drawing

• 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
• Asbury, Kim
• 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

• Baggesen, Lise Haller
• Balslev, Zven
• benandsebastian, Ben Clement og Sebastian de la Cour
• Benveniste, Eli

  Eli Benveniste, b. 1961, Danish sculptor. Made her debut in 1988 at Veksølund Sculpturepark and since 1995 a member of Koloristerne. Clay is the preferred material, but in recent years, glass used is used in several Commisions. The theme in the sculptures are existential. In 2000 she received Astrid NOACK Sculptor prize, but has received man Read more

  Eli Benveniste, b. 1961, Danish sculptor. Made her debut in 1988 at Veksølund Sculpturepark and since 1995 a member of Koloristerne. Clay is the preferred material, but in recent years, glass used is used in several Commisions. The theme in the sculptures are existential. In 2000 she received Astrid NOACK Sculptor prize, but has received many other grants as well. I have always been interested in phenomenology, that is in human relations and conditions, how different people react in a similar way to the same incidents. It is seen in every-day life, in permanent relationships, in the way we treat our children and in how we react when we meet strangers. And it seems to me that human beings react very similar – which are extenuating circumstances in a world covered with smoke. I was born in 1961, the 4th daughter of a Danish mother and a Greek Jewish father from Thessalonoki. They met in l948 during the greek civil war in Lamia, where my mother worked for Red Barnet (a humanitarian organisation for children) and my father was a doctor at a clinic in a refugee camp in the Greek Red Cross. In 1953 they moved to Denmark, and after a while my father became consultant at the Central Hospital in Nykøbing. Here I lived with my three elder sisters and our younger brother till the family split up. At the age of 23 I went to Barcelona, where I lived for 6 years. Today my husband and I live in Italy and in Portugal, countries tightly linked to my work as sculptress. To be a guest and not really belong anywhere are conditions, that goes well with my work. You are distant, which is good for observing the world around you, just as the uncertainty that comes from exile goes well with the doubt which always is a part of the artistic process. I have made sculptures since I was very young, but it is only the last few year I have begun to write and photograph. In my work as well as in my life I wonder how many individual choises we make seen in comparison to the influence the specific time and situation have on us. Therefore I try to put as much as possible og what I experience and see into a historic perspective. Eli Benveniste Minimer

• Bigum, Martin
• Birkholm, Pia
• 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
• Bork, Trine
• Boserup, Julie L.
• Bredahl, Vibe

  Vibe Bredahl works in various media including drawing, installation, photography and artist books. Travel, both in general and in particular, is a theme that runs throughout her work.

  Vibe Bredahl works in various media including drawing, installation, photography and artist books. Travel, both in general and in particular, is a theme that runs throughout her work. Minimer

• Brinch, Jes
• Brix-Thomsen, Pia

  Billedkunstner maleri tegning abstract landscapes

  Billedkunstner maleri tegning abstract landscapes Minimer

• Brodersen, Grete Marie
• Brøgger, Søren
• Buchardt , Lars
• Burchardi, Sofia
• 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

• Calmer, Ruben

  Indlevelse, stemning, iagttagelse, natur, mennesker, miljøer, socialpoesi - er nogle af kodeordene i mit kunstneriske arbejde. Iagttagelsen og det fabulerende spiller lige store roller, jeg inspireres ofte af et synsindtryk, som jeg erindrer og skitserer på blok eller lærred i atelieret, herfra arbejder jeg frit med farver og "fortælling". Formidling Read more

  Indlevelse, stemning, iagttagelse, natur, mennesker, miljøer, socialpoesi - er nogle af kodeordene i mit kunstneriske arbejde. Iagttagelsen og det fabulerende spiller lige store roller, jeg inspireres ofte af et synsindtryk, som jeg erindrer og skitserer på blok eller lærred i atelieret, herfra arbejder jeg frit med farver og "fortælling". Formidling spiller en stor rolle i mit kunstneriske virke. Kunst i boligforeninger, skoler, børneinstitutioner, friluftsmaleri og sommeratelier i parker, samt kurser og aktiviter i Kunstskolens atelier i Valby. Minimer

• Capetillo, Henrik
• Carstensen, Eva
• Clemmesen, Christine
• 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

• Damgaard, Bodil
• Danø, Rasmus

  Rasmus Danø is working with installation, painting, drawing, graphics and sculpture. His work is visual and textual comments on contemporary urban life on the edge of insanity – lost and longing for true nature.

  Rasmus Danø is working with installation, painting, drawing, graphics and sculpture. His work is visual and textual comments on contemporary urban life on the edge of insanity – lost and longing for true nature. Minimer

• Davidsen, Cathrine Raben
• Degett, Karen
• Denhart, Lene
• Dröscher, Benny
• Durakovic, Nermin
• Ebbesen, Torben
• Eistrup, Michelle
• 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

• Eken, Rose

  I work in a variety of media focusing on video installation, drawing, painting, embroidery and sculpture. My work addresses the nature of particular interior spaces and the aura, fragility and physical detritus surrounding a concert or a performance is a major source of inspiration. Drawing on the melancholy and romance of popular music I aim to unpick the Read more

  I work in a variety of media focusing on video installation, drawing, painting, embroidery and sculpture. My work addresses the nature of particular interior spaces and the aura, fragility and physical detritus surrounding a concert or a performance is a major source of inspiration. Drawing on the melancholy and romance of popular music I aim to unpick the processes through which certain places or pop-cultural objects have become embedded within the collective consciousness. Minimer

• Emenius, Andreas
• Enström, Alba

  Siden mine akademiår (1985-92) hos professorerne Albert Mertz, Bjørn Nørgaard og Mogens Møller har jeg arbejdet heltids som udøvende billedkunstner. I min motivverden blander jeg digt og virklighed og gennem maleri, tegning og collage har jeg konsekvent udforsket og undersøgt konventionerne omkring identitet, kaerlighed og samliv; samtidigt som jeg prøver, at fortolke en verden hér og nu ( se iøvrigt min hjemmeside:www.alba-art ).

  Siden mine akademiår (1985-92) hos professorerne Albert Mertz, Bjørn Nørgaard og Mogens Møller har jeg arbejdet heltids som udøvende billedkunstner. I min motivverden blander jeg digt og virklighed og gennem maleri, tegning og collage har jeg konsekvent udforsket og undersøgt konventionerne omkring identitet, kaerlighed og samliv; samtidigt som jeg prøver, at fortolke en verden hér og nu ( se iøvrigt min hjemmeside:www.alba-art ). Minimer

• Eskildsen, Mikkel Olaf
• 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
• Fomsgaard, Jes
• Foss, Johanne

  Graphic artist and painter Born 1939 Educated at The Royal Danish Academy of Fine Arts in Copenhagen 1960-65 Numerous exhibitions in Denmark and abroad

  Graphic artist and painter Born 1939 Educated at The Royal Danish Academy of Fine Arts in Copenhagen 1960-65 Numerous exhibitions in Denmark and abroad Minimer

• Frederiksen, Lotte
• Friderichsen, Frederikke

  Artist Statement My work is concerned with an attraction of layers and texture, a photographic touch seen in reflections, patterns or surfaces in the actual image. A transparent cover of various layers can make an image appear slightly incomprehensible at first and at times unpredictable. I work with expressing a notion of discovering the s Read more

  Artist Statement My work is concerned with an attraction of layers and texture, a photographic touch seen in reflections, patterns or surfaces in the actual image. A transparent cover of various layers can make an image appear slightly incomprehensible at first and at times unpredictable. I work with expressing a notion of discovering the secretive found in public spaces or urban situations. What I choose becomes an important issue when looking for profound obscurity on an emotional level. Through a constant dialogue between my ideas and my senses, I strive to construct compositions through which I can express an emotional perception where I can move away from a more conventional approach to making images. Occasionally I go back again and again to engage with the same space, looking for instances of reflections, fragments or continuations, taking many photographs, constantly reflecting on the process to analyse the ideas I assemble from the place I photograph. Frederikke Friderichsen 2012 Minimer

• Fromm, Jonas
• Frøsig, Helle
• Funder, Geert Daae

  Værksted på samme adresse i sidebygningen.

  Værksted på samme adresse i sidebygningen. Minimer

• Funder, Søren Thilo

  Soren Thilo Funders' works deal with diverse cultural fields and integrates aspects of critical theory, sociology, psychoanalysis, art theory, history, literature, metaphysics, theater, cinema, Sci-Fi, Horror, political activism and various counter-cultural disciplines. The works are formal investigations of the power relations of modern day soci Read more

  Soren Thilo Funders' works deal with diverse cultural fields and integrates aspects of critical theory, sociology, psychoanalysis, art theory, history, literature, metaphysics, theater, cinema, Sci-Fi, Horror, political activism and various counter-cultural disciplines. The works are formal investigations of the power relations of modern day society. Through the use of cinematic narratives, choreography and mise en scène, the works strive to expose the precariousness of contemporary society and the broken link between politics and the political. In the works the nostalgic is juxtaposed with the current and unpredictable lifeworld of the political subject, often moving beyond the mere present and into the yet-to-come or the parallel now. Soren Thilo Funder creates visual communiqués dissecting and revealing the invisibles of urban society, using the fictional and extra-real to pose new questions and generate a new potential space , a third place, for political contemplations and counter-memory. Minimer

• 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

• Grahn, Lennard

  Lennard Grahn is a generous and attentive lover, a brilliant cook, drives a BMW 730d Sport, holds PhD's in psychology, bio chemestry and nuklear physics and lives in a fully restored 18'th century mansion just outside a major European metropolis (with an international airport)

  Lennard Grahn is a generous and attentive lover, a brilliant cook, drives a BMW 730d Sport, holds PhD's in psychology, bio chemestry and nuklear physics and lives in a fully restored 18'th century mansion just outside a major European metropolis (with an international airport) Minimer

• Graae, Annette

  Gobelinvæver.Jeg arbejder med sprøde materialer som japansk papirgarn, hør og effektgarner - forøjeblikket i formater på 2x3 m. i en serie "Arctic sea" og Krakkeleringer"

  Gobelinvæver.Jeg arbejder med sprøde materialer som japansk papirgarn, hør og effektgarner - forøjeblikket i formater på 2x3 m. i en serie "Arctic sea" og Krakkeleringer" Minimer

• Hansen, Henriette Camilla
• Hansen, Karen Land

  Karen Land Hansen arbejder med skulptur, installation, tegning og animation. Hun tog afgang fra Royal College of Art i London (MA, Fine Art) i 2003 og har derudover studeret på National College of Art and Design, Dublin (BA, Fine Art Painting), og Chelsea College of Art, London. Fra 2003 har hendes primære arbejdsbase været i København, siden 2006 Read more

  Karen Land Hansen arbejder med skulptur, installation, tegning og animation. Hun tog afgang fra Royal College of Art i London (MA, Fine Art) i 2003 og har derudover studeret på National College of Art and Design, Dublin (BA, Fine Art Painting), og Chelsea College of Art, London. Fra 2003 har hendes primære arbejdsbase været i København, siden 2006 på Fabrikken for Kunst og Design. Statement: Mit arbejde fokuserer på spændingsfeltet mellem det fiktive og det faktuelle, og det har ofte et ikke didaktisk politisk aspekt. Installationerne er ’iscenesatte’ eller ’teatralske’ rum, der inkorporerer scenografiske effekter som lys og video i det skulpturelle. Jeg interesserer mig for illusion i det tre-dimensionale rum, bl.a. inspireret af illusionsmaleriet. Værkerne kan operere på såvel konkret, historisk som metaforisk plan. Jeg arbejder med for-skydninger af det genkendelige henimod det mere obskure, men værket er konceptuelt og konkret forankret den ’virkelige’ verden – f.eks. i en konkret historisk begivenhed. Gennem kombinationen af enkle, ofte dokumentariske videoprojektioner og skulpturelle objekter undersøger jeg forholdet mellem nærvær og distance; beskueren er selv en fysisk del af værket og samtidig, gennem videomediet, en observatør på afstand af den bestemte begivenhed eller det særlige sted. Mennesket i relation til teknologi og teknologisk udvikling er et andet vigtigt tema. Manuelt bearbejdede, ’håndlavede’, skulpturelle modeller af maskiner eller objekter fra byrummet er tilbagevendende i mit arbejde med skulptur. Tidligere tog jeg primært udgangspunkt i det historiske og af vores opfattelse af historien, mens jeg de senere år har koncentreret mig om de forestillinger og fantasier, der ligger i det nutidige og samtidig peger ud mod noget fremtidigt. Karen Land Hansen Minimer

• Hansen, Marianne Holm
• Hansen, Mikael
• Hansen, Thorgej Steen
• Harlev, Lise
• Hartmann, Malene
• Hasle, Gudrun
• Haslund, Molly

  “I mine performances, objekter og installationer søger jeg at udfolde et humoristisk, absurd og surreelt univers. Jeg finder glæden og problemerne i paradokser, som findes i dagligdagsobjekter og hverdagssituationer, i kulturelle handlinger og i popkulturen. Gennem personlige ytringer eller konkrete konstruktioner skaber jeg poetiske og visuelle tableau Read more

  “I mine performances, objekter og installationer søger jeg at udfolde et humoristisk, absurd og surreelt univers. Jeg finder glæden og problemerne i paradokser, som findes i dagligdagsobjekter og hverdagssituationer, i kulturelle handlinger og i popkulturen. Gennem personlige ytringer eller konkrete konstruktioner skaber jeg poetiske og visuelle tableauer, der indeholder glædesfuld melankoli; Man kan kalde dette for ’’feel good performances” om emner som død, skuffelse og selvmord.” (Molly Haslund, 2011) Molly Haslund er uddannet fra Det Kgl. Danske Kunstakademi (årgang 2005) og Glasgow School of Art (2003-2005). Hun arbejder i et krydsfelt mellem skulptur, installation og performance med tråde til både billedkunst, scenekunst, varieté, stand up, litteratur og musik. Haslund arbejder sideløbende med forskellige projekter, der spænder over personlige ritualer til socialt engagerende workshops og interaktionsdesign, der har publikumsdeltagelse i fokus. Haslund arbejder både solo og som del af performancegrupperne Lone Twin Theatre (2005-2010) og Molly and Me (2007-pt.). I de seneste år har performanceopførelser været helt centrale i hendes kunstneriske virke, hvor emner om eksistentielle problemstillinger fremføres med et glimt i øjet. En ukulele (firstrenget mini-guitar) – enten akustisk eller elektrisk – er her ofte hendes følgesvend. Haslunds personlige historie og baggrund sættes i spil, ligesom både berømte og mindre kendte kunstneres personlighed og værker inddrages på forskellig vis. Det stedspecifikke er kendetegnende for Haslunds kunst, som hun enten udarbejder lokalt eller tilpasser nye lokaliteter, f.eks. performances, som aldrig genopføres efter nøjagtigt samme manuskript. Ethvert møde med Molly Haslunds kunst er dermed både overraskende og unikt. Minimer

• Heiberg, Anne Skamstrup
• Heiberg, Lars
• Heise, Henriette
• Hertz, Emil Westman
• 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

• 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

• Holck, Peter
• Holm, Uffe
• Holst, Katrine Køster

  Keramiske installationer, tegning og stedsspecifikke projekter.

  Keramiske installationer, tegning og stedsspecifikke projekter. Minimer

• Høy, Jytte
• 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

• Isaksen, Else Ploug
• 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

• Jacobsen, Stine Marie
• Jarle, Flemming
• Jelstrup, Dorte

  The works of Dorte Jelstrup investigate the female subjects being and mental states related towards the male Other. Focusing upon unfulfilled longings, dreams, desire, memory and melancholy Jelstrup´s drawings, montages and sculptural installations are narrative, theatrical and cinematic in nature and are distinguished by a unique rendering of the feminine inner life.

  The works of Dorte Jelstrup investigate the female subjects being and mental states related towards the male Other. Focusing upon unfulfilled longings, dreams, desire, memory and melancholy Jelstrup´s drawings, montages and sculptural installations are narrative, theatrical and cinematic in nature and are distinguished by a unique rendering of the feminine inner life. Minimer

• Jensen, Jan

  Billedkunstner, forfatter og foredragsholder

  Billedkunstner, forfatter og foredragsholder Minimer

• Johansen, Andreas Stoubye
• Jørgensen, Henrik

  Maleri.vægobjekt. tegning. Skulpturelle, abstrakte vægobjekter i akryl, træ og stål, der indgår i et komplekst samspil med den eksisterende arkitektur. Figurativt maleri.Undersøgelser af maleriske genre som udtryksstrategi.Figurativ tegning i narrative forløb. Oplevelsen af værket som et krydsfelt af sprog og sansning. Oplevelsens fænomenologi som betydningselement i værket. Offentlige udsmykningsopgaver i Danmark og Sverige.

  Maleri.vægobjekt. tegning. Skulpturelle, abstrakte vægobjekter i akryl, træ og stål, der indgår i et komplekst samspil med den eksisterende arkitektur. Figurativt maleri.Undersøgelser af maleriske genre som udtryksstrategi.Figurativ tegning i narrative forløb. Oplevelsen af værket som et krydsfelt af sprog og sansning. Oplevelsens fænomenologi som betydningselement i værket. Offentlige udsmykningsopgaver i Danmark og Sverige. Minimer

• Jørgensen, Marianne Lipschitz
• Jørgensen, Morten Ernlund
• Kalbak, Annelise

  Annelise Kalbaks nye billeder er ikke malet efter naturen. De "ligner" ikke umiddelbart. Men de bygger dog på naturindtryk. Blot kommer disse langvejs fra. Fjernt i erindringens mangfoldigt brudte rum vokser haver. Jeg har gået i dem en sommereftermiddag. I kunstværket blomstrer de igen. På afstand og kun anede i glimt. Som kalligrafiske tegn filtr Read more

  Annelise Kalbaks nye billeder er ikke malet efter naturen. De "ligner" ikke umiddelbart. Men de bygger dog på naturindtryk. Blot kommer disse langvejs fra. Fjernt i erindringens mangfoldigt brudte rum vokser haver. Jeg har gået i dem en sommereftermiddag. I kunstværket blomstrer de igen. På afstand og kun anede i glimt. Som kalligrafiske tegn filtreret gennem gammel kunst. Måske et orientalsk tryk eller en bemalet silke. Tættere på som et antydet omrids af en nellike. Set som et insekt indlejret i rav eller en stump af en sjælden plante genset i ravstykkets gyldne lys. Således er tid og rum forvandlet til en ornamental skønhed, der husker os på de lykkeligste stunder. Mistet og dog bevaret. Mogens Nykjær, universitetslektor, mag.art Minimer

• Kallan, Canuto

  “In Canuto Kallan’s works the joy of creation comes to life through his spontaneity and imagination and the free and improvisational way in which he handles the medium. His experimentations with color and the way he feverishly applies it result in an intensity which extends far beyond the paintings' surface. The simplicity of his figures lends them live Read more

  “In Canuto Kallan’s works the joy of creation comes to life through his spontaneity and imagination and the free and improvisational way in which he handles the medium. His experimentations with color and the way he feverishly applies it result in an intensity which extends far beyond the paintings' surface. The simplicity of his figures lends them liveliness and a rhythm which excites the viewers' eyes into a constant state of alertness and keeps their interest intact. ” Minimer

• Karlström, Line Skywalker
• Kaster, Karin
• Keck, Kirsten Otzen

  Jeg arbejder med fotocollager og animation,tegning, installation, og video baseret på eget og eksisterende biledmateriale. I mit arbejde er jeg interesseret i hvordan den personlige erfaring med virkeligheden og omverdenen udvikler sig i sammenhæng med de medierede opfattelser af virkeligheden og normerne i samfundet. I work with photo collage Read more

  Jeg arbejder med fotocollager og animation,tegning, installation, og video baseret på eget og eksisterende biledmateriale. I mit arbejde er jeg interesseret i hvordan den personlige erfaring med virkeligheden og omverdenen udvikler sig i sammenhæng med de medierede opfattelser af virkeligheden og normerne i samfundet. I work with photo collages, animation, drawing, installation and video based on my own and existing image material. In my work I am interested in how our individual notion of reality evolves along with the mediated versions of reality and the norms in society. Minimer

• 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

• Kjærgård, Helle
• Knudsen, Vibeke
• Kollandsrud, Siri
• Kristiansen, Jesper
• Krull, Carl

  Carl Krull is a consummate draftsman whose practice primarily centers around drawing, various kinds of animation techniques and video documentation of the drawing process. Through his work with capturing the process the spectator is invited to enter the evolution and constantly changing world of his creations. Carl Krull (b. 1975) is a danish artist bas Read more

  Carl Krull is a consummate draftsman whose practice primarily centers around drawing, various kinds of animation techniques and video documentation of the drawing process. Through his work with capturing the process the spectator is invited to enter the evolution and constantly changing world of his creations. Carl Krull (b. 1975) is a danish artist based in Copenhagen. He graduated from the Academy of Fine Arts in Cracow, Poland in 1999 and has ever since contributed to a wide range of exhibitions in both Denmark and abroad. His latest exhibitions has been at Kunsthal Charlottenborg and ARoS. For more information: www.carlkrull.com Minimer

• Kvetny, Ida
• 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, Anders W.Ø.
• Lauta, Lærke
• Lindhardt, Simon
• Lislegaard, Ann
• Livbjerg, Nynne
• Lomholt, Astrid

  Astrid Lomholt 1974 bor og arbejder i KBH Jeg har udstillet både internationalt som nationalt, i øjeblikket, deltager hun med sin dvd ’Changeless’ ,på Gallery Nanda-kan i Saku City, hun deltager på kultur udstillingen i Damaskus med tegning. Jeg producere lyd og video til eksperimenterende performances både på Musikteateret Plex og performance i det Read more

  Astrid Lomholt 1974 bor og arbejder i KBH Jeg har udstillet både internationalt som nationalt, i øjeblikket, deltager hun med sin dvd ’Changeless’ ,på Gallery Nanda-kan i Saku City, hun deltager på kultur udstillingen i Damaskus med tegning. Jeg producere lyd og video til eksperimenterende performances både på Musikteateret Plex og performance i det offentlige rum. hun har opført adskillige støjkoncerter i samarbejde med lydkunstneren Tanja Schlander. Mine to seneste udstillinger har været et arbejde med lyden i to forskellige, men dog meget ens i deres skrøbelighed. Jeg deltog i Total Aktion på Museet for Samtidskunst i Roskilde med værket ’Ved at opdage lyden, forandres den’(www.erindring.com, reallyd) og i Torpedo18 eksperiment om utilgængelig kunst med værket ’Lyden af vind – refleksion over menneske og vind’ Jeg tog min afgang fra Det Fynske Kunstakademi 2005 og har siden beskæftigede mig med undersøgelserne af soniske og visuelle rums æstetik og abstraktion. Jeg er rettet i mod menneskets væren i værkets tilstedeværelse og tilfældet, hvor en eventuel ændring er med skabende. Minimer

• Lundme, Tomas Lagermand

  Arbejder som forfatter, dramatiker, scenograf og billedkunstner

  Arbejder som forfatter, dramatiker, scenograf og billedkunstner Minimer

• Lührssen, Tine Bay
• 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

• Martensen, Peter
• Martin, Steffen
• Meedom, Karina

  Jeg maler abstraktioner over landskab, univers, kosmos .

  Jeg maler abstraktioner over landskab, univers, kosmos . Minimer

• Mégard, Natalie
• Menné, Henrik

  Whether they are dynamic or static; sculptures by Henrik Menné are basically about process, balance and about organizing matter through both rigid systems and chance. The sculptures and drawings are situated in the shifting field between science and art.

  Whether they are dynamic or static; sculptures by Henrik Menné are basically about process, balance and about organizing matter through both rigid systems and chance. The sculptures and drawings are situated in the shifting field between science and art. Minimer

• Mikkelsen, Yetty Sutjihati

  Når jeg arbejder med skulptur, er det naturens mangfoldighed og oplevelsen af årstidernes skiften, der altid kan inspirere mig. Mine skulpturer bliver til gennem langsom vækst, hvor jeg tilfører formen dynamik og bevægelse. Samspillet mellem den runde form, den skarpe kant og materialet er vigtige elementer for mig. Udgangspunktet, nå Read more

  Når jeg arbejder med skulptur, er det naturens mangfoldighed og oplevelsen af årstidernes skiften, der altid kan inspirere mig. Mine skulpturer bliver til gennem langsom vækst, hvor jeg tilfører formen dynamik og bevægelse. Samspillet mellem den runde form, den skarpe kant og materialet er vigtige elementer for mig. Udgangspunktet, når jeg maler, er mine egne erindringer - mine indre billeder fra sansede oplevelser. Genem en langsommmelig arbejds- og udviklingsproces, prøver jeg at udtrykke mine tanlker og følelser fra disse erindringer. Som på en rejse uden præcist mål, vokser billedet langsomt indefra , og får efterhånden sit eget indhold og liv. Farvernes mange lag på lag medvirker til en fortætet dybde i farven. Vitaliteten og dynamikken er vigtige elementer i mit maleri, hvor man muligvis kan finde genkendelige naturformer - ofte flygtige figurative silhuetter. Minimer

• Munnecke, Iben
• Mygind, Rasmus Høj
• Møller, Jo
• Møller, Karsten Bertil
• Møller Schiødt, Pelle

  I mine tegninger og malerier arbejder jeg med kontrasterende form og farve som et grundlæggende visuelt udtryk, hvor en livagtig, organisk og rumlig figur møder det flade og ofte abstrakte mønster. Kontrasten sigter på at udfordre afkodningen af mine billeder, således at motivet ikke fører til en selvindlysende, ”automatisk” afkodning. Min kompositio Read more

  I mine tegninger og malerier arbejder jeg med kontrasterende form og farve som et grundlæggende visuelt udtryk, hvor en livagtig, organisk og rumlig figur møder det flade og ofte abstrakte mønster. Kontrasten sigter på at udfordre afkodningen af mine billeder, således at motivet ikke fører til en selvindlysende, ”automatisk” afkodning. Min komposition varierer fra en enkelt centralt placeret figur til en mere kompliceret komposition, der bryder med rammen og det klassiske perspektiv i rum opbygningen. Motiverne i mine værker er dels hentet fra omverdenen, fx mytologiske og religiøse motiver, dels fra min egen verden. Mine billeder kan delvist opfattes som stille billednedslag i en flydende verden af oplevelser og tanker, dvs. at mine motiver føjer sig ind i en mere kompliceret sammenhæng eller forløb. Minimer

• Møller, Sofie Bird
• Mørkeberg, Mie
• Naomi, Dorte
• Nielsen, Mogens Otto
• Nielsen, Shaun James

  Jeg er uddannet kunstmaler. Oprindelig er jeg fra london og saa bor jeg i Odense nu. Kig paa min hjemmeside www.jamesnielsenart.com

  Jeg er uddannet kunstmaler. Oprindelig er jeg fra london og saa bor jeg i Odense nu. Kig paa min hjemmeside www.jamesnielsenart.com Minimer

• Niemann, Mikkel

  Architectural visions and failures: I make sculptures, installations and paintings that are concerned with architectural visions and failures. The environments I create are mosaics consisting of elements from the real world. They are based on a mixture of spatial experiences from my own everyday life as well as architectural and industrial drawings. Read more

  Architectural visions and failures: I make sculptures, installations and paintings that are concerned with architectural visions and failures. The environments I create are mosaics consisting of elements from the real world. They are based on a mixture of spatial experiences from my own everyday life as well as architectural and industrial drawings. I am interested in how the spaces we are surrounded by are juxtaposed and interconnected. Minimer

• Noel, Jacob

  A consistent theme of my art, is the interest for spaciality and "spaces-in-between", intervals in/of space. My artistic project spreads out into an international context, that, on a conceptual level, seeks to deepen the understanding of the detail of space as something universal — a language that is seen more than spoken. Through sculptures, drawings and Read more

  A consistent theme of my art, is the interest for spaciality and "spaces-in-between", intervals in/of space. My artistic project spreads out into an international context, that, on a conceptual level, seeks to deepen the understanding of the detail of space as something universal — a language that is seen more than spoken. Through sculptures, drawings and photography, I am working on the outer rim of terms as scale, spaciality and function. Terms that normally is tied to an architectural praxis. But with this optic, I want to describe a different world, than that one usually associates with architecture. I want to define the significance of space in a functional meaning through a strongly subjective approach to the material, where the detail of the moment, time and place is expressed in fragments and streams of surfaces. The project "un-arcitecture and fumes" is to be seen as a conceptual adaptation of the detail as an aesthetic materialization of the transient. Minimer

• Nord, Julie

  Hybrid Pictures - on Julie Nord’s drawings Eyes stare unmovingly out into space. Not fixing us, the picture’s viewers, but directing their slightly off-centre gaze towards something else. Almost catatonically blank, the doll’s-eye sidelong gaze which stares out of the picture is a recurrent motif in Julie Nord’s work. In Illustration for a Lost Tale (p Read more

  Hybrid Pictures - on Julie Nord’s drawings Eyes stare unmovingly out into space. Not fixing us, the picture’s viewers, but directing their slightly off-centre gaze towards something else. Almost catatonically blank, the doll’s-eye sidelong gaze which stares out of the picture is a recurrent motif in Julie Nord’s work. In Illustration for a Lost Tale (p.15) it is the gaze we encounter in the girl clutching a vanitas-style bouquet between her small chubby fingers. As though already in thrall to that finitude whose emblems swarm about her, she stares stonily ahead – unless of course she’s stoned, vacant and withdrawn, as in a Valium stupor. The wind plays with her hair but her face is expressionless, her gaze wordless. Unseeing, she stares blindly. As though she no longer sees, as though she sees without seeing. As though her gaze is as unseeing as the picture’s pivotal blind eye: the empty white oval at its centre which provides both the drawing’s ground and the image’s dizzying gulf of endless sky. In Silence in the Snow (p.33), a compact cabinet housing animal figures and a girl outlined in silhouette all stare in shared bewilderment into the picture’s central oval of white vacuity, which like a visual maelstrom seems to pull all attention towards itself. In Afternoon at the Fringe (p.30), a girl with a sleep-drugged, drunken gaze peers out of the picture while in the background a rabbit is in the process of being engulfed in a dark hole, a voracious cosmophagic pupil. In Nowhere (p.26), the picture’s large vacant centre area is bordered by a grotesque and gallimaufrous decoration comprised of fungi, voluptuous lilies and grinning skulls, wreathed with petals – a kind of sombre burgeoning prelude to the endlessly enigmatic nature of void. In The Little Ida’s Flowers (p.22) a girl stares out at us, wreathed in a decoration of dense, unruly flowers, butterflies and wormy skulls which, again, open onto an oval of pristine white, the blind eye of the picture, a mesmerizing vanishing point. Nord’s pictures teem with staring eyes, empty eye sockets and blind pictorial planes. But while the gawking eyes seem not to be taking anything in, the skulls’ dark sockets appear intensely focused. And the blind pictorial surfaces are no less ambiguous. They too seem at once voided of content and yet pregnant with meaning. Throughout, the multiple ocular metaphors act as transition zones, thresholds where strange segues and metamorphoses take place, where one understanding slides imperceptibly into another, where the familiar and obvious is transformed into strange otherness and enigmatic meanings. Insight is abruptly displaced by obscurity, transparency by opacity. Ambivalence reigns, for one meaning does not expunge another, even though both cannot be apprehended simultaneously. The various meanings co-exist as in regular optical illusion images where the eye oscillates between picking out one form or the other in a single image while incapable of fixing two recognizable forms at once. It is in the nature of eyes to be transition zones – while subject to the other’s gaze one accesses a glimpse into that same other. Eyes are the mirrors of the soul, revealing the other’s interior climate. But they are also instruments themselves, actively gleaning new knowledge about the world – they scope out, peer into, anticipate and explore. Finally, eyes are also potentially magical, may be possessed of evil, occult or hypnotic powers. In her pictures, Julie Nord plays on all these properties of eyes, with everything seemingly resolved into a bewildered stare, and even inanimate objects appearing to be possessed of a gaze. For all the apparent realism, we are ‘behind the mirror’ here, deep down in the rabbit hole. Things are not what they seem but are continually in flux rather – transforming, morphing into something else, investing themselves with different meanings. And to grasp what’s going on, we need to look hard, to stare intently at the pictures, ponder the enigmas, the picture puzzles they present us with, even as they return our stare. The orchestration of complex ocular imagery, a logic of transitions, is axiomatic to the large-scale, ambitious work From Wonderland with Love (p.40-47) from 2003, comprising a total 50 drawings. The title itself flags up the fact that the work is a species of paraphrase that draws on Lewis Carroll’s Victorian classic Alice’s Adventures in Wonderland from 1865, in which quite fantastical but wide-awake metamorphoses provide the main theme. Here, Julie Nord treats us to the full panoply of drawing’s capabilities as a medium, which she brilliantly, humorously and playfully deploys in quasi-narrative structures. The close interweave between words and drawings allows us to glimpse links and associations without their ever being made fully explicit. From the outset, we are left in some doubt as to where the pictures begin and where they end, how the various elements interrelate, when the words are conforming to the images or when they themselves actually begin – both literally and in a figurative sense – to form ideograms; when a foreground and a background swap roles, when a vacuum is to be perceived as being ‘inside’ or ‘outside’ the space of the subject, and so on. Shifts of scale, visual homophonies and the gradual transmutations of figures cause doubts to creep in about what the picture conveys, enmeshing us in the plays on meaning that are at work throughout. Many of these latter are patently drawn from Carroll’s adventures about Alice, but there are other – and farther-reaching – elements in play in Julie Nord’s work. She draws inspiration from Victorian children’s literature, which was similarly charged with latent, sinister and angst-provoking elements but that she updates too, applying a dash of contemporary culture in the form of gothic horror, cartoon aesthetics, tattoo art and abstract Rorschach patterns, which, set in the context of the intricately wrought and graceful Victorian vignettes, create a historical palimpsest, a dual perspective that grafts together two eras and two life stages: the latter half of the nineteenth century is fused with the first part of the twenty-first – and the universe of the child melds with the adult world. Several of the motif constituents in From Wonderland with Love are also instrumental in anchoring the work to a contemporary perspective – objects such as the lorry, television, fridge, tower block and not least the helicopter, a recurring emblem of modernity in Nord’s drawings and a constant brooding presence in her output ever since the Exit exhibition in 2000. The wingless beast that ascends vertically into the sky provides an ominous symbol of modernity, surveillance, war – a menacing metallic contemporary counterpart to the cutsie soft rabbits which also – with a clear reference to Carroll – populate Nord’s pictures, and by the same token, to their descent to the underworld through the rabbit hole. Whereas Carroll’s magical universe of transformations was confined to a subterranean dream world bearing clear references to the unconscious, Nord’s tales play themselves out above ground in the sober light of day. The bizarre morphings, which in he nineteenth century appeared outlandish and chimerical have, in the twenty-first century, become prosaic reality. Again, this diagnosis of our times is clear already in Nord’s Exit works, as in, for instance One evening (p.62) from 1999, where from the laid-back viewpoint of a first person narrator, ensconced in the floral sofa, cigarette in one hand and a helicopter-decorated coffee cup in the other, we look at a television screen showing an image of a bald mouse with a human ear growing out of its back staring out at us. In other words, an image of the type of xeno-transplantative experiments that the medical industry performs with a view to cultivating organs in animals for use in humans – experiments that give rise to a host of ethical issues about the boundary between animal and human as well as that between life and death. The image is accompanied by a caption: “That evening I realised that I really had changed…” In the work, changes in technology, biomedicine and consciousness are integrally interfused, the personal becoming irrevocably interwoven with culture in a way that anticipates Nord’s later works. Not least the many drawings where the Alice figure sports rabbit ears and is consequently already a living materialization of the hybrid, the human-cum-animal, which has long since transcended the boundaries between one thing and another. Relentlessly multiplied and repeated, it becomes itself a type of motif-cloning which like the helicopter, the exquisitely spiral-shaped pile of excrement and the rictus-grinning skull, is disseminated out into a wide array of works – intrinsically unchanging but forever occupying new contexts. Nord’s drawings consistently orchestrate fusions and encounters between different planes of reality, different styles or indeed different genres. Her use, for example of the vignette and the miniature – the entire legacy of illuminated manuscripts with their elaborate, fluid and luxuriant calligraphy – in its exquisite combination of formal and semantic features testifies to this. The richly intricate, almost over-expansive vignettes which often graced the penny dreadful magazines and novels of the nineteenth century are imported and brought up to update by Nord who raises them from the status of decorative add-on to that of independent artwork, enrolling them into a modern idiom in which a kitsch gothic horror aesthetics is intertwined with the graceful tendrils of flowers and leaves that typified the original vignette. Thus does marginal decoration come to occupy centre stage, the detail becoming an event in itself in a process that typically involves a major scaling up, the drawing’s intimate and immediate character blown up to monstrously grandiose formats. The autonomy of the vignette is most apparent in ideograms such as, say, Success (p.38-39) from 2004, where Nord confers upon a classic vignette an interlacing pattern of motifs, which closely entwined, semi-legibly delineate the letters, delivering an arresting and wry counterpoint to the meaning of the word. In Success, it is thus the work title’s sequence of seven letters that are assiduously decorated with a meticulously executed gallery of morbid motifs such as skulls, gravestones, bats, vultures and snakes that seem scrupulously to have conspired to gainsay the very word that they conjure on the surface of the paper. The positive meaning of the word is inextricably interwoven with the picture’s negative import, just as are the vanitas motifs of baroque art, where earthly prosperity and happiness go hand in hand with a more or less discernible memento mori, discreet reminders of life’s transience, the ephemerality of the senses, the inevitability of death. In Nord, however, we find an unsparingly graphic depiction of death, a fascinated and virtually life-affirmingly vibrant application of death’s macabre iconography as manifested in popular culture, in the music scene’s ‘death metal’ for example, or in literature’s gothic novels. The scheme is inverted in the work Demon (p.31) from 2005, where the letters are formed from fabulous arabesques of cute trees, plants, flowers, berries, birds and animals, which, sharing a tranquil and idyllic coexistence, would seem to constitute an outright antithesis to the demonic power which the decorated word spells out. In these works, Nord has words and images fuse to form a kind of allegorical puzzle picture where semantic opposites require to be perceived through the prism of each other rather than individually: paradisiacal idyll through demonic power, death’s victory through our conceptions of success. And vice versa. Rather than exhibiting complementarity, the pictorial and verbal elements are each other’s foundation, even while paradoxically contradicting each other. Such impossible hybridizations are conjured by Nord in almost all her works, either by juxtaposing words and images, superposing disparate perspectival spaces, different scales and various angles, or by letting independent and incompatible figures merge seamlessly. In Somewhere Not That Far Away (p.29) from 2004, large portions of Nord’s established iconography are incorporated into a teeming dreamscape which seems to distil the metamorphic theme into a charged and ominous image. In the foreground to the right, the picture is dominated by the dark outline of a spider whose web, fat body and thick hairy legs stand out against the sky. On the left of the picture we see the elfin figure of a young girl with flowing Shirley Temple curls and a swarm of exotic butterflies which appear to be burgeoning forth from her head and then fading away into the sky, flying in a chain-like formation before gradually, the farther away they get, transmuting into bats. A thick undergrowth of flowers, fungi and plants cover the lower edge of the foreground, including multiple “flowers of death”, the characteristic skulls fringed with petals. In the background a horizon line is visible, traced upon which in silhouette is a skyline of emblematic Nord elements including helicopters, piles of excrement, castle turrets and cactuses. The little girl figure stands with her arms folded, her dark eyes fastened on a large butterfly immediately in front of her face. She is wearing a dress whose pattern is fashioned from the same spider’s web as that which fills the right half of the picture. In an eloquent gesture, she points with her plump, square-ended index finger to the empty space. The fairytale universe comes across as a strange prison – a battlefield where everything appears camouflaged and disguised, literally veiled and unrecognizable, in a state of pupation and change, bizarre exuviations. It is a place which while not distant remains infinitely remote. The young girl who stands transfixed at the edge of adult life, poised for womanhood, at once innocent and eroticised, is a quintessential image of the paradoxical state of transformation-cum-stasis that informs the entire picture. Nothing is happening and yet everything is upended in this place not far from where we are – the beauty of the flowers seems to spring from the corpses whose skulls form their centres, the young girl’s succulent body is already thoroughly enmeshed in the menacing spider’s lubricous thread, high piles of excrement on the horizon provide spongy landing pads for the dark helicopters. As in all Nord’s drawings, the ground is shaky – the fascinating delectability of the richly detailed landscape is informed by an undertow, hallucinations of delirious clarity which inflect the work with an edgy eeriness. A raft of more or less drastic interventions are deployed to defamiliarize familiar motifs, making them at once recognizable and unrecognizable, and thereby investing them with complex dual identities. The tales are hinted at but never fully told. The rules of perspective are both complied with and violated. The text interacts with and transmutes into images, and vice versa. The transformations and destabilizations in Nord’s pictorial universe take place, in other words, on several levels at once: at the formal level, where the limits of illusionary space while preserved are also relentlessly challenged; at the level of content where fairy-tale iconography dominates but is updated and supplemented by elements from the visual culture of our day; on the narrative level where acts, twists and transmutations are the sustaining element, but always in fragmented form, leaving more questions than answers. The fairytale aspect of Nord’s works is anything but synonymous with a secure imaginary universe definitively and unproblematically distinguishable from the real world. Instead it blends the everyday with the fantastical. Disturbingly, the fluidity of the subjects is hallucinatory and delirious. Rather than serving imaginative and moral purposes, they would seem to be the result of psychosis or intoxication. In that regard too, the works are situated in our own times, flagging up an extreme complexity and the entrenched sense of disorientation and insecurity experienced by the late modern individual. But Nord’s works don’t just reflect complexity and ontological insecurity, they create it, in that far from admitting authoritative interpretations they resist them, cutting the ground from under any putative definitive solution to the work’s puzzle. Should it be categorized as a strip cartoon, satire, decoration, tattoo aesthetic, fairytale, art? None of these and yet all of them: the high and the popular, fairytale, kitsch and art in one glorious amalgam which never allows us the convenience of thinking that it is just one of these things. On this plane too, Nord works with the hybrid, the composite and the ‘impure’. The world of innocence from which Nord borrows so profusely is shamelessly undercut by the more brutal conflicts of an insistent contemporaneity. The recurrent ‘little girl’ resembles less the indomitable and rational Alice of Lewis Carroll’s stories than one who has already seen too much, a traumatized silent figure who has known unspeakable things, left numbed to appear as the poster child of corrupted innocence. For all that, Nord’s drawings do not make excruciating viewing because the brutalities are offset not just by the cutesy images of childhood but also – and to an even greater extent – by a wryly mischievous humour which, achieving its effects through exaggeration, gives us ghosts, monsters, and howling wolves juxtaposed with soft bunnies and twee armadillos. In brief, there is an element of grotesquerie in Nord’s drawings which prevents their being cast as purely dystopian depictions of a contemporaneity in which the loss of innocence is all-pervasive. And there is an intense fascination with the purely decorative and structural which subsumes all the motifs to an overarching logic, that of patterns. The grotesque and the decorative are facets of Nord’s drawings which mitigate the harshness of their subject matter, rendering these fairy tales for adults at a single stroke diverting, morbid and macabre. But most crucially: the pervasive innocence that is evoked does not eliminate the capacity to enthral. As languid as things look in the drawings, so also do they strike the viewer as deeply intriguing. And precisely the link between the curious and the viewer’s curiosity, the interrogation of what eludes the understanding, is the key source of the life that Nord´s drawings are nurtured by and which they emanate. They are pictures that reveal themselves to us as we see and re-see them: first as surfaces that hold us fascinated in their thrall, subjecting us to their logic; but then, as generous apertures that allow us to trace our own paths into new uncharted territories. Nord’s drawings describe and offer transformations in virtue of the fact that through their intricate perspectivist, historical and symbolic spaces, they entice viewers to reflect upon that in which the images and meanings are grounded, before penetrating deeper into the metamorphic universes they depict. Rune Gade, b. 1964, PhD Associate Professor at the Department of Arts and Cultural Studies, University of Copenhagen Translated by Susan Dew Minimer

• Norheim, Marit Benthe
• Norre, Michael
• Norsker, Fie

  Boyish Aesthetic in Fairyland Works by Fie Norsker The Danish artist Fie Norsker works with a lot of different genres in her art; painting, drawing and ceramic. Norsker operates in a fairytale universe where ghosts, animals, muscle-men and strange creatures are present. The drawings are very detailed and show the artist’s occupation with the human Read more

  Boyish Aesthetic in Fairyland Works by Fie Norsker The Danish artist Fie Norsker works with a lot of different genres in her art; painting, drawing and ceramic. Norsker operates in a fairytale universe where ghosts, animals, muscle-men and strange creatures are present. The drawings are very detailed and show the artist’s occupation with the human body but also with the landscape in which she often incorporates animals or big letters. The body depicted in some of her drawings is that of the exaggerated and grotesque bodybuilder which allows the artist to unfold an interest in lines and curves. The bodybuilder with his man-made and moulded body stands posing in a deserted, rough landscape – a juxtaposition which is full of contrast. The landscape seems to have a life of its own which in the drawings often is depicted with a grotesque sense of humour and fantasy. Piles of excrements are often part of the depicted landscapes in which the viewer gets a glimpse into a strange underworld. A place where nothing is as it seems… The works in ceramics by Norsker are somewhat childish and almost naïve in their appearance. Small clumsy figures, often with no hands or feet stand helpless as the glaze drips down their body. The figures are full of humour as the artist plays with the material and the expressions. At first glimpse the figures seem sweet and innocent but they also have a serious side to them. For instance one of her ghost figures has a shot hole as mouth. Clearly more serious aspects are present in the oil-paintings by Norsker - both via the topics and titles. The paintings often depict urban landscapes e.g. a factory alone in a rainbow-coloured almost psychedelic landscape. Other paintings are kept in darker colours and she zooms in on details of an abstract fantasy landscape. As opposed to the drawings with all their fine details the paintings are quite rough and simple. The oil is applied in wide strokes across the canvas and the surface is often built up by different colour-planes. A series of red drawings on paper seem to combine the strategies of both her other drawings and her paintings. The red drawings have her typical detailing and also her painterly strategy of planes - but they also have an almost “graffiti attitude”. Different statements like “fucked up” and “angry anger” are scattered across brick walls or letters constructing small landscapes. These works seem to have a strong desire to communicate a message to the viewer – in this case the message is spelt out in capital letters revolving despair and anger. Constructing different settings for her art Norsker has both the playful and the serious side present in her works. Even though some of her works seem to have a somewhat naïve appearance they are also full of energy. Even though a gender specific style always is debatable one tends to call her works “boyish” as her style is very rough and unpolished. Even her ceramics play on a kind of ugliness – a rebellion against the fine material perhaps. Instead of making her landscapes traditionally beautiful she fills them with excrement and strange figures. The “trash” look of her works gives a rebellious energy and reason disappears into a “hole in the ground”. Helle Ryberg, curator, 2005. Minimer

• Nørholm, Lise
• 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

• Olsen, Martin Richard
• Overgaard, Anne Skole
• Parisius, Lisbeth
• Pedersen, Anne-Marie
• Pedersen, Ditte Lyngkær
• Pedersen, Søren Birk
• Petersen, Jane Maria
• Pihl, Jonas
• Pind, Mr.
• Plaetner, Lone

  Et 2 ugers ophold i New York City (USA) i maj, hvor jeg var på research med mit digitale Camera. Derudover havde jeg mulighed for at arbejde med flerfarve tushtegninger henimod det udtryk, jeg arbejder med nu. Rejsen blev støttet af Statens Kunstfond (2011)

  Et 2 ugers ophold i New York City (USA) i maj, hvor jeg var på research med mit digitale Camera. Derudover havde jeg mulighed for at arbejde med flerfarve tushtegninger henimod det udtryk, jeg arbejder med nu. Rejsen blev støttet af Statens Kunstfond (2011) Minimer

• Randløv, Carina
• 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

• Rasmussen, Lene

  Skulptur, tegnekunst, portrætter i blyantstegning eller gips/bronze.

  Skulptur, tegnekunst, portrætter i blyantstegning eller gips/bronze. Minimer

• Rasmussen, Steen

  Visual Artist works in the field of Graphic, Photo, Installation, Sculpture and Painting separately or in different combinations . since 2001 Steen Rasmussen has been working together with the Japanese artist Rikuo Ueda about the project with the main title "Wind -catching the Immaterial" this project is constantly developing Steen Rasmussen als Read more

  Visual Artist works in the field of Graphic, Photo, Installation, Sculpture and Painting separately or in different combinations . since 2001 Steen Rasmussen has been working together with the Japanese artist Rikuo Ueda about the project with the main title "Wind -catching the Immaterial" this project is constantly developing Steen Rasmussen also work together with the Artistgroup "Hotel Vanitas" mainly about intervention of rooms/Spaces mostly by using 3 dimentional graphic installations and alvays in this collaboration using "Vanitas and Vanity as theme Minimer

• Ravn, Inge-Lise

  Maler, Grafiker, Portrættegner/-maler, Scenograf, Kurator.

  Maler, Grafiker, Portrættegner/-maler, Scenograf, Kurator. Minimer

• Rex, Jytte
• Rosengaard, Rasmus
• Rosenkilde, Krista
• Rotvit, Stefan
• 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

• Salamon, Josef
• Sanvig, Ann-Lisbeth Albek

  Uddannet billedkunstner fra Det Fynske Kunstakademi 1986-91. Jeg har modtaget undervisning af Jes Fomsgaard, Sys Hindsbo og Leif Kath. I mine malerier forsøger jeg at skabe rum og rummelighed, at inkludere beskueren. I mine billeder bevæger man sig fra én historie ind i en anden historie – fra tradition til samtid.

  Uddannet billedkunstner fra Det Fynske Kunstakademi 1986-91. Jeg har modtaget undervisning af Jes Fomsgaard, Sys Hindsbo og Leif Kath. I mine malerier forsøger jeg at skabe rum og rummelighed, at inkludere beskueren. I mine billeder bevæger man sig fra én historie ind i en anden historie – fra tradition til samtid. Minimer

• Sass, Julie

  Abstract painting has been my concern and the main focus in my work for over a decade. I relate to painting as matter and the painting process itself to establish functions and relations, painting as a way of being and approaching the boundaries, the expansion and space inside my thinking process. A strong interest has always been the process of painting Read more

  Abstract painting has been my concern and the main focus in my work for over a decade. I relate to painting as matter and the painting process itself to establish functions and relations, painting as a way of being and approaching the boundaries, the expansion and space inside my thinking process. A strong interest has always been the process of painting and increasingly, as a side track of this: painting as Matter. Julie Sass, December 2008 Minimer

• Schmidt, René
• 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
• Seest, Thomas
• Seidler, Marika

  Marika Seidler (b. 1972) lives in Copenhagen Denmark. Works primarily with video installations, paper works and drawings. Her video work is centered on communication and body language in various cultures and realities, the past few years Seidler have shown how animals are used culturally to gain identities. Seidler uses work methods from anthropology a Read more

  Marika Seidler (b. 1972) lives in Copenhagen Denmark. Works primarily with video installations, paper works and drawings. Her video work is centered on communication and body language in various cultures and realities, the past few years Seidler have shown how animals are used culturally to gain identities. Seidler uses work methods from anthropology and stresses a process oriented research where stories gathered locally plays the key role to display different understandings of cultural identity, social relations and groupdynamics with in installations of documentary and fictional approach. Seidlers paperwork and drawings unfold stories of uncanny experiences between animals and people, a certain longing for nature, loneliness, from a time when animals used live in the cities with their smells and sounds. Marika Seidler is a graduate from The Royal Danish Academy of Fine Arts Copenhagen, Denmark (1994-2000). She has contributed to a wide range of exhibitions locally and internationally, located in Norway, Sweden, Island, Finland, Berlin, France, United Emirates, Ethiopia, Syria, and U.K. (“Distant Relations” Museum of Contemporary Art Roskilde Denmark 2007, and “Phenomena” Pori Art Museum, Pori Finland 2008). In 2005 she was granted a one year residency in Los Angeles by The Danish Art Agency. Minimer

• Sennels, Carl Johan
• Serber, Katja
• Sohn, Bodil
• Solberg, Bjarne v.H.H.
• Spaabæk, Gorm

  Uddannet som billedkunstner og Cand. Phil. i kunstformidling fra Kunstakademiet i København. Selvstændig billedkunster og kunstfaglig konsulent samt anmelder af kunstbøger ved Nordjyske Stiftstidende. Medlem af Vrå Udstillingen, Grafisk Værksted i Hjørring, BKF og Kunstnersamfundet. Arbejder som producerende billedkunstner i maleri, grafik, tegning, fot Read more

  Uddannet som billedkunstner og Cand. Phil. i kunstformidling fra Kunstakademiet i København. Selvstændig billedkunster og kunstfaglig konsulent samt anmelder af kunstbøger ved Nordjyske Stiftstidende. Medlem af Vrå Udstillingen, Grafisk Værksted i Hjørring, BKF og Kunstnersamfundet. Arbejder som producerende billedkunstner i maleri, grafik, tegning, foto, plakat, video, installation og skulptur, og har udgivet i bøger, tidsskrifter samt udstillet på en lang række udstillinger. Parallelt med dette ansat som gymnasielærer på Dronninglund Gymnasium gennem 20 år samt undervist i andre sammenhænge på forskellige niveauer. Min kuratorvirksomhed omfatter organisation af mere end hundrede kunstudstillinger. Jeg er aktiv deltager i samfundsdebatten omkring billedkunstneriske spørgsmål. Minimer

• 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

• Stürup, Jasper Sebastian
• Stærk, Ann Sophie
• 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, Anna
• Tanderup, Fie
• 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

• Theuerkauf, Ninja Due
• Thordarson, Liné Ringtved

  Bachelor of Fine Art. Med speciale i skulptur. Uddannet fra Icelandic Academy of Fine Art 2006.

  Bachelor of Fine Art. Med speciale i skulptur. Uddannet fra Icelandic Academy of Fine Art 2006. 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
• Uhrskov, Tina
• Vangsgaard, Mette
• 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
• Vaaben, Kirstine
• Wandel, Maria

  maleri, tegning, tusch, tekst, vægmaleri, filmmaleri sensualitet portrætter tekst

  maleri, tegning, tusch, tekst, vægmaleri, filmmaleri sensualitet portrætter tekst Minimer

• Weck, Ulrik
• Wessel, Jan
• Westerberg, Cecilia

  I graduated from Chelsea College of Art, London, 1999 with a degree in painting. More recently I have concentrated on digital medias. My areas of interest include 2-D animation installations, video, artist books, drawing and painting. The use of line drawings is a method that runs through all of my work. Additionally, my approach to any new produ Read more

  I graduated from Chelsea College of Art, London, 1999 with a degree in painting. More recently I have concentrated on digital medias. My areas of interest include 2-D animation installations, video, artist books, drawing and painting. The use of line drawings is a method that runs through all of my work. Additionally, my approach to any new production is thematic. In my work, I try to create openings/gaps into our personal and shared memories - which is one way of nudging to the accepted cultural norms involving time, identity and history. Another of my concerns, and a theme that correlates to my fascination with Time, is the development of a narrative language; Time passing, moving in circles, or time that moves in a parallel world or passes in slow motion. Examples of some of the recurrent motifs I use in my investigations are: categories of Time that break up its’ linear course and those which are anchored and marked through the passing of generations. A special interest for me is the paradoxical juncture between linear time, which can be measured and sensual, emotional time which is purely subjective. The clash of ‘inner’ and ‘outer’ time. Minimer

• Westh , Marie Rømer

  I mit arbejde beskeftigerer jeg mig gennemgående med individet og det offentlige rum. Forholdet mellem representationen af os selv som individer og hvordan vi formidler det til fællesskabet. Min kunst omfatter forskellige medier: Video, fotografi, installation, tegning mm.

  I mit arbejde beskeftigerer jeg mig gennemgående med individet og det offentlige rum. Forholdet mellem representationen af os selv som individer og hvordan vi formidler det til fællesskabet. Min kunst omfatter forskellige medier: Video, fotografi, installation, tegning mm. Minimer

• Wilmont, Barry Lereng
• Würden, Carsten von
• Wæhrens, Maria
• Zahle, Maria
• Zaragoza, Joaquin
• Zedamator
• 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