conceptual practice

• a Billedkunstner jurvinart

  Kunstner er en generel betegnelse for en person, der producerer kunst uanset hvilken genre, det drejer sig om... Uddannet som kunstner på Det Kongelige Danske Kunstakademi 24 December 1981 Jurij Vinogrodskij Arturij født i Vilnius Lituaen opvokset i Danmark. Hans kunstnerisk navn er jurvinart. Uddannet som kunstner på Det Kongelige Danske Kunstakademi. Read more

  Kunstner er en generel betegnelse for en person, der producerer kunst uanset hvilken genre, det drejer sig om... Uddannet som kunstner på Det Kongelige Danske Kunstakademi 24 December 1981 Jurij Vinogrodskij Arturij født i Vilnius Lituaen opvokset i Danmark. Hans kunstnerisk navn er jurvinart. Uddannet som kunstner på Det Kongelige Danske Kunstakademi. Afgang 2010. Arbejder med maleriets udtryksform olie ratning på nuverener tilspunk er NAIVISME. Billedekunst olie maling er primere renskab at framstile kunst men skulprur har også store infliuelse på jurvinart. Han arbejdet meget med svaisning jern. Skabt uteliger tel små skulpture i metal. Til skulpture brugt often glas. Hans studietid arbejdet med skulpturen. Granit bronser tree glas og jern. Uddannelser og kurser 2000 Haderslev Kommunale Ungdomsskole 2002 VUC Kolding 2004-2010 Det Kongelige Danske Kunstakademi 2005-2006 Vilnius Academy of Art See jurvinart`s youtube Channel Minimer

• Abrahamsson, Anette
• Alibadi, Mahmoud
• Andersen, Ann Louise
• Andersen, Mika
• Ask, Kristina

  "Som en afspejling af min praksis indeholder websitet www.kristinask.net både eksempler på samarbejder, projektorienteret arbejde, kontinuerlige, medieorienterede projekter samt min skrivende praksis. De forskellige aspekter er relateret og ofte overlappende. En vedvarende udfordring i mit arbejde er, at nedbryde grænserne mellem teori og en praksis, der Read more

  "Som en afspejling af min praksis indeholder websitet www.kristinask.net både eksempler på samarbejder, projektorienteret arbejde, kontinuerlige, medieorienterede projekter samt min skrivende praksis. De forskellige aspekter er relateret og ofte overlappende. En vedvarende udfordring i mit arbejde er, at nedbryde grænserne mellem teori og en praksis, der udvikler sig mellem aktivisme og andre former for kritisk og subversiv billedproduktion." . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Reflecting my practice the site www.kristinask.net consists of examples of both collaborations, project based work, ongoing and media based projects as well as writings. The different aspects are related and often overlapping. A continuous challenge of the works is to break down the barriers between theory and a practice developing between activism and other kinds of critical and subversive image productions." Minimer

• Assenholt, Søren
• AVPD, -

  AVPD was initiated in 1997 and is the working label of visual artists Aslak Vibæk (b. 1974) and Peter Døssing (b. 1974). AVPD works within an interdisciplinary field where we unite knowledge from fine arts, architecture, science and the humanities. At this point we have our main focus on the perceptual relation between man and space. Our discourse and ph Read more

  AVPD was initiated in 1997 and is the working label of visual artists Aslak Vibæk (b. 1974) and Peter Døssing (b. 1974). AVPD works within an interdisciplinary field where we unite knowledge from fine arts, architecture, science and the humanities. At this point we have our main focus on the perceptual relation between man and space. Our discourse and physical work is very influenced by Sci Fi and first shooter computer games which take place in virtual 3-dimensional environments. These fictional domains turn out to be a strange kind of laboratories where there is a unique interest in creating new extraordinary constellations between space and man. These space-body phenomenons are normally fixed in the domain of fiction but our artistic approach is to draw these fictive spatial experiments into a physical reality with the human as an experimental/experiencing object, left to experience a yet unknown space. We define our spatial works as meta-architectures where the normal perception of the spectator is challenged and displaced and a new experience of space is made possible. In our works, we try to rethink the triangular constellation of the subject, the object and the context. We are interested in how spatial constructions effect the perception of the spectator and how she/he grasps the space in a cognitive, emotional and intellectual way. Our domain is reality and our artistic praxis is a spatial laboratory. http://www.avpd.net Minimer

• Basten, Berit
• Beck, Jens Axel
• benandsebastian, Ben Clement og Sebastian de la Cour
• Berger, Stine
• Bertelsen, Louise

  performance, mix media, site specific, Public Art, video, installation, photografi, Live Art Happenings, sound, dance

  performance, mix media, site specific, Public Art, video, installation, photografi, Live Art Happenings, sound, dance Minimer

• Bigum, Martin
• Bjerresgaard, Karen

  The exhibition in January 2007 is a total installation with sound, objects, photos and graphic images under the theme Organ Transfer II. Organ Transfer II comments on the transplantation and trade of organs to Europe from different parts of the world. Contribution to the exhibition Indfanget for en tid in Galleri Think Ink in January/February 2008 sho Read more

  The exhibition in January 2007 is a total installation with sound, objects, photos and graphic images under the theme Organ Transfer II. Organ Transfer II comments on the transplantation and trade of organs to Europe from different parts of the world. Contribution to the exhibition Indfanget for en tid in Galleri Think Ink in January/February 2008 shows linocuts from the series Boy – and Girl wallpaper. Images of events, that for better or worse, are part of the lives of boys and girls from third world countries. Through their upbringing they are being exposed to traditions and rituals that will have an impact for life. The children who are left to their own devices are particularly exposed to gross violations in life. Minimer

• Bjørn, Rasmus
• Bonde, Niels
• Bonnén, Suste
• Bonnesen, Anders
• BORGES, JACOB
• Bork, Trine
• Bosch & Fjord, -
• Brackman, Yvette
• Bramsen, Marianne
• Brinch, Jes
• Buchardt , Lars
• Burchardi, Sofia
• Busk, Henrik

  Jeg arbejder med udvikling af platforme for mellemmenneskelige relationer og har fælles social ansvarlighed, som et underliggende tema.

  Jeg arbejder med udvikling af platforme for mellemmenneskelige relationer og har fælles social ansvarlighed, som et underliggende tema. Minimer

• Callesen, Peter

  Udgangspunktet for mine seneste papirskulpturer er som oftest et almindeligt stykke hvidt A4 kopipapir, hvorfra der rejser sig en 3-dimensionel papirskulptur, som så efterlader sig en negativ tegning af det bortklippede. Jeg finder det interessant at arbejde med A4-papiret; Det er stadig i dag et af de mest brugte medier til bærere af information, Read more

  Udgangspunktet for mine seneste papirskulpturer er som oftest et almindeligt stykke hvidt A4 kopipapir, hvorfra der rejser sig en 3-dimensionel papirskulptur, som så efterlader sig en negativ tegning af det bortklippede. Jeg finder det interessant at arbejde med A4-papiret; Det er stadig i dag et af de mest brugte medier til bærere af information, hvilket gør materialet kendt af alle, men derfor også let overset som et materiale i sig selv. Denne fraværende opmærksomhed på det uprætentiøse materiale, kombineret med den lille skala, giver mig en frihed til at fortælle store og dramatiske fortællinger ind i små og romantiske papirlandskaber. Foruden det fortællende element, fungerer skulpturerne som undersøgelser af forholdet mellem flade og rum – illusion og virkelighed. Mine seneste papirklip har taget form som billedobjekter, hvor det fraklippede papir er faldet ud af billedet og er transformeret til 3-dimensionelle objekter, der ligger i bunden af rammen. Men for mig rummer materialiseringen af et stykke papir fra noget 2-dimensionelt til noget 3-dimensionelt ikke blot formelle undersøgelser – men ligeså meget en slags magi, som peger på et poetisk og eventyrligt element. Minimer

• Capetillo, Henrik
• Carlsen, Jesper
• Carstensen, Claus
• Clemmesen, Christine
• Creutz, Andrea
• Dahlgaard, Søren

  Søren Dahlgaard studied at the Slade School of Fine Arts in London and graduated in 2002. His teachers were Professors Phyllida Barlow, Stuart Brisley, Bruce McLean. History of art and theory professor Norman Bryson and lecture Andrew Renton. In the work of Søren Dahlgaard, method is challenged though narrative. He incorporates a type of un Read more

  Søren Dahlgaard studied at the Slade School of Fine Arts in London and graduated in 2002. His teachers were Professors Phyllida Barlow, Stuart Brisley, Bruce McLean. History of art and theory professor Norman Bryson and lecture Andrew Renton. In the work of Søren Dahlgaard, method is challenged though narrative. He incorporates a type of understated slapstick in his work. This is mostly apparent in his performances and staged photography series. Visually he draws from the aesthetics of minimalism. Recently he has exhibited at P.S.1 Contemporary Arts Center MoMA New York, Ileana Tounta Contemporary Arts Center, Athens, International Prize for Performance, Galleria Civica Museum of contemporary art, Trento, Italy and Statens Museum for Kunst - the National Gallery, Copenhagen. He lives in Copenhagen (DK) www.sorendahlgaard.com Minimer

• Degett, Karen
• Domke, Johanna

  Johanna Domke´s approach to work with film/video is about walking the line between authenticity and fictionalization in order to talk about our construction of reality and its representation as image. Her practice derives from an observing origin and a fascination in social/urban contexts, focusing on the individual in relation to its social environment Read more

  Johanna Domke´s approach to work with film/video is about walking the line between authenticity and fictionalization in order to talk about our construction of reality and its representation as image. Her practice derives from an observing origin and a fascination in social/urban contexts, focusing on the individual in relation to its social environment, public space and power structures. Her work implies both documentary and fictional strategies of filmmaking, resulting in a mixture of hyperrealism and artificiality. She creates a plane of references to reality which has fiction discernibly woven into it. She is not interested in purely documentary films, but often borrows their conventions, that she uses as potential for fictionalization. Minimer

• Ehlers, Jeannette

  Among other things Ehlers is concerned with creating computer manipulated video works on the basis of existing video and film material – so-called found footage. The principle behind her approach consists of taking single scenes from classic films or popular TV-shows and deconstructing the narrative contents of the scenes in question by, for instance Read more

  Among other things Ehlers is concerned with creating computer manipulated video works on the basis of existing video and film material – so-called found footage. The principle behind her approach consists of taking single scenes from classic films or popular TV-shows and deconstructing the narrative contents of the scenes in question by, for instance, leaving out or adding a character. With the meticulous precision of a surgeon Ehlers works her way through the selected material frame by frame. The technique demands extreme patience, for each second consists of about 25 frames and each frame has to be treated individually. If just one frame is skipped, the manipulation becomes too evident and the desired ”vanishing act” is rendered impossible. Jeannette Ehlers is especially interested in the removal or manipulation of the human body. Jeannette Ehlers is educated from the Royal Danish Academy of Fine Arts 2006. She lives and works in Copenhagen. Minimer

• Ejdrup Hansen, Elle-Mie

  Elle-Mie Ejdrup Hansen arbejder i flere forskellige medier som tegning, det klassiske oliemaleri og ikke mindst i store site-specifikke arbejder, der kredser omkring rum, teknologi og mennesker. Udgangspunktet for de store arbejder er en særlig topografi. Det kan være strandstrækningen fra Skagen til Sild, en stubmark i Vestjylland, eller et bygningsk Read more

  Elle-Mie Ejdrup Hansen arbejder i flere forskellige medier som tegning, det klassiske oliemaleri og ikke mindst i store site-specifikke arbejder, der kredser omkring rum, teknologi og mennesker. Udgangspunktet for de store arbejder er en særlig topografi. Det kan være strandstrækningen fra Skagen til Sild, en stubmark i Vestjylland, eller et bygningskompleks som Gellerup Parken i Brabrand eller en kirke. Fælles for de store værker er anvendelsen af ny teknologi, som kan være forskellige former for lys, video, eller helt ny software, udviklet særligt til værket. I de store arbejder involveres ofte komponister og musikere, men også andre discipliner, som programmører, interaktions designere og teknikkere. Et særligt kendetegn for de store værker er, at de er skabt i tæt samarbejde med og involverer en række forskellige mennesker. Minimer

• ejner, claus

  Jeg arbejder med tegning, skulptur, installation, video, Internettet, performance mm. Desuden har jeg mit eget forlag - forlaget dada-invest - hvor jeg udgiver mine egne bøger og samarbejdsprojekter med andre kunstnere.

  Jeg arbejder med tegning, skulptur, installation, video, Internettet, performance mm. Desuden har jeg mit eget forlag - forlaget dada-invest - hvor jeg udgiver mine egne bøger og samarbejdsprojekter med andre kunstnere. Minimer

• Finn, Maria

  Maria Finn’s work deals with the relationship between image and text. Her projects revolve around existing film narratives, deconstructed and re-enacted by the artist herself or by actors in an attempt to highlight the duplicitous nature of filmic language. By shifting perspective from male to female as well as by replacing and transforming scenes in diffe Read more

  Maria Finn’s work deals with the relationship between image and text. Her projects revolve around existing film narratives, deconstructed and re-enacted by the artist herself or by actors in an attempt to highlight the duplicitous nature of filmic language. By shifting perspective from male to female as well as by replacing and transforming scenes in different time and allowing for a more porous narration, Finn poses questions on authorship and the construction of meaning. Minimer

• Fischer, Michael Boelt

  Fokus i min praksis er at opererer med et relationelt værkbegreb (ulig det modernistiske værkbegreb) der til en hver tid justeres i forhold til den teknologiske udvikling og de konsekvenser den har for samfundet og dermed også kunsten. Med udgangspunkt i værket som generativ udviklingsenhed, anvender jeg det som et ”sample” til at danne nye h Read more

  Fokus i min praksis er at opererer med et relationelt værkbegreb (ulig det modernistiske værkbegreb) der til en hver tid justeres i forhold til den teknologiske udvikling og de konsekvenser den har for samfundet og dermed også kunsten. Med udgangspunkt i værket som generativ udviklingsenhed, anvender jeg det som et ”sample” til at danne nye hybridformer, som bygger på den i forvejen eksisterende æstetik og formmæssige struktur. Hvert værk kan genbruges og indgå i nye strukturer og sammenhænge, alle kombinationer er mulige og ligeværdige. Derved potenteres ikke blot de foregående værker, men alt hvad der endnu ikke indgår i værkproduktionen. Hvert nyt værk udvider og genfortolker således forståelsen af de foregående. I denne sammenhæng fungerer værket som en generator for produktionen af nye værker, et nedslagspunkt i en uendelig række af værker der fremstår som et relationelt hele, frem for en endegyldig kulminationen på den kreative proces. Det er derfor brugen af værkerne der er vigtig. Værkerne skal, gennem brugen af de forskellige greb afspejle sin egen tilblivelse og derved fremstå som en fysisk manifestation af den bagvedliggende metode. Udstillingssituationen bliver således en forlængelse heraf, hvor meningen er en forhanding mellem værkerne og beskueren. Herigennem gives værkernes interrelationelle karakter og struktur fysisk form. Min udstilling ”Micromotives” fra 2006 bestod af en grid-ophængning af 1000 A4kopier af mine værker og 4 modulopbyggede objekter, fordi udstillingen var i Australien og skulle kunne pakkes ned i en kuffert. Værkerne kunne, fra udstillings start, frit tages af publikum og udstillingen fungerede derved som et værk i proces hvis endelige form først ville være nået ved udstillingens afslutning. Omstændighederne blev på den måde konkrete og indgik på lige fod med værkerne i udstillingen, der igen fungerede som en fysisk manifestation af metoden. En anden måde at anvende værket på har været at indgå i samarbejdsprojekter så som Kunstnerkollektivet Selvsving, hvor værket har fungeret som bidrag til det samlede heterogene udtryk som har kendetegnet Selvsvings udstillinger. Udsmykning ”Introducing ZEDAMATOR” på rytmisk Musikkonservatorium fra 2008 som var et samarbejde med Thorgej Steen Hansen, Zven Balslev og Daniel Milan, hvor de individuelle værker, som en parafrase over samspillet i rockbandet, fremstod som et samlet hele. Min praksis drejer sig altså i høj grad om at udvikle nye måder at bruge værket på. Udstillingen ” Broken Symmetry” på galleri KANT i april 2009, bestod af 36 kvadratiske collager som tilsammen udgør 4 større collager på 2x 2 meter. De 36 collager fremstod som 36 enkelt værker som udgjorde en installatorisk helhed, hvor ophængning repræsenterede mit bud på en mulig sammensætning, men hver kombination af værker i virkeligheden udgjode et nyt værk. Ideen var at inddrage stedet, dvs. galleriets funktion, værket som produkt, i udformningen af udstillingen som et aktivt element på lige fod med værkerne frem for en traditionel stedspecifik installering hvor udstillingsrummet indtager en mere passiv rolle. Udstillingen fremstod på denne måde som en ”fysisk collage” af de immaterielle relationer mellem værk, værker, beskuer og udstillingssted, og repræsenterer, på samme måde som værkerne, et nyt nedslagspunkt i rækken af udstillinger. Minimer

• Fog, Jørgen
• Frankel, Bernhard
• Galschiøt, Jens
• Goll, Morten

  Morten Goll experiments with communication and social identity and the way these topics are interdependent. This research has lead to a series of art works which actively promote social change and reworking of social discourse and a series of tv-programs (produced for tv-tv) experimenting with political communication. He regards his work as social design Read more

  Morten Goll experiments with communication and social identity and the way these topics are interdependent. This research has lead to a series of art works which actively promote social change and reworking of social discourse and a series of tv-programs (produced for tv-tv) experimenting with political communication. He regards his work as social design which intervenes a given discourse through the change of an interface in order to facilitate an ethically and democratically responsible restructuring of the conditions in inter-human relations. Key words: third wave feminism, socio-politics, political art, post structuralism, the other, communication, ethics, social, collaborative, process, pragmatism, idealism. Minimer

• Grarup, Nils
• Gravesen, Cecilie Nusselein
• Grum, Charlotte

  Mine kunstprojekter fokuserer primært på det socialt konstruerede rum, det konstruerende subjekt og på forholdet mellem de to. Ved at ændre de fysiske eller mentale kvaliteter ved et rum kalder mine projekter på andre former for subjektiv væren, handlen eller tænkning i det rum.

  Mine kunstprojekter fokuserer primært på det socialt konstruerede rum, det konstruerende subjekt og på forholdet mellem de to. Ved at ændre de fysiske eller mentale kvaliteter ved et rum kalder mine projekter på andre former for subjektiv væren, handlen eller tænkning i det rum. Minimer

• Hanne Nielsen & Birgit Johnsen
• Hansen, Mikael
• Hansen, Thorgej Steen
• Harlev, Lise
• Hasle, Gudrun
• Haslund-Christensen, Charlotte

  Jeg arbejder fortrinsvis med fotografi, men har også lavet videoinstallationen No airport to travel from. I mit seneste projekt "De indfødte" vender jeg det koloniale blik og kigger på danskerne som en stamme. Jeg drager på ekspeditioner i Danmark og undersøger hvad det vil sige at være dansk. Selve repræsentationen i fotografiet bliver udfordret.

  Jeg arbejder fortrinsvis med fotografi, men har også lavet videoinstallationen No airport to travel from. I mit seneste projekt "De indfødte" vender jeg det koloniale blik og kigger på danskerne som en stamme. Jeg drager på ekspeditioner i Danmark og undersøger hvad det vil sige at være dansk. Selve repræsentationen i fotografiet bliver udfordret. Minimer

• Hausken, Nils Viga
• Heiberg, Lars
• Heilmann, Hannah
• Henckel, Peter Holst

  Peter Holst Henckel installation æstetik politik poesi Konceptuel ny fotografi baghuset globe

  Peter Holst Henckel installation æstetik politik poesi Konceptuel ny fotografi baghuset globe Minimer

• Henningsen, Nanna Gro
• Hesselbjerg, Marianne

  Jeg arbejder med skulptur, skulpturelle installationer og scenografi. Jeg arbejder med alle materialer, opgaven bestemmer materialet. bronze, aluminium, rustfrit stål, gips, glas, jord, papirarbejder, olie på papir. Jeg forholder mig til rummet, hvadenten det er udstillingsrum eller udsmykninger. Jeg interesserer mig for materialets taktilitet, Read more

  Jeg arbejder med skulptur, skulpturelle installationer og scenografi. Jeg arbejder med alle materialer, opgaven bestemmer materialet. bronze, aluminium, rustfrit stål, gips, glas, jord, papirarbejder, olie på papir. Jeg forholder mig til rummet, hvadenten det er udstillingsrum eller udsmykninger. Jeg interesserer mig for materialets taktilitet, tilstande, overgange. Ofte viser mine arbejder fragmenter af et emne. Udsnit af Michael Hubl,s tekst til kataloget: MARIANNE HESSELBJERG, SKULPTUR PÅ THORVALDSENS MUSEUM Brændpunkter af det ufattelige af Michael Hübl Der står hun med flagrende hår, fuldstændig nøgen, kun skødet er tildækket af et æbletræs blomster. Det er erkendelsens træ. Svarende til skabelsesberetningen har Albrecht Dürer fremstillet hende helt uden klæder.1 Alle kroppens dele er omhyggeligt gengivet i alle detaljer, også navlen. Netop på dette sted ville der være anledning til tvivl. Ifølge den kabbalistiske opfattelse havde Eva ingen navle. Thi Eva blev ikke født af en kvinde. Det synliges tilsyneladende selvfølgelighed har sine fælder: nogle gange er kendsgerningerne åbenlyse og kan dog ikke uden videre bestemmes. I sin installation “Verdens Navle" bringer Marianne Hesselbjerg to grupper af objekter sammen. Den ene gruppe er bygget af sortlakerede firkantede stålrør, træ og glasplader, hvorunder der er hvidt papir. Den kan identificeres som møbler. Den anden gruppe er fremstillet af bronze og ligner bjergtoppe eller kampesten. Man kan klart skelne mellem de to grupper. De enkle stålkonstruktioner tjener tilsyneladende som bord, stol og reol. Bronzeobjekterne, der ligner hinanden i formen og varierer deres størrelse, viser ingen umiddelbar indlysende funktion. Man kunne altså bestemme to kategorier: den ene som det nyttige, den anden som biting, tilføjelse, noget ekstra, ja endda overflødigt, som i hverdagen slet ikke eller næsten ikke kan bruges. Eller også skærper man modsætningen og konstaterer: her det nødvendige, der kunsten. Dermed ville dikotomien drives til det yderste og netop det punkt blive nået, hvor inddelingen svigter: Marianne Hesselbjergs installation lader sig ikke opsplitte i hovedsagen og biting, i kunst og ikke-kunst. Stolen er ingen sokkel, reolen ingen piedestal, men begge er heller ikke længere kun møbler. Gennem forbindelsen med de blødt modellerede objekter får de en yderlige mening. De bliver faktisk til hjælpekonstruktioner til de patinerede bronzer, som Marianne Hesselbjerg placerer på dem. Den selvfølgelighed, hvormed disse genstande sædvanligvis opfattes, er sat ud af kraft, og det allerede, fordi det på grund af gentagelserne af det plastiske motiv ser ud, som om det drejer sig om markeringer. Det er, som om man havde tilføjet en væsentlig egenskab til de sort-hvide konstruktioner, så at de ikke længere udelukkende er et bord, en stol eller en reol. Marianne Hesselbjerg synes dermed i sin installation “Verdens Navle" at skabe en sammenhæng, hvori betydninger forskydes, ligesom den udelukker præcise kategoriseringer eller klassificeringer. Thi bronzeobjekterne er jo heller ikke i sig selv kunst. Nok unddrager de sig ethvert praktisk formål og opfylder dermed et centralt kriterium i en i vid udstrækning vedtaget doktrin i den moderne kunst. Men skulpturerne alene er ikke tilstrækkelige til at konstituere Hesselbjergs kunstværk. Til dette hører netop også brugsgenstandene bord, stol og reol. FOCUSSING ON THE UNIMAGINABLE With flowing tresses she stands before us, completely naked, the claims of modesty satisfied by the leaves of an apple-tree. It is the tree of knowledge. In line with the Biblical account in the Book of Genesis, Albrecht Dürer painted Eve entirely unclad (1). Every detail of her body is rendered with the most faithful accuracy. Including her navel. But how accurate is accuracy in this case? The Kabbalists insisted that Eve could not have had a navel. After all, she was not born of woman. The apparency of the apparent can be deceptive. Sometimes the facts are there for all to see. And yet they do not fit the facts. In her installation “The Navel of the World” (Verdens Navle) Marianne Hesselbjerg juxtaposes two sets of objects. One set is made up of square black steel rods, wood, and glass surfaces lined with white paper. They are identifiable as articles of furniture. The others are bronze and look like small hilltops or erratic blocks. The two sets are clearly distinct in a number of ways. The simple artefacts are obviously designed for use as tables, chairs, shelves. The bronze objects, all very much the same shape (though never identical) and differing mainly in size, do not have any immediately apparent function. Accordingly, we might be tempted to divide the components of the installation up into two categories: useful objects in the one case, additions, incidentals, supererogatories in the other, possibly even instances of superfluity, of things that defy definition in terms of what they are “good for”. Or we take the whole thing a stage further and say: these objects serve a purpose, those are just art. But pressing the dichotomy like that brings us to a point where categorisation breaks down. Marianne Hesselbjerg’s installation refuses to be split up into essentials and subsidiaries, art and non-art. The chair is no plinth, the shelf is no pedestal. But neither are they mere pieces of furniture. The combination with the indeterminate contours of the bronze objects gives them an additional dimension. It makes them into auxiliaries of the patina-ed bronze objects Marianne Hesselbjerg has placed on them. They are invested with a new and more extensive significance. The unthinking familiarity with which we perceive these objects is set in abeyance, precisely because the repeated presence of the very similar, rounded, sculptured motifs makes them look like signs or markings, as if the black-and-white structures had suddenly been invested with a crucial new quality that makes them more than just a chair, a table or a showcase. In her installation “The Navel of the World”, Marianne Hesselbjerg creates a context in which meanings shift and clear-cut categorisations or classifications start to blur. For the bronze objects alone are not what makes the whole thing “art”. True, they are quite clearly devoid of any conceivable kind of “use” and as such fulfil one central criterion of a widespread (modernist) definition of what makes an artwork a work of art. But the sculptures, though necessary, are not sufficient in themselves to constitute the work. The mundane, utilitarian objects table, chair, shelf are an indispensable part of it. BRENNPUNKTE DES UNVORSTELLBAREN. Mit wehendem Haar steht sie da, vollkommen nackt, nur die Scham wird verdeckt von Blättern eines Apfelbaumes; es ist der Baum der Erkenntnis. Gemäß dem Bericht der Genesis hat Albrecht Dürer Eva ganz ohne Kleider dargestellt (1). Jeder Teil des Körpers ist mit detailgetreuer Sorgfalt wiedergegeben. Auch der Bauchnabel. Obschon an dieser Stelle Zweifel angebracht gewesen wären. Nach kabbalistischer Auffassung hatte Eva keinen Nabel. Denn Eva wurde von keiner Frau geboren. Die scheinbare Selbstverständlichkeit des Sichtbaren hat ihre Tücken: Manchmal liegen die Tatsachen offen vor Augen und sind doch nicht ohne weiteres zu bestimmen. In ihrer Installation „Der Nabel der Welt“ (Verdens Navle) bringt Marianne Hesselbjerg zwei Gruppen von Gegenständen zusammen. Die einen sind aus schwarzem Vierkantstahl, Holz und Glasplatten gebaut, unter denen weißes Papier liegt; man kann sie als Möbel identifizieren. Die anderen bestehen aus Bronze und sehen aus wie Bergkuppen oder Findlinge. Zwischen beiden Gruppen lassen sich klare Unterscheidungen treffen. Die einfachen Gestelle dienen offenbar dem Gebrauch als Tisch, Stuhl, Regal. Die Bronzeobjekte, die eine annähernd, nie ganz gleiche Form haben und die vorwiegend in ihrer Größe variieren, zeigen keine unmittelbar erkennbare Funktion. Man könnte demnach zwei Kategorien bestimmen: hier das Nützliche, dort die Zutat, das Beiwerk, ein Plus, vielleicht sogar ein Stück Überfluss, das für die Lebenspraxis gar nicht oder nur schwer zu verwenden ist. Oder man verschärft den Gegensatz und stellt fest: hier das Notwendige, dort die Kunst. Mithin wäre die Dichotomie ins Extreme getrieben und genau der Punkt erreicht, an dem die Einteilung versagt: Marianne Hesselbjergs Installation lässt sich nicht aufspalten in Haupt- und Nebensachen, Kunst und Nicht-Kunst. Der Stuhl ist kein Sockel, das Regal kein Piedestal, aber beide sind auch nicht mehr bloß Möbelstücke. Durch die Verbindung mit den weich modellierten Objekten erhalten sie eine zusätzliche Bestimmung, werden sie tatsächlich zu Hilfskonstruktionen für die patinierten Bronzen, die Marianne Hesselbjerg auf ihnen platziert. Sie werden mit neuer, erweiterter Bedeutung belegt. Die Selbstverständlichkeit, mit der diese Gegenstände üblicherweise wahrgenommen werden, ist außer Kraft gesetzt, und zwar schon deshalb, weil es durch die Wiederholung des plastischen Motivs so aussieht, als handle es sich bei den metallenen Rundformen um Markierungen – so als sei den schwarz-weißen Gestellen eine wesentliche Eigenschaft hinzugefügt worden, durch die sie nun nicht mehr nur ein Tisch, ein Stuhl oder ein Regal sind. Marianne Hesselbjerg stellt demnach in ihrer Installation „Der Nabel der Welt“ einen Zusammenhang her, in dem sich Bedeutungen verschieben und der distinkte Kategorisierungen oder Klassifizierungen ausschließt. Denn auch die Bronzeobjekte machen ja für sich genommen noch nicht die Kunst aus. Sie sind zwar offensichtlich jeder praktischen Nutzanwendung entzogen, erfüllen also ein zentrales Kriterium einer zumindest seit der Moderne weithin gültigen Doktrin. Aber die Plastiken allein reichen nicht aus, um Hesselbjergs Kunstwerk zu konstituieren, zu dem eben auch die Gebrauchsgegenstände Tisch, Stuhl, Regal gehören. Minimer

• High Heel Sisters, _

  Performance and artists group based in Denmark, Norway and Sweden. www.highheelsisters.com

  Performance and artists group based in Denmark, Norway and Sweden. www.highheelsisters.com Minimer

• Hjerl, Sophie

  Sophie Hjerl Born 1971, Copenhagen, Denmark. Educated at the Royal Danish Academy of Fine Arts 1993-2000 with an MA in Art Theory and Art Communication 2000-02. Sophie Hjerl's primary medium is video, but she also uses a wide range of other media. She works with a sensual, direct and poetic touch in the synthetic world of the new media. Her work br Read more

  Sophie Hjerl Born 1971, Copenhagen, Denmark. Educated at the Royal Danish Academy of Fine Arts 1993-2000 with an MA in Art Theory and Art Communication 2000-02. Sophie Hjerl's primary medium is video, but she also uses a wide range of other media. She works with a sensual, direct and poetic touch in the synthetic world of the new media. Her work brings the viewer into a journey of meditative own reflection, concerning the visible as we (think we) know it. She has exhibited and had her videos screened at museums, galleries and festivals in Denmark and abroad. Minimer

• Hoeck, Honza
• Holm, Anni
• Holm, Uffe
• Hove, Heidi

  Heidi Hove (b.1976) is an interdisciplinary artist, who is living and working in Copenhagen (DK). She graduated at Funen Art Academy (DK) and California College of the Arts (US). Beside her artistic practice, she has been curating various projects and is co-director of the artist-run, exhibition site, Koh-i-noor (DK).

  Heidi Hove (b.1976) is an interdisciplinary artist, who is living and working in Copenhagen (DK). She graduated at Funen Art Academy (DK) and California College of the Arts (US). Beside her artistic practice, she has been curating various projects and is co-director of the artist-run, exhibition site, Koh-i-noor (DK). Minimer

• Hunosøe, Jakob

  Over the past couple of years, Hunosøe has photographed everyday objects in situations seeming both commonplace and unpredictable and, moreover, unnatural. His photographs are characterized by something oddly unreal despite their plainness and easily recognizable objects.

  Over the past couple of years, Hunosøe has photographed everyday objects in situations seeming both commonplace and unpredictable and, moreover, unnatural. His photographs are characterized by something oddly unreal despite their plainness and easily recognizable objects. Minimer

• Hvejsel, Ulla

  Crosscultural experiments with journalism, theatre, letterwriting, powerpointing , television, visual arts etc!

  Crosscultural experiments with journalism, theatre, letterwriting, powerpointing , television, visual arts etc! Minimer

• Hüttel, Sören
• Høy, Jytte
• Ingen Frygt, _

  Ingen Frygt har eksisteret som kunstgruppe og fælles bevidsthed siden 2001. Igennem otte år har Ingen Frygt søgt at skabe vedkommende popkunst baseret på en blanding af kulturelle klichéer og selvoplevelser, for herigennem at udforske og beskrive selvets magt og positurer. Ingen Frygts kunstneriske produktion foregår som en konstant spejling mellem to ver Read more

  Ingen Frygt har eksisteret som kunstgruppe og fælles bevidsthed siden 2001. Igennem otte år har Ingen Frygt søgt at skabe vedkommende popkunst baseret på en blanding af kulturelle klichéer og selvoplevelser, for herigennem at udforske og beskrive selvets magt og positurer. Ingen Frygts kunstneriske produktion foregår som en konstant spejling mellem to verdener: En jordbunden og en mere fantastisk. Selviscenesættelsen og de ambivalente symboler går igen i en manende retorik, en slags skizofren ekspressionisme hvori fraktaler af kulturelle referencer opløses og stivner igen i betydningshallucinationer. Et nøglemotiv er f.eks. eksotisme som medium for følelsen af skyld – men også længsel. Et andet er den freudianske tænknings dybe forankring i den vestlige verdens forestillinger om selvet, der nærmest grænser til en slags overtro. Penge er en tredje tilbagevende besættelse, gennem hvilket Ingen Frygt søger at beskrive samfundsmæssige magtstrukturer som de udspiller sig i det individuelle liv. Vi kalder det ”følelsespolitik”. Den seneste tid har vi søgt at fremmane billeder af selvets overlevelsesstrategier som de kommer til udtryk i fantasmeagtige mentale forskydninger. Hvordan ser bevidstheden overhovedet ud? Dette elektriske sorte ingenting som trækker med tankernes flugt i mørke skygger? Hvad er præmisserne for at få to hjernehalvdele, der er uhjælpeligt badet i mørke, til at passe sammen og ind i tilværelsens trummerum? Minimer

• Ipsen, Thore
• Irmgard, Marie

  ARTIST STATEMENT 1) I do not see my paintings differing in style but I understand if you do 2) I think it is a cliché to view artist such as Jackson Pollock as clichés 3) I live half of my life in passive astonishment 4) I live a quarter of my life in frantic indifference 5) I live a quarter of my life in silent rage 6) I believe a painting can c Read more

  ARTIST STATEMENT 1) I do not see my paintings differing in style but I understand if you do 2) I think it is a cliché to view artist such as Jackson Pollock as clichés 3) I live half of my life in passive astonishment 4) I live a quarter of my life in frantic indifference 5) I live a quarter of my life in silent rage 6) I believe a painting can change the world 7) I don’t think Denmark is a very healthy place to be 8) I sometimes consider to make myself a tinfoil hat 9) I don’t believe everything can be conceptualized or contextualized 10) I am serious about my paintings 11) Irony is good in humor sometimes, mostly it is not good in art 12) I don’t really understand Duchamp but I like his work 13) I prefer a visible boss to hegemony any day 14) I believe that images are worth repeating 15) I left university and applied for Fine Arts Academy because of the novel “Beloved” 16) I don't think a painting is justified by referring to another painting 17) America terrifies me but I miss it every day 18) I believe Nike’s slogan to be today’s most relevant philosophy 19) I think it is a shame Esperanto didn’t catch on 20) I miss cassette tapes 21) I miss the desert 22) Almost daily people tell me that “I shouldn’t worry so much” 23) Almost daily I think that people ought to worry more 24) I agree with both Peter Weibel and Clement Greenberg 25) I have a mirror in each room which makes me very uncomfortable and self-conscious but Karen Blixen recommends it as a way to stay present 26) I wish I was more like Jim Morrison and sometimes I am 27) I sometimes think about Lenny Bruce 28) I think about Huckleberry Finn almost daily 29) I believe that A Chacun son Paradis 30) I (too) often say to myself: “oh Toto we’re a long way from Kansas” 31) I think analysis can be paralysis and often is 32) J'veux pas finir comme Kurt Cobain 33) I tend to trust women who wear cowboy boots 34) I am not afraid of the dark 35) I am afraid of people in pastels 36) Johnny Cash was mine exactly two decades before he was yours 37) I still have Kris Kristofferson to myself but it is not quite the same 38) I wish someone would just fix things but I always roll up my sleeves 39) I believe painting is an idiotic discipline 40) I believe painting is the most important discipline 41) I believe the sound is there even if there is no one around to hear it 42) I believe in Kenneth Noland 43) My favorite word is "Godspeed" 44) Patti Smith told me that anything is possible and I believe her Minimer

• Iversen, Marie Kølbæk

  Marie Kølbæk Iversen’s installations employ closed circuit video technology and various cybernetic systems to explore ideas of perception and representation. By foregrounding the technical process and the creative potential of the viewer, her work focuses on the moment at which language stops and immediate perception takes over.

  Marie Kølbæk Iversen’s installations employ closed circuit video technology and various cybernetic systems to explore ideas of perception and representation. By foregrounding the technical process and the creative potential of the viewer, her work focuses on the moment at which language stops and immediate perception takes over. Minimer

• J&K / Janne Schäfer og Kristine Agergaard

  The artist-duo J&K (Janne Schäfer, D / Kristine Agergaard, DK) have been working in collaboration since 1999 and are based in Berlin and Copenhagen. J&K work with mixed media installations, performance and interventions in public and institutional spaces. Travel, rituals and mythologies majorly inspire their work in which they play with signs, clichés and ident Read more

  The artist-duo J&K (Janne Schäfer, D / Kristine Agergaard, DK) have been working in collaboration since 1999 and are based in Berlin and Copenhagen. J&K work with mixed media installations, performance and interventions in public and institutional spaces. Travel, rituals and mythologies majorly inspire their work in which they play with signs, clichés and identities in a fiercely entertaining and colour-saturated universe. With humour and a surprising and almost shameless pilfering of symbolism from different cultures, audiences are lead into constructed worlds where neo-colonial and cross-cultural problems are examined and thematized. J&K explore the creative potential that underlies any modeling of reality and playfully question concepts of truth production, writing of history and cultural identity. Minimer

• Jacobi, Frans
• Jacobsen, Mogens
• Jacobsen, Stine Marie
• Jafri, Maryam
• Jensen, Mette Kit

  Jeg arbejder med værker behandler det offentlige og sociale rum. Mine processer starter oftest med undersøgelser af et givet urbant rum. Formelle, funktionelle, poetiske og historiske aspekter bliver observeret inden jeg skrider til en kunstnerisk omsætning. Jeg har udført site-specifikke projekter i forskellige europæiske byer: Hamburg, København, G Read more

  Jeg arbejder med værker behandler det offentlige og sociale rum. Mine processer starter oftest med undersøgelser af et givet urbant rum. Formelle, funktionelle, poetiske og historiske aspekter bliver observeret inden jeg skrider til en kunstnerisk omsætning. Jeg har udført site-specifikke projekter i forskellige europæiske byer: Hamburg, København, Geneve, Liverpool og Berlin m.fl. Indgrebene inddrager oftest publikum og består af kombinationer af objekter, design og tekst. Minimer

• Jespersen, Cecilia de Jong

  Relationel æstetisk praksis. Huskunstner. Nære relationer, familie og venner er udgangspunktet for mine kunstneriske undersøgelser. Sommetider forsøger jeg at lave kunst i nye sammenhænge i samarbejde med dem jeg møder og den kontekst vi sammen indgår i. Jeg interesserer mig for at sætte stemme og give scene til erfaringer fra hverdagslive Read more

  Relationel æstetisk praksis. Huskunstner. Nære relationer, familie og venner er udgangspunktet for mine kunstneriske undersøgelser. Sommetider forsøger jeg at lave kunst i nye sammenhænge i samarbejde med dem jeg møder og den kontekst vi sammen indgår i. Jeg interesserer mig for at sætte stemme og give scene til erfaringer fra hverdagslivet og de spørgsmål det stiller om det omgivende samfund, både af politisk og filosofisk karakter. Min praksis og dens udtryksformer tager afsæt i den konceptuelle, kontekst og site-specifikke tradition. Ligesom performance fra især 70 ´erne og problemerne omkring dokumentation interesserer mig. Minimer

• Jespersen, Michael Sand

  Jeg er uddannet på Det kongelige danske kunstakademi ved professor Paul Gernes, Skolen for mur og rum kunst. Jeg har siden 1989 arbejdet profesionelt med kunstnerisk udsmykning, og har erfaring med udsmykning af mange forskellige slags rum. Dette spænder fra private stuer over hospitals- og skolegange til kontorer, mødelokaler og aulaer. Read more

  Jeg er uddannet på Det kongelige danske kunstakademi ved professor Paul Gernes, Skolen for mur og rum kunst. Jeg har siden 1989 arbejdet profesionelt med kunstnerisk udsmykning, og har erfaring med udsmykning af mange forskellige slags rum. Dette spænder fra private stuer over hospitals- og skolegange til kontorer, mødelokaler og aulaer. Jeg arbejder desuden med maleri, men også fotografi, skulptur, computergrafik og thangka maling Jeg er medlem af DBF. Jeg har boet seks år i det asiatiske kongerige Bhutan, hvor jeg studerede buddhistisk filosofi, sprog og kunst. Disse år har i høj grad også haft indflydelse på mit kunstneriske virke. Jeg går ind for skønhed, provokation med mening, kunst der også er vedkommende for brugerne og bliver høj på buddha, naturen og min lækre kvinde. Minimer

• Jessen, Jacob
• Justesen, Kirsten

  Kirsten Justesen's is educated as classic sculpture. Her activities comprise a wide range of genres, from body art and performance art to sculptures and installation. Justesen was part of the avant-garde scene of the 1960s, where she became a pioneering figure within the three-dimensional modes of art that incorporate the artist's own body as artist Read more

  Kirsten Justesen's is educated as classic sculpture. Her activities comprise a wide range of genres, from body art and performance art to sculptures and installation. Justesen was part of the avant-garde scene of the 1960s, where she became a pioneering figure within the three-dimensional modes of art that incorporate the artist's own body as artistic material. These experiments led her in the direction of the feminist art which challenged traditional value systems during the 1970s. Her later works constitute broader investigations of relationships between body, space, and language. Minimer

• Jørgensen , Elle Klarskov

  Elle Klarskov-jorgensens sculptures are signs,tools,instruments and proposals. It is integrated art concerned with buildings,public space and environment.Her sculptural works are an engagement with architecture.She examines buildings through models, containing references to functional details such as windows and doors. She pursues the meanin Read more

  Elle Klarskov-jorgensens sculptures are signs,tools,instruments and proposals. It is integrated art concerned with buildings,public space and environment.Her sculptural works are an engagement with architecture.She examines buildings through models, containing references to functional details such as windows and doors. She pursues the meaning of signs and behavior in relation to space and matter.Through the act of sculpture Elle turns the study of models and signs into a creative research.The sculpture has no fixed scale.With curiosity Elle explore and mediate sculpture as building integrated art of free scale. Minimer

• Jørgensen, Morten Ernlund
• Kaisen, Jane Jin

  http://janejinkaisen.org Jane Jin Kaisen is a visual artist working in a project-based manner within the mediums of film, video installation, performance and text. From a transnational feminist and postcolonial perspective, she is interested in the re-writing of history and official narratives in order to suggest new genealogies and readings.

  http://janejinkaisen.org Jane Jin Kaisen is a visual artist working in a project-based manner within the mediums of film, video installation, performance and text. From a transnational feminist and postcolonial perspective, she is interested in the re-writing of history and official narratives in order to suggest new genealogies and readings. Minimer

• Kalsmose-Hjelmborg, Mille

  The Quest for (a new) identity Text by: Art historian and Art Critic Trine Ross The Works of Mille Kalsmose-Hjelmborg evolves around the concept of TRANSFORMING IDENTITY both in her private research and in site specific assignments. We tend to forget that our personal identity is negotiable and is constantly being negotiated around and Read more

  The Quest for (a new) identity Text by: Art historian and Art Critic Trine Ross The Works of Mille Kalsmose-Hjelmborg evolves around the concept of TRANSFORMING IDENTITY both in her private research and in site specific assignments. We tend to forget that our personal identity is negotiable and is constantly being negotiated around and inside us. But when we forget, the artworks of Mille Kalsmose-Hjelmborg are here to remind us. One such work is the ongoing project ’All My Suicides’ which has so far resulted in both a Part One and a Part Two. The first part consists of Kalsmose-Hjelmborg’s many new name certificates – from the name, ”Henriette Olesen”, she was christened through several variations until she reached her present name, ”Mille Kalsmose-Hjelmborg”, in 2008. The name we are given by our parents reveals many aspects of our selves. Most names are gender specific, but they often also reveal our nationality, age and background. But names can be changed and maybe we can change with them. And behind each new name taken by Kalsmose-Hjelmborg lies a wish for change and a will to take charge of her own destiny – and identity. In ’All My Suicides - Part Two’ Kalsmose-Hjelmborg lies her former identities to rest and carves a headstone in memory of each and every one of them. Thereby reminding us, that even as we change, evolve or just grow older, we still carry our past as part of the present, painful or joyous as it may be. And only by facing this fundamental fact we can truly ... change. The works of Kalsmose is based on classical stories about the family-concept, and "Happiness" related to the stereotype illusions hereof created via the media and the general society. In Her work she seeks to decode the story of what it means to be part of a family, to be someone's daughter or mother. Accordingly, her artwork becomes an almost anthropological survey of the romantic family-dream, where she applies the nuclear family as a readymade. It is a piece of work that tells the story of a reality that amalgamates with the illusion of the person to which she tries to construct a new reality, via the wishful image. Mille Kalsmose has been exhibited nationally in juried exhibitions and solo shows. Internationally she has exhibited in places such as Chelsea Art Museum in New York and ITAMI, Museum for arts And Craft in Hygo and been featured in publications and TV-shows. Minimer

• Karlström, Line Skywalker
• Kilde, Kim

  Works with conceptual science fiction with a focus on subjectivity and time.

  Works with conceptual science fiction with a focus on subjectivity and time. Minimer

• Kilsmark, Nikolaj

  I work in collaboration / partnership with Nynne Haugaard. We have been working together in art projects in a mixed field of relations between dokumentary, fiction, political, social, journalistic, and aesthetic considerations since 1999. We began our artistic collaboration in Gellerup (a suburb of Aarhus, with a high percentage of immigrants and Read more

  I work in collaboration / partnership with Nynne Haugaard. We have been working together in art projects in a mixed field of relations between dokumentary, fiction, political, social, journalistic, and aesthetic considerations since 1999. We began our artistic collaboration in Gellerup (a suburb of Aarhus, with a high percentage of immigrants and refugees), where we were living at the time. Our aim was to differentiate the media produced image of Gellerup by presenting other images and stories than the ones offered by the established media at that time. Since then we have produced “Montage from the Middle East ” in conjunction with Aarhus Festival 2001, in which we portrayed families in Turkey and Lebanon with family relations in Denmark, with the intention of distinguishing between the situation of refugees and the situation of immigrants. In 2001, we were invited to participate in the project CUDI ( Center of Urban Culture, Dialogue and Information) in Vollsmose (a suburb of Odense, Denmark – similar to Gellerup in Aarhus ). Our project attempted to investigate and uncover the possibilities for resident initiatives in the housing complex, and facilitate actions/initiatives on dreams. Since then we have taken part in 20 Minutes in Denmark, a project launched by DR (Danish Broadcasting Corporation) and Aarhus Film Workshop addressing Danish identity, and in the exhibition project Running in the Family for which the proposals of societal utopian ideas within a familiar context. We represented the Danish prisoner in Guantanamo in the Danish media by way of an interview made in Gellerup in 2000. In March 2003, when the identity of the Danish prisoner became known to the public, we decided to air the interview on the two Danish television channels, DR 1 and DR 2 - an interview in its full length. The intention was to attract attention to the Dane's case, as to Danish government pressure to act on claiming rights for a Danish citizen. Minority report – Aarhus Festival of contemporary Art 2004: We Participated with “Where do you believe from? ” 2004 a Site-specific video projections out from the local library and in Billund airports main gate area. “Where do you believe from?” constitutes an analysis of media realities and realities perceived through media and elements of fiction. Here and now we are based in Katmandu - Nepal, where we are investigating and working on how art can be a tool in development work and how to create other communication strategies together with Nepali citizens. - How to use artistic methods to communicate within different contexts both culturally and in specific areas e.g. to create conceptual strong images that create dialogues in different environments. In our work we are highly interested in different issues around migration and globalization. Our concern lies within using aesthetic language to communicate political issues in conceptual ways. Minimer

• Knudsen, Vibeke
• Kristensen, Birgitte
• Kristensen, Ulrik Holme
• Kristiansen, Jesper
• Kromann, Elin Kristine
• Kryger, Mathias
• Kær , Morten
• Kærn, Simone Aaberg

  Simone Aaberg Kærn, in the early 1990s, began working with projects relating to surveillance and control. This, however, soon turned into a fascination for the unreachable and impossible task of floating: flying in the space. Through animated flying videos, such as Air (1994), wanna fly (1995), and Royal Greenland (196), Simone Aaberg Kærn investi Read more

  Simone Aaberg Kærn, in the early 1990s, began working with projects relating to surveillance and control. This, however, soon turned into a fascination for the unreachable and impossible task of floating: flying in the space. Through animated flying videos, such as Air (1994), wanna fly (1995), and Royal Greenland (196), Simone Aaberg Kærn investigated and soon found a symbolic free space in the air. At first, it was animated spaces, in which she flew across the skies of Copenhagen, New York and Greenland seeking the limits of gravity and individual unassisted human flight. Soon after Simone Aaberg Kærn achieved her own flight certificate in order to produce the work, Sisters in the Sky. This was demanded by Anne Noggle, one of the female pilots, who also was portrayed in the work Sisters in the Sky (1997). Simone Aaberg Kærn’s painted portraits of female fighter pilots from Second World War was shown at and acquired by Louisiana Museum of Modern Art, Humlebæk. Sisters in the Sky is an impressive aesthetic and intellectual peephole of how women at that time could realize their dream of flying in a time of hardship. In the painting and sound installation, Simone Aaberg Kærn narrated their stories with a poetic, political and feministic gesture and introduced the notion of aero feminism – an aero feministic sisterhood across cultures and generations. One of Simone Aaberg Kærn’s most spectacular projects started in 2002. One day the artist read an article in a Danish newspaper about the girl Farial from Kabul in Afghanistan. Farial’s greatest wish was to become a fighter pilot. Simone Aaberg Kærn had no doubts; she had to attempt to reach her and show her how to fly. In Micro-Global Performance (2002-03) Aaberg Kærn took off in her fragile Piper Colt flight from Little Skensved, Denmark, to Kabul, Afghanistan. Micro-Global Performance is produced in collaboration with Magnus Bejmar. They flew across borders; crossing the enormous mountain range Hindukush (the Hindu Killer) to Kabul with the risk of the American Air Force would attack them. In the film Smiling in a War Zone (2005) Simone Aaberg Kærn crosses war zones and defies the military power in order to make contact to the girl Farial. She risked her own life so she could give Farial a journey in the air. In the film Farial flies the plane over Kabul. From a global perspective, the sky and the airspace are a place of battles – over power, prestige and politics. At the same time, the sky is a place of refuge for individuals, a place onto which you may project your own wishes and dreams. by Lars Grambye, Jacob Fabricius & Lotte Juul Petersen from the exhibition catalogue Simone Aaberg Kærn: Open Sky, Malmö Konsthall (Sweden) 2006 Used with permission of the authors and Galerie Asbæk © The authors Minimer

• Käszner, Smike
• Larris, Mikkel
• Larsen, Jacob Tue
• Lassen, Lotte Tauber

  Uddannet på Det Kongelige Danske Kunstakademi og Skolen for Mediekunst og Kunstformidling. Har fra begyndelsen af 90erne arbejdet med fotografiet og fra år 2000 med store stedsspecifikke ruminstallationer, med brug af det levende billede, lys og lyd. Værkerne inddrager beskueren som den aktivt sansende, og fungerer ofte som en slags meditative Read more

  Uddannet på Det Kongelige Danske Kunstakademi og Skolen for Mediekunst og Kunstformidling. Har fra begyndelsen af 90erne arbejdet med fotografiet og fra år 2000 med store stedsspecifikke ruminstallationer, med brug af det levende billede, lys og lyd. Værkerne inddrager beskueren som den aktivt sansende, og fungerer ofte som en slags meditative (mellem)rum. Som udsagn, der ansporer publikums indre orienteringssans og appellerer til egenskaber som åbent, sanseligt nærvær og introspektiv erkendelse. Nødvendigheden af, at vende blikket mod det indre for at kunne navigere og orientere sig i det ydre. Minimer

• Lau , Lasse

  Biography (english version) Lasse Lau (born 1974 Denmark) is a queer and social activist, visual artist and filmmaker based in Brussels and Copenhagen. He studied at the Whitney Museum of American Art Independent Study Program in New York and at the Funen Academy of Fine Art in Denmark. "Agency of Public Resources" (APR) is the imaginary common subject Read more

  Biography (english version) Lasse Lau (born 1974 Denmark) is a queer and social activist, visual artist and filmmaker based in Brussels and Copenhagen. He studied at the Whitney Museum of American Art Independent Study Program in New York and at the Funen Academy of Fine Art in Denmark. "Agency of Public Resources" (APR) is the imaginary common subject matter from which most of Lau's recent interdisciplinary art projects originate. It is an agency that through the means of art and collectiveness accumulates on site knowledge, and through dialogue facilitates re-negotiations of space and democracy. His work continues to expose the amnesia of today's crises in the global economy, and the parallel social displacement of people in spatial terms. Lau often insists on the participation of the viewer in the aesthetic production. He believes that this will opens up the possibility for art to resonate in a different and more critical relation to the subject matter. He seeks to utilize aesthetics as a framework that can open dialogical paths for social change. Lau has exhibited in Westfälischer Kunstverein, Hamburger Bahnhof and Wolfsburg Kunstverein in Germany, Aarhus Art Museum and Brandts Klaedefabrik in Denmark, The Museum of Contemporary Art in Croatia, The Turin Biennial of Contemporary Art in Italy, the Contemporary Museum in Baltimore, Smack Mellon Gallery and PS1 Contemporary Art Center in New York. Beside his exhibition activity Lau is the editor of the www.c-m-l.org - an online archive for social engaged art. Further he is a founding member of Kran Film Collective - www.kranfilm.net Minimer

• Lind, Peter
• Lindau, Palle

  Land art, bronze, jern, fiberbeton, strå tag, hvedemarker,

  Land art, bronze, jern, fiberbeton, strå tag, hvedemarker, Minimer

• Lislegaard, Ann
• Lose, Søren

  Danish visual artist Søren Lose (1972) lives and works in Copenhagen and Berlin. Through photography, film, and installation Søren Lose explores matters of private and collective memory, narrative, history, architecture, tourism, and belonging.

  Danish visual artist Søren Lose (1972) lives and works in Copenhagen and Berlin. Through photography, film, and installation Søren Lose explores matters of private and collective memory, narrative, history, architecture, tourism, and belonging. Minimer

• Lysholt-Hansen , Nanna

  Nanna Lysholt-Hansen graduated at the Royal Danish Academy of Fine Art in Copenhagen, 2011 She is working with video installation and photography deriving from a performative art practice

  Nanna Lysholt-Hansen graduated at the Royal Danish Academy of Fine Art in Copenhagen, 2011 She is working with video installation and photography deriving from a performative art practice Minimer

• Madsen, Mikael
• Malmros, Janne

  Janne Malmros is a Slade School of Fine Art Graduate (MFA). She is based in London and Copenhagen.

  Janne Malmros is a Slade School of Fine Art Graduate (MFA). She is based in London and Copenhagen. Minimer

• Mengers, Line Sandvad

  I mit arbejde er jeg optaget af sociale og religiøse spørgsmål. Jeg er interesseret i vores måder at interagere på og i de forventninger vi har til hinanden.

  I mit arbejde er jeg optaget af sociale og religiøse spørgsmål. Jeg er interesseret i vores måder at interagere på og i de forventninger vi har til hinanden. Minimer

• Mortensen, Liv Carlé

  My instrument is woman, her ultimate being and strength, the fine balance of creating, hunting and birthing creatures. The scream of pain, the fully borne. I use a woman’s map, from the near intimate sphere, warmly embracing in the family. Forth to the scream of the Amazon, when she cuts the cord, child/children under her torn-off breast, and goes Read more

  My instrument is woman, her ultimate being and strength, the fine balance of creating, hunting and birthing creatures. The scream of pain, the fully borne. I use a woman’s map, from the near intimate sphere, warmly embracing in the family. Forth to the scream of the Amazon, when she cuts the cord, child/children under her torn-off breast, and goes to war. To war with the family to war as a provider. Because this war must be fought alone, the offering of the creating artist is that the war becomes the gift. Heart’s blood dripping from inner sexes. The vulva of the menstrual phase, to the essential bloodstream of birth, making patterns with the pain, a map of our meeting with this world. Minimer

• Mygind, Rasmus Høj
• Mølgaard, Bo

  Med baggrund i den klassiske trykgrafik arbejder jeg med de formsprog jeg finder passende til det, der skal siges - fra tidstung farvefotogravure til balloner. Aktuelt mest med pigmenttryk baseret på det oplevede fotografiske udgangspunkt. Gerne i en stram fortælleramme relaterende til den kontekst værkerne skal indgå i.

  Med baggrund i den klassiske trykgrafik arbejder jeg med de formsprog jeg finder passende til det, der skal siges - fra tidstung farvefotogravure til balloner. Aktuelt mest med pigmenttryk baseret på det oplevede fotografiske udgangspunkt. Gerne i en stram fortælleramme relaterende til den kontekst værkerne skal indgå i. Minimer

• Møller, Sofie Bird
• Nielsen, Mogens Otto
• Norre, Michael
• Nowotny, Rolf
• Nørring, Jonas Engbirk

  Operating 77m3 RumForKunst Art of Kailas

  Operating 77m3 RumForKunst Art of Kailas Minimer

• OLISE, MIE

  Mie Olise is a Danish New York based artist. She graduated her MFA from Central St. Martins in London in 2007. MO is working with narratives about abandoned constructions and settlements in painting, architectural constructions and media, to tell stories that are psychological, melancholic, often about fading memory. Mie Olise opened her solo s Read more

  Mie Olise is a Danish New York based artist. She graduated her MFA from Central St. Martins in London in 2007. MO is working with narratives about abandoned constructions and settlements in painting, architectural constructions and media, to tell stories that are psychological, melancholic, often about fading memory. Mie Olise opened her solo show at SNYK Skive Museum of Art:"The Exquisite capabilities of The Flying Carpet" sept 2009, with work created at the Skowhegan Artist Residency in Maine, US Currently Olise is doing an Artist Residency at ISCP International Studio and Curatorial Programme in New York. Olise also holds a MA in Architecture. Minimer

• Overgaard, Anne Skole
• Paludan, Jon

  www.callforeulas.org boompearls.wordpress.com www.virtuelvandring.dk

  www.callforeulas.org boompearls.wordpress.com www.virtuelvandring.dk Minimer

• Pedersen, Ditte Lyngkær
• Pedersen, Stefan A.
• Petersen, Karen
• Pind, Mr.
• Poulsen, Tanja Nellemann
• Ramadan, Khaled

  Artist statement My fields of specialties are the culture and history of documentary and experimental film aesthetics, with interests in the fields of aesthetic journalism and documentary film history research. I produce video and documentaries that explore how political, cultural, and scientific systems change the ways we think about the world ar Read more

  Artist statement My fields of specialties are the culture and history of documentary and experimental film aesthetics, with interests in the fields of aesthetic journalism and documentary film history research. I produce video and documentaries that explore how political, cultural, and scientific systems change the ways we think about the world around us. My films reflect the work of a transformative film archivist not a traditional filmmaker, I often apply my theoretical knowledge in my production to learn and be inform about communities, people and the evolving social / human system. I consider my work to be a geographical mapmaking, a transformative committed work to social equality and representation. I make out of the personal and ordinary an extraordinary. I am particularly interested in memory in relationship to history. I work as informative filmmaker, as an archivist who wishes to record the unknown and the neglected histories. I find in the book, The Language of New Media by media theorist Lev Manovich a reconceptualization of filmmaking a very useful tool to of engagement to understand the power relation between film critic, media production and contemporary art and culture. My videos and film projects have been shown around the world. About Khaled Ramadan Born Khalil Dawood Ramadan in Damascus in 1965, artist name Khaled Ramadan. He is an archivist and a documentarist whose work is greatly influenced by social history, scientific research and critical theory. He moved to Europe in 1991 and has since become an influential figure in international art circles. He utilizes a deep knowledge of internationalism and the history of visual aesthetics to comment upon the socio-cultural mobility of contemporary art and identity. He makes use of video, archives, film and photography to construct work that explores our perceptions of personal identity and community. Ramadan uses his art as a vehicle for empowering and engaging people from different backgrounds and communities. He intends to reveal the danger inherent in blind acceptance of everyday ‘reality’ – whether the context is the socio-politics of the Middle East or post-modern European identity. Khaled Ramadan is also adept at exploring contemporary art’s role in modern society and at considering the implications of globalisation, media and new internationalism for visual artists and society as a whole. Ramadan’s work, as both curator and filmaker, has often focused critically on some of the deep-set motivations of social and historical life in the Middle East and Europe. His objective in doing so is to facilitate a shift in the contemporary understanding of contemporary film practice from the national and regional to the more trans-national. Minimer

• Rangstrup, Maibritt
• Rasborg, Camilla

  Camilla Rasborg (f. 1974) er uddannet fra Det Jyske Kunstakademi i 2002. Hendes værker tager ofte udgangspunkt i hverdagens evindelige rystelser, der giver følelsesmæssige forviklinger, og truer vores funktionsdygtighed. Værkerne undersøger overlap mellem utilsigtede hændelser, kontrolleret præcisionsarbejde, uheld, iscenesættelse, proces og manipulat Read more

  Camilla Rasborg (f. 1974) er uddannet fra Det Jyske Kunstakademi i 2002. Hendes værker tager ofte udgangspunkt i hverdagens evindelige rystelser, der giver følelsesmæssige forviklinger, og truer vores funktionsdygtighed. Værkerne undersøger overlap mellem utilsigtede hændelser, kontrolleret præcisionsarbejde, uheld, iscenesættelse, proces og manipulation. Camilla Rasborg arbejder med fotocollage, installationer, tegning og skulptur. Minimer

• rasmus knud

  The fantastic, with a knowing resonance in narrow and legislated concepts of the real, was a part of the artistic production that took place behind the iron curtain. In the Polish author Stanislaw Lem's 1967 slapstick sci-fi novel The Cyberiad, two robot inventors, Trurl and Klaupacius, travel the cosmos and try to out- invent each other with cybernetic c Read more

  The fantastic, with a knowing resonance in narrow and legislated concepts of the real, was a part of the artistic production that took place behind the iron curtain. In the Polish author Stanislaw Lem's 1967 slapstick sci-fi novel The Cyberiad, two robot inventors, Trurl and Klaupacius, travel the cosmos and try to out- invent each other with cybernetic creatures spawned by an almost medieval imagination – often with disastrous consequences for their employers. 30somethings will also remember the Czech childrens' TV cartoon Professor Balthasar whose eponymous protagonist invariably found a solution to seemingly insurmountable problems. In the darkest hour, the Professor would invent a machine or a magic potion designed to facilitate the continued functionality of something very specific in a corner of time and space that had been out of whack. Of course, Denmark at the beginning of the 21st century isn't Poland or Czechoslovakia under the communist regime. However, there are some figures and fantasies in common between the anti-authoritarian innuendos of Eastern European art and the collaborative work of rasmus knud and Søren Andreasen. Even if circumstance doesn't allow for head-on confrontation, the formulation of opposition is always brought about by necessity. When freedom is at stake, an imagination that transcends ideology can unleash the potential for inventing new concepts and ideas. This is also a way of stimulating some undefined quantities that are open to interpretation, in order to avoid the pitfalls of negative critique. In other words, when confronted with two opposing ideological viewpoints it is possible to adopt a third position outside their inevitable collision area, in order to take the game beyond a binary deadlock. rasmus knud, a goofy constellation of two Scandinavian Christian names, is the nom de guerre for the duo Johannes Christophersen and Sebastian Schiørring. The collaborative work of rasmus knud and Søren Andreasen traverses signifying systems, media and themes. 'Themes' is used here in the musical sense – a given structure which equips the musician with a point of departure and some co-ordinates for progress. rasmus knud has previously dealt with urbanity, social conditioning and gender politics, issues that are continuously negotiated, or re- mixed, in their new work. The anarchic concept art of rasmus knud and Andreasen's work ranges from the fastidious formal strategies of minimal electronica to the freewheeling fantasies of digital bards and dragons of improbability, to borrow from Lem's inhabitants of Cyberia. That is to say, beyond signature styles and media, a certain spirit is identifiable: we will not back down, we will never surrender! Often, their collaborations accentuate what is already present in the sites where they exhibit. Here, their work assumes the quality of a free jazz improvisation of space. Not with horns, drums and piano but equipped with a video camera that myopically extracts the ideology from architectural forms and turns them into new territories. In the video accompanying their installation 2nd Ambition and Instrument, 2000, for a building in Ljubljana, the image represents a disembodied eye flying low over a control keyboard of all on-site electronic installations in a place haunted by post-communist phantoms of bureaucratic control. Enlarged as a wall projection, the footage of dials and buttons becomes a tour of a cityscape of repetitive and redundant elements, laden with utopian significance. A recurring element in their recent work is wallpaper with text relating to Jacques Tati's deadpan blowout Playtime and his comical figure Monsieur Hulot. Play is a state of unworried reorganisation, and the actual formation of co-operation in rasmus knud and Søren Andreasen could be said to be a playful investigation of sites and events when the individual nervous system is shown to be coextensive with civilisation. For formulating this state of affairs, the artists have invented a narration machine, the ROOMULATOR. The ROOMULATOR is a kind of mega-puzzle, a simple structure consisting of text fragments glued onto pieces of wood, comprising an archipelago on the exhibition floor where its patches mumble amongst themselves and their context. The musical compositions that the trio recently presented at the Yokohama Triennial were sequentially organised according to the weekdays. Let us finish with a quote from the Wednesday session notes: “When we were doing Wednesday Filters Date it was a struggle to get it out and abandon everything that we had done before. The session ventures into unusual improvisational areas with a very spontaneous drive around the bass line that probably will stay with you long after your phonograph is turned off”, rasmus knud and Andreasen promise. They go on, in response to self-reflective and ego- restorative forms of art and communication which, after all, are also ways of narrowing down reality: “In Wednesday Circuits Date we're trying to fan out – to concern ourselves with the universe instead of just our own small corner of it. It should – particularly at a time when the expression of interior emotions is a focal point for many - be a refreshing statement.” Translated by Lars Bang Larsen Minimer

• Rasmussen, Else
• Recke, Nikolaj
• Rosenmunthe, Johan
• Rude, Mille

  Jeg arbejder med en blanding storytelling, dokufiktive hændelsesforløb, performative såvel som skulpturelle praksisser, billeder, tekst, tap dance og lyd.

  Jeg arbejder med en blanding storytelling, dokufiktive hændelsesforløb, performative såvel som skulpturelle praksisser, billeder, tekst, tap dance og lyd. Minimer

• Rød, Jakob
• Rømer, Nis

  Nis works with public art in the city, on the web and in the news media. With a playful and interactive approach, he makes situations for change and reflection. He has a special interest in the social and political organization of space and in how processes of globalization affects the city and our natural environment. Key words: art in public spaces, e Read more

  Nis works with public art in the city, on the web and in the news media. With a playful and interactive approach, he makes situations for change and reflection. He has a special interest in the social and political organization of space and in how processes of globalization affects the city and our natural environment. Key words: art in public spaces, environment, ecology, conceptual art, environmental justice, urban planning, architecture, free, noncommercial Minimer

• Schiørring, Sebastian
• Schulenburg, Andreas

  By Andreas Schulenburg "Alles ist verkehrt" is the title I use for the this book, presenting a selection of my works from exhibitions in later years. My shifting choice of media derives from a constant need of multiplicity, airing an ambition to create a common language of form in spite of - and across borders of genre and material. My complete Read more

  By Andreas Schulenburg "Alles ist verkehrt" is the title I use for the this book, presenting a selection of my works from exhibitions in later years. My shifting choice of media derives from a constant need of multiplicity, airing an ambition to create a common language of form in spite of - and across borders of genre and material. My complete astonishment as to the world in which i stand, does not leave me any choice but to seek a connection. this is where art provides me the possibility of switching the buttons and tuning the controls of the meaningless and something incomprehensible becomes comprehensible, that is, in my understanding, when art steps into its character. Minimer

• Seeberg, Jonas
• Selwyn-Gray, Alexandra

  My present practice is mainly informed by spirituality encompassing iconography and influenced by philosophy and theory, which responds to specific areas, traditions and cultures, questioning of moral and social values and sometimes a sense of the irony in the ridiculous. I mainly work in artist video, performance, sculpture and installatio Read more

  My present practice is mainly informed by spirituality encompassing iconography and influenced by philosophy and theory, which responds to specific areas, traditions and cultures, questioning of moral and social values and sometimes a sense of the irony in the ridiculous. I mainly work in artist video, performance, sculpture and installation. Recently a bridge has formed between all my disciplines which explore the notion of mediated presence and allow me to investigate the gaze and different ways of involving an audience. I am continually questioning with work that I hope is thoughtful and provocative, revealing what lies beneath the surface, often in many layers of interpretation. Minimer

• Serber, Katja
• Skou, Lise

  Socially engaged practice. Dealing with power structures, economic structures, representation and urban planning.

  Socially engaged practice. Dealing with power structures, economic structures, representation and urban planning. Minimer

• Skovgård, Jan

  Jeg har et godt billede af en mand på en øde ø, der sidder og kigger ud over havet. Derude på havet går der en anden mand og pløjer med 2 heste. Det er mig, der er begge mænd. Det er den vekselvirkning, jeg ønsker at opnå, som jeg efterstræber.

  Jeg har et godt billede af en mand på en øde ø, der sidder og kigger ud over havet. Derude på havet går der en anden mand og pløjer med 2 heste. Det er mig, der er begge mænd. Det er den vekselvirkning, jeg ønsker at opnå, som jeg efterstræber. Minimer

• Sohn, Bodil
• Solberg, Bjarne v.H.H.
• Steinbock, Kristina
• Stockter, Hartmut

  Many of Hartmut Stockter's sculptures take on the form of day trip equipment. Some of the sculptures are designed for use within a specific type of landscape (rural or urban). Others are easily portable in order to allow usage at different sites. They are handmade devices, apparently assembled from metal, wood and plastic materials in the workshop Read more

  Many of Hartmut Stockter's sculptures take on the form of day trip equipment. Some of the sculptures are designed for use within a specific type of landscape (rural or urban). Others are easily portable in order to allow usage at different sites. They are handmade devices, apparently assembled from metal, wood and plastic materials in the workshop of an inventive craftsman. Lenses and mirrors are important components of many of these tools, as they are made to help obtain a better understanding of landscape. Practicality and functionality are clearly not prioritised. Nevertheless, the use of these instruments will turn a trip into the backyard, the next park or brownfield site into an adventure. Their inventor also owns two large books, in which he refers of himself as "the day tripper". The large book “Landscapes” serves as a means of recording experiences gained on day trips in the landscape. These are captured in ink drawings, watercolour paintings and handwritten text in a dictionary or logbook style. The smaller one of the two books is furnished with leather straps, so it can be carried like a rucksack. Minimer

• Svarre, Daniel
• Sætre, Jeanette
• Søndergaard, Jonas Hvid

  TRANSIT, tekst af Ditte Vilstrup Holm. I Jonas Hvid Søndergaards seneste malerier når det kaotiske nye højder. Her konfronteres de tidligere præcist afgrænsede former med en lavastrøm af changerende farver. Det rykker motiverne væk fra sit holdepunkt i hverdagens genkendelige former til et fabulerende univers, der både rummer mareridtets skræk og drømme Read more

  TRANSIT, tekst af Ditte Vilstrup Holm. I Jonas Hvid Søndergaards seneste malerier når det kaotiske nye højder. Her konfronteres de tidligere præcist afgrænsede former med en lavastrøm af changerende farver. Det rykker motiverne væk fra sit holdepunkt i hverdagens genkendelige former til et fabulerende univers, der både rummer mareridtets skræk og drømmens aspirationer. Nattehimlen opløser sig i en eksplosion af lys. Træernes knudrede grene strækker sig opad og fordrejes i eksplosionens skær. Verden krøller sig sammen mod et nyt centrum, mens resterne af den stabile verden flyver omkring i tumulten af den forandring, som sker. Tyngdekræften har ikke længere hold i kompositionen, og verdens genkendelighed er hurtigt ved at forsvinde. Som spraymalet kitsch, hvor alting er bøjet alt for overdådigt i forelskelsens neon, blander en ekspressiv baggrund sig nu med betonstykker i frit fald. To traditioner af abstraktionens historie kolliderer i et kaotisk univers. Det ekspressive møder det stringente, det afvejede det spontane, mens det tørre og præcise formsprog konfronteres med aftryk af det vilde og ustyrlige. Abstraktionens egen verden får plads. TRANSIT, text by Ditte Vilstrup Holm. In the latest work by Jonas Hvid Søndergaard, the chaotic reaches new heights. The formerly distinct, delineated shapes are now confronted with a lava stream of blended colour. The motifs are pulled away from their centre of mundanely recognizable forms, towards a fabulating universe, capable both of a nightmare’s horrors and the aspirations of dream. The night sky dissolves in an explosion of light. Knotted tree branches reach up and contort in the glare of the blast. The world curls up towards a new centre while the remains of what once was stable fly in the tumultuous change that has taken over. Gravity no longer has a hold on the composition and the world in its familiarity is rapidly disintegrating. Like spray painted kitsch, where everything refracts too lavishly in neon love, an expressive background is juxtaposed with concrete slabs in free falling. Two historical traditions of abstraction crash into a chaotic universe. The expressive confronts the exact, the calculated joins the impulsive and the dry and precise language is being challenged by marks of the wild and the uncontrollable. The proper world of abstraction has asserted itself. Minimer

• Sørensen, Svend-Allan

  Jeg arbejder fortrinsvis med ord. Ord på papir. Enkelte gange video og readymades. I øjeblikket arbejder jeg med træsnit og linoleumstryk, materialets implicitte æstetik og de politiske og naturkulturelle strenge, disse slår på. For mine værkers tekst gælder det, at den oftest er fundet på internettet via krydssøgninger af f.eks. ordene birds og p Read more

  Jeg arbejder fortrinsvis med ord. Ord på papir. Enkelte gange video og readymades. I øjeblikket arbejder jeg med træsnit og linoleumstryk, materialets implicitte æstetik og de politiske og naturkulturelle strenge, disse slår på. For mine værkers tekst gælder det, at den oftest er fundet på internettet via krydssøgninger af f.eks. ordene birds og politics. Det er ikke dada, men et styret redskab. Andre gange er det nærmest formelle opslag i fugle-, flora- og faunabøger Det er afsøgninger af mulige sammenhænge og meninger. Jeg laver disse afsøgninger med ord, der får mine sko til at trykke. Jeg kan se, at jeg de senere år har kredset om noget af politisk art og at jeg, sikkert fordi jeg har siddet og kigget ud af vinduet i mit kolonihavehus og desuden er søn af en fjerkræavler, er blevet fascineret af begrebet fugl. Ikke som en ornitologisk beskuer er det, men mere med fuglen som metaforisk budbringer for budskabet. Jeg har også brugt en ko og en hund, flere udstoppede fugle og overvejer i skrivende stund en prærieulv. Minimer

• Thams, Marie

  My practice is conceptual, I work in installation, sculpture, photography, video and tekst. My work often moves between sculpture/installation and props, and I aim for this because of the opening it creates: the work moving from being mere object towards being an actual event. My aim is to create work that exists as a vehicle for experiencing both the giv Read more

  My practice is conceptual, I work in installation, sculpture, photography, video and tekst. My work often moves between sculpture/installation and props, and I aim for this because of the opening it creates: the work moving from being mere object towards being an actual event. My aim is to create work that exists as a vehicle for experiencing both the given interest area, which the work departs from, and for looking into the very mechanisms of the nature of art. Minimer

• Theilgaard, Nikolas M.

  Mit kunstneriske arbejde bevæger sig mellem to medier, der ved første blik tilsyneladende ikke har meget med hinanden at gøre: tegning og fotografi. I det tegning for mig er et analytisk medie er fotografi først og fremmest baseret på intuition. Begge medier betinger hinanden, og supplerer hinanden. I både tegningen og fotografiet beskæf Read more

  Mit kunstneriske arbejde bevæger sig mellem to medier, der ved første blik tilsyneladende ikke har meget med hinanden at gøre: tegning og fotografi. I det tegning for mig er et analytisk medie er fotografi først og fremmest baseret på intuition. Begge medier betinger hinanden, og supplerer hinanden. I både tegningen og fotografiet beskæftiger jeg mig med det samme tema, som man overordnet kunne kalde "det tidsløse landskab". Bagom landskabets abstrakte overflade gemmer sig en dybde som jeg forsøger at synliggøre ved hjælp af kameraets fokus eller liniens abstraktion. Med dybde mener jeg dels dybderumligheden som først kommer til fuld udfoldelse gennem det analoge billede, og dels den subjektive dybde som opstår intuitivt ved motivvalget og altid er et spejlbillede af indre landskaber. Denne dybde er for mig det substantielle bag tingene, en tidsløs sandhed. Minimer

• Therkildsen, Sixten

  In my artistic practice I work with various media such as video, installation, photo, written text and alternative socialization. Whatever medium I choose for a specific project, there is the common denominator in my projects, that I make use of and deal with the image-stereotypes, which most people are familiar with in their everyday life. The eve Read more

  In my artistic practice I work with various media such as video, installation, photo, written text and alternative socialization. Whatever medium I choose for a specific project, there is the common denominator in my projects, that I make use of and deal with the image-stereotypes, which most people are familiar with in their everyday life. The everyday aesthetic, which we all deal with but never pay much attention to, can when elevated, made prominent and presented in a new context, be very effective. Narration plays an important role in many of my art-productions. I have a fondness for personal, crazy, commonplace or wry stories which I often include as a raw material, at an equal level as the other elements in my projects. The gap between public issues and what appear to be personal narratives has become the central point of my practice, during the most recent years. Without being political rhetoric my art-projects deal with issues related to our contemporary society. Through my projects I produce non-commercial culture and fellowship around democracy-discussing, social and historical public matters. Minimer

• Thorsen, Sofie

  Mit arbejde fokuserer på rum og de måder de bruges på. De er baseret på research omkring og analyse af steder, deres arkitektur og de narrativer der er forbundet med dem. Med fotografiet, tegningen og i nogen grad film og video analyserer jeg objekterne for min interesse og bruger disse medier til at dekonstruere dem. I værkerne opstår analyser men også Read more

  Mit arbejde fokuserer på rum og de måder de bruges på. De er baseret på research omkring og analyse af steder, deres arkitektur og de narrativer der er forbundet med dem. Med fotografiet, tegningen og i nogen grad film og video analyserer jeg objekterne for min interesse og bruger disse medier til at dekonstruere dem. I værkerne opstår analyser men også nye narrativer. Jeg interesserer mig for byens rum, for den arkitektur som omgiver os, og for de fortællinger og magtforhold der ligger heri. Jeg interesserer mig for den måde arkitekturen performer på og for hvordan vi som aktører interagerer hermed. For de scener vi tilbydes og dem vi selv lægger til rette og skaber ved vores omgang med vores omgivelser. Her er jeg især interesseret i tegningen som beskrivende og analyserende medium med potentiale til abstraktion. Den dokumentariske fortælling kan bestå af et billede lige såvel som visualiseret statistik eller en optegnelse af hændelser. Jeg forstår mine værker i en konceptuel og dokumentarisk tradition. Indholdet og konteksten bestemmer mediet. Det kan betyde at værkerne består af billeder eller bliver på et rent analyserende niveau, men kan også betyde indgreb i rummet, udstillingsrummet, white cube såvel som det offentlige rum. Minimer

• Thrane, Charlotte
• Tonda Heide, Philip

  My work arises out of a desire to deal with things i do not fully understand. These are often things, or aspects of life, that fascinate me, yet frighten me. Through research and artistic work I aim to come to a result that exists as an autonomous piece with a reference to aspects of society. It may be rather abstract, but it is always rooted i Read more

  My work arises out of a desire to deal with things i do not fully understand. These are often things, or aspects of life, that fascinate me, yet frighten me. Through research and artistic work I aim to come to a result that exists as an autonomous piece with a reference to aspects of society. It may be rather abstract, but it is always rooted in something taken directly out of the reality i live in. I work in various media, most often photography, performance, installation and writing. Minimer

• Vind, Christian

  Hermetic, intellectual, and full of art historical references – playful and tongue-in-cheek. Both statements seem to fit Christian Vind’s paintings and paper works equally. All in all Vind’s work must be said to constitute some of the most unique young art found in Scandinavia right about now. Especially in the two books from Vind’s own publishin Read more

  Hermetic, intellectual, and full of art historical references – playful and tongue-in-cheek. Both statements seem to fit Christian Vind’s paintings and paper works equally. All in all Vind’s work must be said to constitute some of the most unique young art found in Scandinavia right about now. Especially in the two books from Vind’s own publishing house “HVIDPAPIRFEBER” (Whitepaperfever) does Vind’s labyrinthine approach to art making become apparent. With a sort of pedantic emotionality, drawings consisting of equal part William Blake, Edvard Munch and Harley Davidson collide and crash with photos of the Danish countryside and found objects of mysterious origin. Since his graduation from The Royal Academy of Fine Arts, Christian Vind has found a niche in the Danish art world with his works which for a large deal focus on tracing origin – in art history as well as in concrete media. Minimer

• Vodder, Anna Fro
• Weck, Ulrik
• Wessel, Jan
• WILLIAMS, PERNILLE KAPPER
• Wolsing, Thomas
• WOOLOO

  Wooloo (Sixten Kai Nielsen & Martin Rosengaard) 1978 & 1979, Denmark. Lives and works in Copenhagen and New York. Wooloo (founded 2002) is a networked artist group operating through the online community www.wooloo.org. Mixing digital communication with physical participation, Wooloo has developed a working method based on the advocacy of collectivity. Read more

  Wooloo (Sixten Kai Nielsen & Martin Rosengaard) 1978 & 1979, Denmark. Lives and works in Copenhagen and New York. Wooloo (founded 2002) is a networked artist group operating through the online community www.wooloo.org. Mixing digital communication with physical participation, Wooloo has developed a working method based on the advocacy of collectivity. While the Wooloo website currently connects the resources of more than 13.000 cultural producers in 140 countries, the group's various projects function as social experiments in direct collectivism. Recently, Wooloo organized the housing of three thousand activists with private families during the UN climate change summit in Copenhagen. Supplying the infrastructure for visitors to come and voice their opinion - and for strangers to share their homes and experiences - the Wooloo project was a large-scale exercise in communal cooperation. Minimer

• Zahle, Maria
• Zedamator
• Ørum og Bojen, Kristoffer og Anders, _
• Øvlisen, Thomas Hallas
• Aabille, Jesper

  I see myself as a an artist who work with variety of strategies: social and urbane interventions and sculptures as well as drawings and textoriented pieces of work. The common thread within these practices is the focus on the social life, whether it is solutions to mundane problems by making bridges to avoid stepping in a water pit or whether it is the Read more

  I see myself as a an artist who work with variety of strategies: social and urbane interventions and sculptures as well as drawings and textoriented pieces of work. The common thread within these practices is the focus on the social life, whether it is solutions to mundane problems by making bridges to avoid stepping in a water pit or whether it is the refinement in illustrating a practical act as for example making an apple pie. Through the insistent attention to the often hidden and nonexposed details of social life I often enter the borderline between reality and fiction because my solutions or projects often take on the form of the absurd, and here I try to search for the point where this line becomes unstable. A central part here is a very specific and insisting interpretation of the world which because of it's limited and defined scope never will be adequate in a complex modern reality and thereby the failure is an immanent follower of the work right from the begining, but it only shows its grim face when I have exhausted any other oppportunity. Minimer

• Aagaard, Grete