Gernes retrospective Gallery 1 panoramaPoul Gernes clearly subscribed to the philosophy that anyone can make art (which I certainly don’t dispute). The exhibition is subtitled with the following quote.

Jeg kan ikke alene, vill du vaermed?
I cannot do it alone – want to join in?

Pop art - Poul Gernes retrospective Black and white patternsUnfortunately – and it may be another side of pop art period ideology – he also seems to have believed that art needs to be dumbed down to a lowest common denominator of ambition.

He had some ideas about the importance of colour and health too, which he got the chance to explore when he decorated an entire hospital. One of his hospital rooms was recreated for this exhibition. Three walls of the room were decorated in “healthy” colours, and the windows hung with colourful curtains. One wall – the one behind the patient’s bed – was left white. Apparently this was in order for the medical staff to better judge the colour of the patient’s face and see how healthy they were.

Pop art - Poul Gernes retrospective Gallery 3 - Herlev HospitalThe exhibition did not go any further into Poul Gernes’ philosophy of colour and health, which I thought a pity. I would like to have known whether he thought a red face indicative of choler or a yellow face of bile. I also wonder how far the Danish medical establishment went along with him.


Apart from the Gernes retrospective Louisiana was also exhibiting Illuminations, a large selection of their new purchases made over the last three years.

This was an eclectic exhibition, but there were points of contact with Poul Gernes’ pop art. For example, Gerhard Richter’s Strip from 2013 (below). The strips are made of “colours that originally formed part of an abstract painting, but are systematized here according to an empty principle.” (I’m assuming “empty principle” has a technical sense for colour theory – as it does in linguistics – and isn’t just a mistranslation from psycho-babble in the original language.)

Illuminations . Gerhard Richter - StripNext to this, on an adjacent wall, was a monumental golden photograph – Katar from 2012 – by Andreas Gursky. This turned out to be the interior of the cargo hold of a ship that transports liquid gas.

Louisiana - Illuminations gallery 2The Illuminations exhibition included sculpture. (That’s a sculpture to the right in the above photo.) But also…


Installations such as the all-but-pitch-black room in which the sounds of arctic icebergs grinding, melting, freezing and calving, are played from surround-sound speakers. This work is Isfald (2013), by Jacob Kirkegaard. It is an almost overpowering experience to stand in the installation and listen to the soundscape created. You can experience a small fraction of this work on Louisiana’s video website. Here is an interview with Kirkegaard (along with another artist, Daren Almond).

Louisiana 10 Illuminations gallery 3

Louisiana 2 Illuminations gallery 1It’s impossible to mention all the works of art that Illuminations displayed. Some I liked, some I thought were interesting – even funny. And as always with modern art, there were some pieces that left me cold. Still, I think it’s good to know that all these works are now in the Museum’s collection and join the rotating permanent exhibition. Louisiana also has an active policy of loaning out pieces to other museums for special occasions – in exchange for other pieces brought to Humlebæk for future exhibitions – so they are not hidden away by any means.

Yayoi Kusama

Louisiana - Yayoi Kusama - Gleaming Lights of the Souls 1Just before we left we got to experience another of Louisiana’s installations. This is one from the permanent collection – Yayoi Kusama‘s Gleaming Lights of the Souls from 2008. The installation is a single space. A closed room. The walls and ceilings are mirrors and the floor is a reflecting pool of water. Hanging from the ceiling are hundreds of lamps that slowly change colour. You stand in the middle on a narrow platform and it’s like you are flying among the lights. It’s a surreal but serene experience. Each group – of only four people – get to stand for one minute in the room with the door shut. It’s funny, but waiting outside to get in the minute passes so slowly, inside absorbed by the experience the minute is far too short. As soon as you come out you want to get back in line and experience it all over again. And again.
Louisiana - Yayoi Kusama - Gleaming Lights of the Souls 2 Panorama


Unless of course your feet are so tired after seven hours of wandering the halls and galleries that all you really want to do is sit down.

It’s a 10 minute walk back to the station, but you can sit on the train to Helsingør. Then you can sit on the ferry to Helsingborg. And then you are in better shape to argue your way back into Sweden through the new immigration control… but that’s another story.

Alexander Calder's mobile at Louisiana in the rain
Above: Alexander Calder’s mobile at Louisiana in the rain

I wrote this entry for the #Blogg52 challenge.