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• Kaisen, Jane Jin

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

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

• 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 filt Læs mere

  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

  "I Canuto Kallan’s kunst kommer den kreative glæde til live gennem hans spontanitet og fantasi med hans frie og improvisatoriske måde, hvorpå han håndterer sit medie. Hans eksperimentering med farverne og den måde han febrilsk bruger dem, resulterer i en intensitet, som strækker sig langt ud over maleriernes overflade. Enkeltheden i hans figurer giver Læs mere

  "I Canuto Kallan’s kunst kommer den kreative glæde til live gennem hans spontanitet og fantasi med hans frie og improvisatoriske måde, hvorpå han håndterer sit medie. Hans eksperimentering med farverne og den måde han febrilsk bruger dem, resulterer i en intensitet, som strækker sig langt ud over maleriernes overflade. Enkeltheden i hans figurer giver dem liv og rytme, der stimulerer seernes øjne ind i en konstant tilstand af årvågenhed og holder deres interesse intakt. " Minimer

• Kalsmose-Hjelmborg, Mille

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

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

• Karlström, Line Skywalker
• Kaster, Karin
• Kath, Leif
• 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 collag Læs mere

  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, with my own and appropriated 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

• Kellermann, Jens-Peter
• Kemp, Kristine
• Kilde, Kim

  Arbejder med konceptuel science fiction med fokus på subjektivitet og tid.

  Arbejder med konceptuel science fiction med fokus på subjektivitet og tid. Minimer

• Kilsmark, Nikolaj

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

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

• Kjerrman, Pontus
• Kjær, Bruno
• Kjær, Thomas
• Kjærgård, Helle
• Klausen, Heine Kjærgaard
• Kleivan, Nina Maria
• Knudsen, Vibeke
• Koch, Eva
• Koldbech Fich, Pernille
• Kolding, Jakob
• Kollandsrud, Siri
• Kortermand, Tine Louise
• Kramær, Martha
• Kristensen, Birgitte
• Kristensen, Mette Borup

  Mette Borup Kristensen, born 1978 in Denmark, lives and works in Copenhagen. Educated at the Academy of Fine Arts of Florence, Italy in 2005. On my work Creating text and pictures that bounce off each other, collide, and create new possibilities for interpretation, is a central element in my work. I work with printmaking, bead pictures and t Læs mere

  Mette Borup Kristensen, born 1978 in Denmark, lives and works in Copenhagen. Educated at the Academy of Fine Arts of Florence, Italy in 2005. On my work Creating text and pictures that bounce off each other, collide, and create new possibilities for interpretation, is a central element in my work. I work with printmaking, bead pictures and text, experimenting and combining these techniques in different ways. The collision of such different materials creates a dynamic expression and an element of surprise that I find interesting. Sometimes both the printmaking and the bead pictures are combined in one work - at other times they are not combined, but part of the same series. Often I make a sign with bead pictures where the text has several different references. For example a bead picture can be inspired by my grandmothers counted cross stitch wall hangings with a surprising text that refers to something quite removed from the traditional. The different pictures tell complex stories giving way to a variety of interpretations in the form of dreams, symbols and bits of memory from ones day, but at the same time allowing for spookiness, kitsch, romance, and humour. The contradictions are electric with opposites such as the childish versus the sexual. Minimer

• Kristensen, Ulrik Holme
• Kristiansen, Jesper
• Kristmundsdóttir, Helga
• Kristoffersen, Sian

  The critic is he or she who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are Læs mere

  The critic is he or she who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. Oscar Wilde. Minimer

• Kromann, Elin Kristine
• Kromann-Andersen, Bjørn
• 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 ba Læs mere

  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

• Kryger, Mathias
• Krøjer, Tom
• Krøyer, Dagmar

  Dagmar Krøyer graduated from the Jutland Academy of Fine Arts in 2006. She mainly works with video, sound and installation. In her art the most common themes are narration, underlying structures, homemade experiments and humour. Food is often used as ingredient in her work. (stop-motion-films and photos).

  Dagmar Krøyer graduated from the Jutland Academy of Fine Arts in 2006. She mainly works with video, sound and installation. In her art the most common themes are narration, underlying structures, homemade experiments and humour. Food is often used as ingredient in her work. (stop-motion-films and photos). Minimer

• Kvalvik, Kristina
• Kvetny, Ida
• Kvium, Michael
• Kær , Morten
• Kærn, Simone Aaberg

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

  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
• Kølkjær, Mogens
• Kørner, John

  John Kørner er maler og billedhugger. Hans kunst er dog ikke begrænset til mediernes egne rammer. Måske mediet snarere er et middel til kommunikation end rodfæstet i mediespecificitetens snævre herkomst. De skulpturelle værker opstår i et sammensurium af grundig keramisk formgivning, forhåndenværende tingeltangel og udsøgt kitsch fra amagerhyldernes og k Læs mere

  John Kørner er maler og billedhugger. Hans kunst er dog ikke begrænset til mediernes egne rammer. Måske mediet snarere er et middel til kommunikation end rodfæstet i mediespecificitetens snævre herkomst. De skulpturelle værker opstår i et sammensurium af grundig keramisk formgivning, forhåndenværende tingeltangel og udsøgt kitsch fra amagerhyldernes og kolonihavernes lagre, mens malerierne altid bliver flyttet ud og væk fra de hvide vægges tilsyneladende neutralitet. Foran kolonihaver og husbåde, i joller på vandet, bag glas og på plejehjem træder malerierne ud af gallerirummets og museets på forhånd definerede kontekst. Det synes ikke at være værkets egne fysiske rammer, der dikterer præmisserne for kunstoplevelsen, men hele den virkelighed omkring værkerne, som Kørner selv dikterer og iscenesætter. Måske selve mediet bliver indgangen til oplevelsen. Netop genkendelsen i mødet med maleriets rektangulære flade, påsmurt farver og figurer, vækker jo genklang i hans udstillingers absurde teater. Uddrag af katalogteksten til "ARoS BANK", Gitte Ørskou. 2006 Minimer

• Kaas, Lene Barnkob