Tapestries for Koldinghus

about Koldinghus tapestries
From sketch to finished tapestry
The artists behind the Koldinghus tapestries
The history of tapestry weaving

In 2028, 16 new tapestries created by four contemporary artists will be hung at Koldinghus. The project was made possible by a generous donation from the New Carlsberg Foundation.

16 tapestries for Koldinghus

In 2018, Koldinghus celebrated its 750th anniversary, and a very generous donation from the New Carlsberg Foundation enabled one of the largest decoration projects in Danish history: 16 new tapestries of exceptional quality, created by four contemporary artists, were commissioned for the historical halls of this royal castle.

The task was handed to Kirstine Roepstorff, Bjørn Nørgaard, Tal R and Alexander Tovborg, who created 16 detailed 'cartoons' of the designs. Three of the four largest tapestries will be completed in spring 2025 by the traditional French weaving mill Gobelins Manufactory.

Each artist based their work on themes related to Koldinghus as a place and a setting for history. The themes are Border Fortress (Kirstine Roepstorff), Royal Castle (Alexander Tovborg), Ruin (Tal R) and Restoration (Bjørn Nørgaard).

From Paris to Koldinghus

Fifteen of the tapestries will be exhibited in Paris in 2025 before they are all permanently displayed in the Ballroom and Knights’ Hall at Koldinghus in 2028, when the weaving of Roepstorff’s large tapestry has been completed. When the tapestries are hung at Koldinghus, they will help restore the original connection between the two halls, which used to be one large room.

The scenes depicted in the tapestries all spring from the history of Koldinghus. The artworks vary in their emphasis on symbolic and more concrete representation, as each artist was given complete freedom to interpret a specific theme related to the castle.

The tapestries are exact representations of the artists’ original cartoons. In 2019, the cartoons were exhibited in the halls at Koldinghus where they will be hung. After this display, they were sent to France, where they now guide the work of the tapestry weavers under the supervision of the four Danish artists.

Exhibition co-produced by Grand Palais Rmn, the Royal Danish Collection, and the National Manufactures – Sèvres & Mobilier National.

From sketch to finished tapestry

Cartoon

The process begins with the artist creating a so-called cartoon, a detailed representation of the image in the tapestry.

The cartoon is mounted behind the loom.

The cartoon is sent to the weaving mill, where it is mounted behind the loom, so that the weaver can always see the design. Photo: © Lucas Morgand

Woven from the back

Since the weavers work on the tapestry from the back, they view the design in a fixed mirror, so that the finished tapestry comes out without being inverted. The tapestries are woven on vertical and horizontal looms. Photo: © Lucas Morgand

Vertical and horizontal looms

Two of the three workshops that produce the Koldinghus tapestries use horizontal looms, while the third uses a vertical loom. Photo: © Lucas Morgand

A time-consuming process

Tapestry weaving is time-consuming. On average, it takes a skilled weaver one year to weave one square metre. The Koldinghus tapestries measure 108 square metres in total, corresponding to 108 years of full-time weaving. Photo: © Lucas Morgand

108 m2 of tapestry weaving

A total of 108 m2 will be produced, divided into four large tapestries, each measuring 3 x 6 m, and twelve narrow pieces to be hung between the windows, so-called entre fenêtres, each measuring 1 x 3 m. Photo: © Lucas Morgand

An invitation to contemplation and reflection

In a time when the constantly flow of flickering images and information clamouring for attention, the tapestries invite contemplation, reflection and calm appreciation of the exquisite craftsmanship. Photo: © Lucas Morgand

The artists behind the Koldinghus tapestries

The artists behind the tapestries

All four artists had complete artistic freedom to interpret selected themes related to Koldinghus as a place and a setting of history. Thus, the themes have been translated into very different visual narratives.

Kirstine Roepstorff attended the Royal Danish Academy of Fine Arts from 1994 to 2001 and Rutgers University, Mason School of Fine Arts, USA, in 2000.

Kirstine Roepstorff’s art is internationally acclaimed. Her works are included in the permanent collection of the Museum of Modern Art in New York. In 2017, Roepstorff represented Denmark at the 57th International Art Biennale in Venice, and in 2018 she had her largest solo exhibitions to date at Trapholt in Kolding and Kunsthal Charlottenborg in Copenhagen.

Kirstine Roepstorff’s art is often based on collages, and her works – collage, painting and sculpture – span the full range from hushed and subtle to loud and colourful.

Alexander Tovborg attended the Royal Danish Academy of Fine Arts from 2004 to 2010 and also studied at State Academy of Fine Arts Karlsruhe in Germany from 2007 to 2009.

Alexander Tovborg has presented his works in numerous solo exhibitions in Denmark and abroad. In 2013, he created a permanent decorative project for the Eastern High Court in Copenhagen. In 2023, Kunsthal Charlottenborg in Copenhagen was the setting for a comprehensive presentation of Tovborg’s works and practice in his largest solo exhibition to date.

With their abstract style, references to oriental decorative art, medieval images and recognisable elements, often religious or historical in nature, Alexander Tovborg’s works reference historical moments over time.

Tal R attended the Royal Danish Academy of Fine Arts from 1994 to 2000. Concurrently with his studies there, he was a visiting professor at the Academy of Fine Arts in Helsinki. From 2005 to 2014, he was a professor at the Kunstakademie Düsseldorf in Germany. While a student at the Royal Danish Academy of Fine Arts, Tal R held an exhibition at the Louisiana Museum of Modern Art, north of Copenhagen, and since then, his art has been displayed in numerous museums and collections around the world, including the Art Institute of Chicago, Centre Pompidou in Paris, Hammer Museum in Los Angeles, K11 Art Foundation in Hong Kong, Louisiana Museum of Modern Art in Humlebæk, Denmark, Museum of Contemporary Art Kiasma in Helsinki, Moderna Museet, Stockholm and SMK National Gallery of Denmark in Copenhagen.

Tal R works revolve around colour and composition, and his expressive and visual narratives has been central to the movement of young painters during the 21st century.

Bjørn Nørgaard was admitted to the Experimental Art School (Eks-Skolen) in 1964, and along with the school’s other artists, he became a powerhouse of the Danish experimental arts scene. In 1980, Bjørn Nørgaard represented Denmark at the Venice Biennale with Per Kirkeby, and from 1985 to 1994, he was a professor at the Royal Danish Academy of Fine Arts in Copenhagen. In 1986, he also served as a visiting professor at the Rijksakademie in Amsterdam.

Bjørn Nørgaard prefers monumental art because he believes in the legitimacy of art that engages, influences and enriches the public. To Nørgaard, there is no such thing as 'high culture'. Art is common property and the simplest, most direct form of human communication. Art is where individual and community become one.

Bjørn Nørgaard | © Direction artistique Spela Lenarcic

Craftsmanship

Delve into the history of tapestry weaving

The tapestries link a contemporary visual expression with a traditional and historical craft that requires time and attention to detail and which has roots dating back to the time of Louis XIV.

1662

Louis XIV opens his tapestry factory

In 1662, the French King Louis XIV initiates the founding of a series of companies to supply his palaces with exquisite works of decorative art. One of these companies was the Manufacture des Gobelins, which produced woven tapestries for the royal palaces. Photo: SMK OPEN

1682

Christian V commissions tapestries from France

The tapestry factory Manufacture des Gobelins still exists today, as part of the company Mobilier national et manufactures des Gobelins, de Beauvais et de la Savonnerie. The Danish connection to the old French factory dates back to 1682, when Christian V commissions a series of tapestries from the French weavers.

1988

Bjørn Nørgaard's tapestries for HM Queen Margrethe

In 1988, Bjørn Nørgaard is tapped to create a series of tapestries for HM Queen Margrethe II's 50th birthday, in 1990. Again, the French tapestry factory was commissioned to weave the series, which is now on display in the Great Hall at Christiansborg Palace. Photo: Rasmus Hjortshøj

2000

The tapestries are hung at Christiansborg Palace

In 2000, Bjørn Nørgaard's finished tapestries were hung in the Great Hall at Christiansborg Palace. Foto: Rasmus Hjortshøj

2018

A new tapestry project begins

To mark the occasion of the 750th anniversary of Koldinghus, in 2018, a project with 16 new tapestries for the castle was initiated. In extension of the tapestry project for Christiansborg Palace, it was an obvious choice to commission the Mobilier national et manufactures des Gobelins, de Beauvais et de la Savonnerie to produce the tapestries for Koldinghus. Photo: © Lucas Morgand

2025

The Danish Royal Couple cut the Koldinghus tapestries off the looms in Paris

On Tuesday, 1 April 2025, TM King Frederik and Queen Mary take part in cutting the Koldinghus tapestries off the looms at the historical tapestry factory La Manufacture des Gobelins in Paris during a state visit.

2025

25th anniversary of the tapestries at Christiansborg Palace

The year 2025 is the 25th anniversary since HM Queen Margrethe received Bjørn Nørgaard's colourful tapestries at Christiansborg Palace. The Royal Danish Collection celebrates the anniversary with a tapestry festival, where guests are given free admission to the Royal Reception Rooms at the palace.