In the heart of Carlsberg City, Copenhagen's thriving new neighbourhood, stands a venue for contemporary art housed within the historic confines of Kridttårnet, a 19^th century lighthouse that is iconic for Copenhageners. Located at Pasteursvej 8, this captivating locale emerges as you round the corner, instantly seizing your attention with its distinctive architecture, adorned with vibrant, site-specific artwork by Terry Haggerty crowning its tower. This iconic structure, now home to von Bartha's Copenhagen gallery, serves as a physical space for contemporary art and a testament to the successful fusion of heritage preservation and artistic expression.

The Basel-based von Bartha gallery, originally founded as "Galerie Minimax" in 1970 by Margareta and Miklos von Bartha and now under the leadership of Stefan von Bartha and Hester Koper, has evolved into a prominent institution in the contemporary art scene. With a diverse roster of international artists spanning various mediums, including Imi Knoebel, Superflex, and Terry Haggerty, the art gallery has been a stalwart supporter of emerging talents and established figures like Camille Graeser and Fritz Glarner. Over its 50-year history, von Bartha has exhibited works from significant art movements such as Zero and Arte Concreto, continually engaging with the legacy of concrete and kinetic art. The gallery's recent expansion into Copenhagen's historic Kridttårnet marks a new chapter, showcasing its commitment to innovative exhibition spaces and international outreach.

The Carlsberg Lighthouse was built in 1883 in a historicist architectural style. Originally conceived as part of the new main entrance for JC Jacobsen's Carlsberg Brewery site, the Lime Tower features an arch adorned with gilded letters spelling "Gammel Carlsberg”, “Old Carlsberg” in Danish, exemplifying the site's rich industrial heritage.

The historical lighthouse repurposed as a residential dwelling until the 1990s, bore signs of wear and tear, including the masking of its original features such as linoleum-covered floors, indicative of its alteration during this period. von Bartha's restoration efforts included reviving the original flooring while enhancing acoustics by covering the ceiling with innovative materials, ensuring a seamless transition from the run-down historic lighthouse to dynamic gallery space.

In an exclusive interview with STIR, Mamie Beth Cary, the visionary behind von Bartha's expansion, delves into the inspirations, challenges, and transformative journey that led to the establishment of this unique artistic enclave. From the meticulous restoration process to the seamless integration of contemporary artworks with the lighthouse's historic features, Cary provides invaluable insights into von Bartha's role in fostering artistic dialogue, community engagement, and the evolution of Copenhagen's dynamic cultural landscape.

Zeynep Rekkali Jensen: What inspired von Bartha to choose the historic lighthouse building in Carlsberg Byen as the location for its gallery space in Copenhagen? How does the building's unique architecture complement the gallery's vision and programming?

Mamie Beth Cary: Architectural landmarks are a trademark of von Bartha. In Basel, we inhabit a former 700 square meter garage; in S-chanf in the Swiss Alps, it was a white cube built within a former barn, and now a 19^th century lighthouse in one of the fastest developing, creative, and interesting areas in Copenhagen, Denmark.

When we decided to open a gallery in Copenhagen, the choice of building was key to our decision-making. von Bartha's first exhibition space outside of Switzerland needed to offer our artists something they could not find elsewhere, and Kridttårnet is part of that experience.

Zeynep: Could you provide insights into the restoration process? What were the challenges and how did the gallery preserve the building's heritage while adapting it to serve as a contemporary art space?

Mamie: When scouting for buildings to house our gallery, I considered the question: "What do artists and our team need in a building?" An exhibition space, an office, a showroom or library, a simple kitchen, and a bathroom—storage would be a bonus. Although small in square meterage, I knew from the first time I was inside that Kridttårnet had it all—albeit on a miniature scale. I felt that the building had more strength than its romantic exteriors and it could uplift the kind of art we show.

When peeling back the linoleum flooring and seeing the rotten floor beneath, it was clear the renovation would be a significant part of the process of opening von Bartha in Copenhagen. The building was stripped out, fixed up, and put back together again in collaboration with our architect Lukas Voellmy, Carlsberg Byen, and Slots- og Kulturstyrelsen. 

Wherever possible, we used the original materials and repaired them rather than replacing them with new ones. For example, most of the wood skirting boards and architraves are original. For von Bartha, it was not so much a challenge as a commitment. We understood from the beginning that taking over guardianship of such a building also meant caring for and preserving it while maintaining its architectural integrity.

Zeynep: How does the gallery integrate contemporary art with the historic features of the Lighthouse? 

Mamie: The building has partially or fully inspired our programmed exhibitions thus far. It has included various site-specific installations, from individual works such as Barbara Stauffacher Solomon's wall painting that wraps around the entrance hall in Pantone 567 or Carlsberg Green to Ursula Reuter Christiansen's exhibition Sleeping Beauty, who took the building as the central inspiration—imagining Kridttårnet as the princess' castle overgrown by thorns—to Terry Haggerty as well as Landon Metz, who created site-specific installations in the glass dome of the lighthouse tower.

Whenever we have offered an exhibition in Copenhagen to any of our artists, the response has been overwhelmingly positive. They want to come and explore presenting their work in the often previously unexplored North, and then there is Kridttårnet and all the creativity that the location provokes in them.

Zeynep: As von Bartha Copenhagen establishes itself within the cultural landscape of Copenhagen, what long-term vision do you have for the gallery in terms of its role in fostering artistic dialogue, contributing to the local community, and evolving alongside the dynamic contemporary art scene of both Scandinavia and the broader international context?

Mamie: We are privileged to be in the position to encourage cross-pollination, offering artists in our program to participate in exhibitions in both Copenhagen and Basel and introducing our Danish clients to their work while at the same time discovering new talent in the Nordic Region to share with our Swiss clients.

For example, in the current exhibition, Terravision, we bring together both worlds, from the 96-year-old Barbara Stauffacher Solomon, who we represent in our program, to the 38-year-old Emilia Bergmark, who is Copenhagen-based and whose work is a discovery, not only for the visitors but also for us. 

In Switzerland, von Bartha is amongst the longest-running galleries of its kind, led by Stefan von Bartha and Hester Koper, in its second generation. In Copenhagen, however, von Bartha is the opposite—we are a start-up, fresh-faced, and we are still in the process of finding our place. While supporting the practices of the established artists in our program, we also aim to nurture new generations. Like those emerging artists, we, too, depend on the support, sympathy, and guidance of the local art scene and its patrons.