installation

• 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. Læs mere

  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

• Alibadi, Mahmoud
• Andersen, Ann Louise
• Andersen, Mika
• Andersen, Thorbjørn

  Installation, maleri, stedsspecifik installation, arkitektur, maleri i et udvidet felt, geometri, hellig geometri, Objektbaseret kunst.

  Installation, maleri, stedsspecifik installation, arkitektur, maleri i et udvidet felt, geometri, hellig geometri, Objektbaseret kunst. Minimer

• Asbury, Kim
• Assenholt, Søren
• AVPD, -

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

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

• Bagge, Thomas Gunnar
• Balslev, Zven
• Bank & Rau
• Basten, Berit
• Beck, Jens Axel
• benandsebastian, Ben Clement og Sebastian de la Cour
• Bent, Maiken
• Benveniste, Eli

  Eli Benveniste, f. 1961, dansk billedhugger. Autodidakt og debuterede i 1988 på Veksølund-udstillingen; i 1995 medlem af Koloristerne. Leret er det foretrukne materiale, men i de senere år har glasset været anvendt til flere udsmykningsopgaver. Tematikken i skulpturerne er eksistentiel. I 2000 modtog hun Astrid Noacks Billedhuggerlegat. Læs mere

  Eli Benveniste, f. 1961, dansk billedhugger. Autodidakt og debuterede i 1988 på Veksølund-udstillingen; i 1995 medlem af Koloristerne. Leret er det foretrukne materiale, men i de senere år har glasset været anvendt til flere udsmykningsopgaver. Tematikken i skulpturerne er eksistentiel. I 2000 modtog hun Astrid Noacks Billedhuggerlegat. Menneskets relationer og forhold har altid interesseret mig, fænomenologi kunne man kalde det. Vores fælles reaktioner på de samme hændelser. Det viser sig i mange forskellige situationer i vores hverdag, i parforholdet, i forholdet til vores børn eller i de reaktionsmønstre, der kommer til syne, når vi møder fremmede. Det forekommer mig under alle omstændigheder, at vi reagerer meget ens. Et formildende træk når jeg ser på en verden, der er dækket af røg. Selv er jeg født i 61, som fjerde datter af en dansk mor og en far, der var græsk jøde fra Thessaloniki. De mødtes i 1948 under den græske borgerkrig i Lamia, hvor min mor var udsendt af Red Barnet og min far arbejdede som læge på en klinik i en flygningelejr for græsk Røde Kors. I 1953 flyttede de til Danmark og senere til Falster, da han fik en overlægestilling på Centralsygehuset i Nykøbing. Her voksede jeg, mine tre storesøstre og vores lillebror op indtil familien splittedes. Da jeg var 23 tog jeg til Barcelona og boede der i 6 år. Idag bor jeg og min mand i Italien og i Portugal, lande der er forbundet med mit arbejde som billedkunstner. At være gæst og ikke rigtig høre til nogen steder er en tilstand, som passer godt til erhvervet. Afstanden, der følger med, er et godt redskab at betragte verden ud fra, ligesom den usikkerhed der følger med udlændingheden passer til den tvivl, som er en del af kunstnerisk arbejde. Jeg har arbejdet med skulptur, siden jeg var helt ung, det er først i de senere år, jeg er begyndt at skrive og fotografere. I mit arbejde såvel som i mit liv spekulerer jeg på, i hvor høj grad man egentlig træffer individuelle valg i forhold til den vægt som tiden og stedets situationer indvirker på os. Derfor forsøger jeg så vidt muligt at sætte det, jeg oplever og ser, i et historisk perspektiv. Minimer

• Berger, Stine
• Bertelsen, Louise

  Louise Bertelsen er en tværfaglig kunstner, uddannet i performance og multimedia kunst. Hendes fokus er sted-specifik kunst. I 1999 grundlage hun kunstgruppen LIVING LENSES (DK/USA), hvis fokus er multi-disciplinær udforskning af det offentlige rum, i form af Public Art, video, installationskunst, fotografi og Live Art Happenings.

  Louise Bertelsen er en tværfaglig kunstner, uddannet i performance og multimedia kunst. Hendes fokus er sted-specifik kunst. I 1999 grundlage hun kunstgruppen LIVING LENSES (DK/USA), hvis fokus er multi-disciplinær udforskning af det offentlige rum, i form af Public Art, video, installationskunst, fotografi og Live Art Happenings. Minimer

• Bigum, Martin
• Bjerresgaard, Karen

  Bjerresgaard arbejder med installationer, digitale medier, fotografi, objekter, grafiske billeder og tegninger samt maleri En ny vinkel er et dukkepar en pige og en dreng, der oplever hændelser i den virkelige verden og i den surrelle verden.Sker de ting de ser ske i virkeligheden eller sker de inde i deres tanker?(Det sker gennem nøglehullet) og( Pig Læs mere

  Bjerresgaard arbejder med installationer, digitale medier, fotografi, objekter, grafiske billeder og tegninger samt maleri En ny vinkel er et dukkepar en pige og en dreng, der oplever hændelser i den virkelige verden og i den surrelle verden.Sker de ting de ser ske i virkeligheden eller sker de inde i deres tanker?(Det sker gennem nøglehullet) og( Pige-drengeverdener I og II) Tidligere har hendes værker taget udgangspunkt i mennesket og dets globale sociale relationer hinanden imellem. Det visualiserer udstillingen Organ TransferII med en lydcollage af børnestemmer, organobjekter, fotostater samt grafiske billeder.Organ Transfer II kommenterer transplantationer af organer og handlen med disse fra forskellige verdensdele til Europa. Deltagelse i udstillingen Indfanget for en tid i Galleri Think Ink i jan/feb 2008 viser linoleumstryk i serien Drenge- og Pigetapeter. Billeder af hændelser der på godt og ondt opleves af drenge og piger fra den tredie verden. Gennem deres opvækst indgår traditioner og ritualer, som kommer til at præge disse børn for livet. Denne gruppe børn der er overladt til sig selv er særlig udsatte for grove krænkelser i livet. Minimer

• Bjørn, Katja

  Between the body and the sculpture The starting point of my work is the investigation of the expression of the sculpture. Through the times I have been investigating a broad field from land art sculptures, large scale installations, objet trouvés and video art to more classical and material sculptures. Especially interesting to me is the sculpt Læs mere

  Between the body and the sculpture The starting point of my work is the investigation of the expression of the sculpture. Through the times I have been investigating a broad field from land art sculptures, large scale installations, objet trouvés and video art to more classical and material sculptures. Especially interesting to me is the sculptures relationship to the human body. The sculptures are therefore formed to create an active role for the viewer, either by directly interaction with the sculpture or by the sensuous perception. The sculptures can be build up from everyday objects. At first they appear as trivial tableaus: A chest of drawers with perfume bottles and jars, a shower or a closed door. But a glance through the keyhole or in the drawer expose an intimate situation, we ought not to have witnessed. The narratives of the videos are often about human beings performing simple actions. A boy turning in a tight space, a naked woman grooming her self. Through the videos I take the sculptures into another sphere and implant everyday situations or actions that through the sculptures transforms into an intimate confrontation and a play of the voyeurism of the viewer. In this crossover between the sensuous physics of the sculpture and the narrative of the video I create an aesthetic space, in which I examine the boundaries of exceeding the intimate sphere of both the artist and the viewer. In this space, what seems to be innocent, an everyday occurrence turns out to explore the unpleasant far side. Minimer

• Bjørn, Rasmus
• Boesen, Trine
• Bolther, Helle
• Bonde, Niels
• BORGES, JACOB
• Bosch & Fjord, -
• Brackman, Yvette
• Bramsen, Marianne
• 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
• Brodersen, Grete Marie
• Buchardt , Lars
• Burchardi, Sofia
• Busk, Henrik

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

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

• Callesen, Peter

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

  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". Formidlin Læs mere

  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
• Carlsen, Jesper
• Christensen, Vivi
• Clemmesen, Christine
• Cramer-Møller, Johannes
• Creutz, Andrea
• Dahlgaard, Søren

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

  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

• 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

• Degett, Karen
• Desmentik, Lene
• Donsø, Stephanie
• Dröscher, Benny
• Dröse, Berit
• Dysgaard, Morten
• Ebbesen, Torben
• Ehlers, Jeannette

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

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

• 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 bygnings Læs mere

  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 Læs mere

  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

• Ellgaard, Jette
• Emenius, Andreas
• Enghoff, Tina
• Falsnaes, Christian

  Christian Falsnaes (b. 1980 in Copenhagen) studied philosophy and was active in the graffiti-, and squatting- scene before he began his studies at the Academy of fine Arts in Vienna. He lives and works in Vienna and Copenhagen.

  Christian Falsnaes (b. 1980 in Copenhagen) studied philosophy and was active in the graffiti-, and squatting- scene before he began his studies at the Academy of fine Arts in Vienna. He lives and works in Vienna and Copenhagen. 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 Læs mere

  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

• flensberg, rikke
• Fog, Jørgen
• Fomsgaard, Jes
• Frankel, Bernhard
• 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 soc Læs mere

  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

• G., Hanne
• Galschiøt, Jens
• Gleerup, Trine Mee Sook
• Goll, Morten

  Jeg har i flere år beskæftiget mig med kommunikation og identitet og den måde hvorpå disse to begreber interagerer. Dette har udmøntet sig i en række kunstværker som aktivt indgår i en reformulering af en given social diskurs, i den hensigt at skabe social forandring og en serie tv-programmer der eksperimenterer med politisk kommunikation. Socialt desig Læs mere

  Jeg har i flere år beskæftiget mig med kommunikation og identitet og den måde hvorpå disse to begreber interagerer. Dette har udmøntet sig i en række kunstværker som aktivt indgår i en reformulering af en given social diskurs, i den hensigt at skabe social forandring og en serie tv-programmer der eksperimenterer med politisk kommunikation. Socialt design, der intervenerer en diskurs ved at ændre et interface, for at muliggøre en etisk og demokratisk forsvarlig omfortolkning af mulighederne i det sociale rum. Nøgleord: third wave feminism, socio-politisk, politisk kunst, post strukturalisme, den anden, kommunikation, etik, social, kollaborativ, proces, pragmatisk, idealisitisk. Minimer

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

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

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

• Hanne Nielsen & Birgit Johnsen
• Hansen, 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 Læs mere

  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, Lars Lundehave

  Generelt om min praksis: I min kunst arbejder jeg med støj som materiale og er meget optaget af lyd's påvirkning af materialer og mennesker; Jeg vil skabe oplevelser med støj såvel installatorisk som i form af "rene" lytteoplevelser. Ved støj forstår jeg dissonans, kakofoni, susende, brummende og brølende klangflader. Det er det uskønne, det Læs mere

  Generelt om min praksis: I min kunst arbejder jeg med støj som materiale og er meget optaget af lyd's påvirkning af materialer og mennesker; Jeg vil skabe oplevelser med støj såvel installatorisk som i form af "rene" lytteoplevelser. Ved støj forstår jeg dissonans, kakofoni, susende, brummende og brølende klangflader. Det er det uskønne, det urene eller det fravalgte der ophøjes, arrangeres og udstilles. Det er støj som materiale, der gives æstetisk form og bruges i et kritisk udtryk. Brugen af et givent element i en anden og måske uventet sammenhæng er i fokus. Lyd er et meget suggestivt element og i installatoriske sammenhænge bruger jeg det i relativt stramme set-ups, der ofte kan afkodes både umiddelbart og det refleksivt. Minimer

• Hansen, Lone Høyer
• Hansen, Marianne Holm
• Hansen, Mikael
• Hansen, Thorgej Steen
• Harlev, Lise
• 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 tablea Læs mere

  “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

• Havsteen-Mikkelsen, Asmund
• Heiberg, Lars
• Heilmann, Hannah
• Henckel, Peter Holst

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

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

• Henningsen, Nanna Gro
• 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 Læs mere

  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

• Hesselholdt & Mejlvang, Sofie / Vibeke
• High Heel Sisters, _

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

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

• Hjerl, Sophie

  Sophie Hjerl (født 1971) Uddannet fra Det Kgl. Danske Kunstakademi Billedkunstskolerne, Mediekunstskolen + cand.mag i Kunstteori -og Formidling 2002. Arbejder primært med videomediet, men benytter sig også af andre medier. Hendes værker er poetiske, direkte og refleksive, samt tilfører et suggestivt indspark i den syntetiske verden af de digitale medie Læs mere

  Sophie Hjerl (født 1971) Uddannet fra Det Kgl. Danske Kunstakademi Billedkunstskolerne, Mediekunstskolen + cand.mag i Kunstteori -og Formidling 2002. Arbejder primært med videomediet, men benytter sig også af andre medier. Hendes værker er poetiske, direkte og refleksive, samt tilfører et suggestivt indspark i den syntetiske verden af de digitale medier. Hun undersøger samtiden og samtidig synes hun interesseret i at fremstille en verden udenfor tid og sted. Hun ønsker at sætte spørgsmål ved vores oplevelse af ting og tingenes tilstand og ved deres umiddelbare betydninger. Hendes værker bærer tydeligt præg af hendes oprindelige udgangspunkt i skulpturen, kroppen og bevægelsen, samt interessen for at opløse betydningerne, for at de kan samles sig på ny. Minimer

• Hoeck, Honza
• Holm, Anni
• Holm, Peter
• Holm, Uffe
• Holst, Katrine Køster

  Keramiske installationer, tegning og stedsspecifikke projekter.

  Keramiske installationer, tegning og stedsspecifikke projekter. Minimer

• Hove, Heidi

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

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

• Hvejsel, Ulla

  visual artist working interdisciplinary and experimentally with theatre, film, parenthood, performance, television, journalism, and selfdeceit. Ulla Hvejsel has been part of the artist-run tvstation”tv-tv”, sailed the Caribbean as embedded journalist on a European mission, proposed a new experimental approach to watching tv, has collected jokes fro Læs mere

  visual artist working interdisciplinary and experimentally with theatre, film, parenthood, performance, television, journalism, and selfdeceit. Ulla Hvejsel has been part of the artist-run tvstation”tv-tv”, sailed the Caribbean as embedded journalist on a European mission, proposed a new experimental approach to watching tv, has collected jokes from warfilms and enacted them for three years - and she regularly gives lectures about her interest in Selfdeceit, the Sublime, and the whiteness of the White Bear Minimer

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

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

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

• Ingerslev, Maja
• Ipsen, Thore
• Irmgard, Marie

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

  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
• Iversen, Marie Kølbæk

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

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

• J&K / Janne Schäfer og Kristine Agergaard

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

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

• Jacobi, Frans
• Jacobsen, Mogens
• Jacobsen, Stine Marie
• 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, Jakob

  installation fotografi skulptur video mv. arbejder på Vestsjælland og i Berlin

  installation fotografi skulptur video mv. arbejder på Vestsjælland og i Berlin Minimer

• Jensen, Mette Kit

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

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

• Jespersen, Michael Sand

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

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

• Jessen, Jacob
• Johansen, Andreas Stoubye
• Johansen, Charlotte Bergmann

  Charlotte Bergmann Johansen arbejder selvstændigt og i gruppe, skulpturelt og performativ. Jeg er oftest inspireret af fotografier, billeder eller optegnelser fra kunst- og kulturhistorien, og ændrer gerne materialers hverdagsfunktion som i mine glas med miniaturelysekroner, de uforgængelige abeskulpturer af blød modellervoks, det potente hjortehoved indgnedet i jord og den for længe siden udstoppede dansekjole.

  Charlotte Bergmann Johansen arbejder selvstændigt og i gruppe, skulpturelt og performativ. Jeg er oftest inspireret af fotografier, billeder eller optegnelser fra kunst- og kulturhistorien, og ændrer gerne materialers hverdagsfunktion som i mine glas med miniaturelysekroner, de uforgængelige abeskulpturer af blød modellervoks, det potente hjortehoved indgnedet i jord og den for længe siden udstoppede dansekjole. Minimer

• Justesen, Kirsten

  Kirsten Justesens aktiviteter er spredt over en bred vifte af genrer fra body art og performance til skulptur og installation. hun har baggrund i 1960’ernes avantgardemiljøer, hvor hun blev en pioner indenfor de tredimensionale kunstformer, der inddrager kunstnerens en krop som materiale. Disse eksperimenter førte hende i retning af den såkaldte fe Læs mere

  Kirsten Justesens aktiviteter er spredt over en bred vifte af genrer fra body art og performance til skulptur og installation. hun har baggrund i 1960’ernes avantgardemiljøer, hvor hun blev en pioner indenfor de tredimensionale kunstformer, der inddrager kunstnerens en krop som materiale. Disse eksperimenter førte hende i retning af den såkaldte feministiske kunst, der i 1970’erne forsøgte at tage livtag med traditionelle værdisystemer. Hendes senere produktion er en bredere undersøgelse af forholdet mellem krop, rum og sprog. Minimer

• Jørgensen , Elle Klarskov

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

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

• Jørgensen, 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
• Kaisen, Jane Jin

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

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

• Kalsmose-Hjelmborg, Mille

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

• 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

• Kjær, Bruno
• Kjærgård, Helle
• Kleivan, Nina Maria
• Knudsen, Vibeke
• Koch, Eva
• Kollandsrud, Siri
• 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

• Kristiansen, Jesper
• Kromann, Elin Kristine
• 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

• 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

• 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 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
• Kaas, Lene Barnkob
• la Cour, Eva

  Eva la Cour has a background in the field of fine art as well as media and visual anthropology. Drawing from a broad spectrum of sources of everyday life, she is engaged in a praxis often looking into the relationship between image-making and the composition of urban and/or national space by investigating social bodies and their capacities to express themselves in both words and actions.

  Eva la Cour has a background in the field of fine art as well as media and visual anthropology. Drawing from a broad spectrum of sources of everyday life, she is engaged in a praxis often looking into the relationship between image-making and the composition of urban and/or national space by investigating social bodies and their capacities to express themselves in both words and actions. Minimer

• Landgreen, Malene

  www.malenelandgreen.dk

  www.malenelandgreen.dk Minimer

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

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

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

• Lausten, Dorte

  Functionel Painting. Painting as Design. Furniture as Art. Colour To The People I have always dreamed that I could walk into paintings. Simply enter into the painters’ fictive room and explore the painting from the inside. But you can’t walk into a 2-D universe. Therefore I began creating my paintings in 3-D and hey presto! I could actually pu Læs mere

  Functionel Painting. Painting as Design. Furniture as Art. Colour To The People I have always dreamed that I could walk into paintings. Simply enter into the painters’ fictive room and explore the painting from the inside. But you can’t walk into a 2-D universe. Therefore I began creating my paintings in 3-D and hey presto! I could actually put my head into my painting. (See Isolation Box, one of my first 3-D paintings.) I made quite a few of these 3-D paintings e.g. Hi-fi Club, A feeble Affair, Sanitary Units, AMB-Systems, Kitchen Ware. Common denominator for these pieces are, that they all have a fictive function e.g. My Back-up Box were supposed to generate lost data from the computer, but it wasn’t able - to tell you the truth. To me the 3-D effect and the humour was the most important aspect at the time. Over the years my fascination of 3-D painting become stronger. But now it is not enough for me, that my paintings have these fictive functions. I want my paintings to have a kind of functionalism. I want to work, sleep and eat in them. A hybrid between Art & Furniture Looking forward, I had to skip the traditional way of thinking painting. I had to make a hybrid between painting and furniture. I also had to consider alternative materials. All the paintings I made in the past where acrylic on canvas. Now in this project, using car paint on MDF plates does the paintings. I have also had a dogma about my paintings that they had to satisfy certain needs. I start out with my own needs. I would like to work, eat and sleep in my paintings. I would need a writing desk, a dinning table and a bed. I like to play with colours too and I also like things going fast too. I realised that I had to change my materials. You can’t eat, sleep and work on canvas. Therefore I started to think in MDF boards. I made a simple model in paper. My goal was that these painted boards should be assembled quickly into furniture without using any tools. The furniture I wanted to make should not take up room. Furniture-unit. Therefore I invented this thing called a furniture-unit. The furniture-unit can assemble paintings (Made on MDF boards) into furniture. The idea is this: When you need to work, you take your paintings from the wall and build them according to your need. My invention can also be used as a fitting for the MDF boards on the walls. Paintings on the Floor Gather boards you simply take them off the wall and build the furniture you desire using the furniture-unit. There is no need for tools of any kind. My dream has come true. I can actually be present in my painting. I can assemble 3-D paintings and use them as furniture. This is the painters’ fictive room. And now I can use it. It has become functional. Furniture on the Wall That is what I call it when the MDF boards hang on the wall. If you are having a party you just hang the furniture on the wall using the furniture-unit (fitting) and pop! You can make this neo geometric abstract painting, and use the space for dancing. The next step The prototype was made in wood. Strong rubber followed it. The type that is used on this project is made of black POM. The future furniture-unit will be made in limpid acrylic. Minimer

• Lauta, Lærke
• Lindau, Palle

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

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

• Lindhardt, Simon
• Lislegaard, Ann
• Livbjerg, Nynne
• Ljungdalh, Stine

  Stine Ljungdalh graduated in 2005 with a MA in Printmaking from The Royal College of Art. Stine has exhibited in Europe and the US and are about to start her Ph.D at Kingston University. By working with a number of alter egos or personas - all drawn to idea of capturing the hidden or invisible – she aim to create an experimental zone. Her art practi Læs mere

  Stine Ljungdalh graduated in 2005 with a MA in Printmaking from The Royal College of Art. Stine has exhibited in Europe and the US and are about to start her Ph.D at Kingston University. By working with a number of alter egos or personas - all drawn to idea of capturing the hidden or invisible – she aim to create an experimental zone. Her art practice includes writing, photography, films and props from these personas - all evidence of the existence of the imaginary zone and questioning the subjective reality of the autonomous self. Minimer

• 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 de Læs mere

  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

• Lose, Søren

  Billedkunstner Søren Lose (1972) bor og arbejder i København og Berlin. Gennem fotografi, film og installation undersøger Søren Lose emner som den private og kollektive erindring, narrativer, historie, arkitektur, turisme og tilhørsforhold.

  Billedkunstner Søren Lose (1972) bor og arbejder i København og Berlin. Gennem fotografi, film og installation undersøger Søren Lose emner som den private og kollektive erindring, narrativer, historie, arkitektur, turisme og tilhørsforhold. Minimer

• Lundme, Tomas Lagermand

  Arbejder som forfatter, dramatiker, scenograf og billedkunstner

  Arbejder som forfatter, dramatiker, scenograf og billedkunstner Minimer

• Lührssen, Tine Bay
• Lyrstrand, Lisbeth Nielsen
• Lysholt-Hansen , Nanna
• Madsen, Hans E
• Madsen, Mikael
• Madsen, Pernille With
• Maegaard, Pernelle
• 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

• Meander, Isis

  Educated from: Malmö Art Academy 2003-2008 UIC, Chicago 2007

  Educated from: Malmö Art Academy 2003-2008 UIC, Chicago 2007 Minimer

• Mégard, Natalie
• Mygind, Rasmus Høj
• Myrup, Martine
• Mølgaard, Bo

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

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

• Møller, Jo
• Møller, Sofie Bird
• Naumann, Katrine
• Nielsen, Jacob
• Nielsen, Mogens Otto
• Nielsen, Tina Maria
• 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. Læs mere

  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 an Læs mere

  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

• Norre, Michael
• Nowotny, Rolf
• Nørgård, Camilla
• 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 Læs mere

  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

• Olivares, Miguel Vega
• Olsen, Martin Richard
• Paludan, Jon

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

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

• Pedersen, Anne-Marie
• Pedersen, Ditte Lyngkær
• Pedersen, Stefan A.
• Petersen, Jane Maria
• Petersen, Karen
• Pihl, Jonas
• Pind, Mr.
• Poulsen, Tanja Nellemann
• Ramadan, Khaled

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

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

• Randi Og Katrine, Randi og Katrine
• Randløv, Carina
• 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 manipula Læs mere

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

• rasmus knud

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

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

• Rasmussen, Else
• Rasmussen, Jesper

  Jesper Rasmussen, f. 1959 billedkunstner, arbejder fortrinsvis med installation, skulptur og fotografi, hovedsageligt med udgangspunkt i rum og arkitektur. Har siden 1981 redigeret og udgivet kunsttidsskiftet Pist Protta sammen med Jesper Fabricius og Åse Eg Jørgensen. Var 1986-91 med i kunstnergruppen Solkorset, der arbejdede kollektivt med store ruminstallationer. Rektor ved Det Jyske Kunstakademi.

  Jesper Rasmussen, f. 1959 billedkunstner, arbejder fortrinsvis med installation, skulptur og fotografi, hovedsageligt med udgangspunkt i rum og arkitektur. Har siden 1981 redigeret og udgivet kunsttidsskiftet Pist Protta sammen med Jesper Fabricius og Åse Eg Jørgensen. Var 1986-91 med i kunstnergruppen Solkorset, der arbejdede kollektivt med store ruminstallationer. Rektor ved Det Jyske Kunstakademi. Minimer

• Rasmussen, Lillibeth Cuenca

  Lilibeth Cuenca Rasmussen (b.1970 in Manila) lives in Copenhagen Denmark. Works primarily with video and performances. She navigates the interspaces between different kinds of realities and extremes. Between the staging of music videos and the raw reality of documentaries. Between personal confessionals and political commitment. Taking her Læs mere

  Lilibeth Cuenca Rasmussen (b.1970 in Manila) lives in Copenhagen Denmark. Works primarily with video and performances. She navigates the interspaces between different kinds of realities and extremes. Between the staging of music videos and the raw reality of documentaries. Between personal confessionals and political commitment. Taking her own Danish-Filipino background as her point of departure, Cuenca Rasmussen displays a keenly honed sensitivity, almost like that of an anthropologist, to the narratives that exist in and between a place of birth and home country. She gathers, adapts, and universalisms these narratives in her both critical and humorous approach to central issues such as identity, culture, religion, gender, and social relations. Lilibeth Cuenca Rasmussen is a graduate from The Royal Danish Academy of Fine Arts Copenhagen, Denmark (1996-2002). She has contributed to a wide range of exhibitions in Denmark (EgoShow, solo in The X Room, State Museum of CPH. in 2006, and abroad Global Feminisms in Brooklyn Museum, New York, 2007). In 2004 she received the Danish Art Council's three-year grant. Minimer

• Rasmussen, Steen

  Billedkunstner arbejde med grafik, installation,skulptur og maleri , indgår desuden i flere samarbejdsprojekter: Har gennem en årrække (siden 2001 )samarbejdet med den Japanske Kunstner Rikuo Ueda om vores fælles project Wind catching the Immaterial Arbejder sammen med gruppen "Hotel vanitas" om at intervenere rum i denne gruppesammenhæng hoveds Læs mere

  Billedkunstner arbejde med grafik, installation,skulptur og maleri , indgår desuden i flere samarbejdsprojekter: Har gennem en årrække (siden 2001 )samarbejdet med den Japanske Kunstner Rikuo Ueda om vores fælles project Wind catching the Immaterial Arbejder sammen med gruppen "Hotel vanitas" om at intervenere rum i denne gruppesammenhæng hovedsageligt experimenterende med 3 dimentionele grafik installationer der tematisk bevæger sig omkring Vanitasbegrebet Minimer

• Ravn, Inge-Lise

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

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

• Recke, Nikolaj
• Reuter Christiansen, Thorbjørn
• Rude, Mille

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

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

• Rød, Jakob
• Rømer, Nis

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

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

• Sandal, Annesofie
• Sandegård, Troels
• Sansour, Larissa

  Born 1973 in Jerusalem, Larissa Sansour studied Fine Art in Copenhagen, London and New York, and earned her MFA from New York University. Often centered around the situation in the Middle East, her work is interdisciplinary, immersed in the current political dialogue and utilizes video art, digital photography, experimental documentary and the internet.

  Born 1973 in Jerusalem, Larissa Sansour studied Fine Art in Copenhagen, London and New York, and earned her MFA from New York University. Often centered around the situation in the Middle East, her work is interdisciplinary, immersed in the current political dialogue and utilizes video art, digital photography, experimental documentary and the internet. 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 Læs mere

  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
• Schou, Jeanette Land

  JLS har siden 1995 deltaget i adskellige gruppeudstillinger i ind- og udland med video, installation og fotografi. Hun har vist fotografi og videoværker, bl.a. på “Galleri Image” i Århus, “No9” i Oslo, i Malmø Konsthal og i “Le pont” galleriet i Aleppo i Syrien. Fra 1996-2001 deltog hun i det kunstnerstyrede North-Udstillingssted både som kunstn Læs mere

  JLS har siden 1995 deltaget i adskellige gruppeudstillinger i ind- og udland med video, installation og fotografi. Hun har vist fotografi og videoværker, bl.a. på “Galleri Image” i Århus, “No9” i Oslo, i Malmø Konsthal og i “Le pont” galleriet i Aleppo i Syrien. Fra 1996-2001 deltog hun i det kunstnerstyrede North-Udstillingssted både som kunstner og kurator og i 1999 var hun med til at starte foreningen Fast Video. Hun demitterede fra Kunstakademiet i København i 1998, hvor hun nu underviser i bla. video -kunst og -produktion. JLS arbejder har generelt poetiske og eksistentielle problematiker, og er altid båret at en stærkt visualitet. I mange af video- og fotoværkerne udfoldes en metafysisk realisme, som åbner sig for fortolkning. Landskaberne er indre landskaber. Det er en visuels tegnsætning, der giver JLS’s værker deres relevans. Selv når hun forholder sig til det stedspecifikke og til interaktion med betragteren, vil det være på billedets og mediets præmis. Minimer

• Schrader, Louise
• 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 complet Læs mere

  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 Læs mere

  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

• Selwyn-Gray, Alexandra

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

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

• Serber, Katja
• Skeel, Christian
• Skovgård, Jan

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

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

• Smelvær, Britt
• Sohn, Bodil
• Solberg, Bjarne v.H.H.
• Starck, Nanna
• 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 Læs mere

  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

• Stærk, Ann Sophie
• Svarre, Daniel
• Sætre, Jeanette
• Sørensen, Bjarne Werner
• Tanderup, Fie
• Tast, Steffen

  Lys, reflekser, spejlinger, bevægelse, lethed, klang

  Lys, reflekser, spejlinger, bevægelse, lethed, klang Minimer

• Thams, Marie

  Min praksis er konceptbaseret, og jeg arbejder i installation, skulptur, fotografi, video og tekst. Jeg ønsker at skabe værker, der eksisterer et sted imellem skulptur – rekvisit – og antydende et narrativ. Vigtigt for mange af mine værker, er antydningen af en mulig interaktion og lovningen af en performance. Det performative element antyder aktion og tid, og åbner op for objektet/skulpturens mening(er).

  Min praksis er konceptbaseret, og jeg arbejder i installation, skulptur, fotografi, video og tekst. Jeg ønsker at skabe værker, der eksisterer et sted imellem skulptur – rekvisit – og antydende et narrativ. Vigtigt for mange af mine værker, er antydningen af en mulig interaktion og lovningen af en performance. Det performative element antyder aktion og tid, og åbner op for objektet/skulpturens mening(er). Minimer

• Theilgaard, Nikolas M.

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

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

• Therkildsen, Sixten

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

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

• Theuerkauf, Ninja Due
• Thomsen, Hanne Lise

  Has been creating site-specific slide and video projections since 2003

  Has been creating site-specific slide and video projections since 2003 Minimer

• Thomsen, Mads
• 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 ogs Læs mere

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

• Thrane, Charlotte
• Tonda Heide, Philip

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

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

• Tækker, Jacob
• Uhrskov, Tina
• Vad, Signe
• Vinkler, Agnete Krogh
• Vaaben, Kirstine
• Weck, Ulrik
• 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 prod Læs mere

  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

• WILLIAMS, PERNILLE KAPPER
• Wittrup, Ebbe Stub
• Wolsing, Thomas
• WOOLOO

  Wooloo is Sixten Kai Nielsen (b. 1978) and Martin Rosengaard (b. 1979). The Wooloo group was founded in 2002 and works in the field of social experimentation. Wooloo’s first work was an online experiment: the Wooloo.org website, that today is connecting the resources of more than 22.000 cultural producers in 140 countries. More recently, the gr Læs mere

  Wooloo is Sixten Kai Nielsen (b. 1978) and Martin Rosengaard (b. 1979). The Wooloo group was founded in 2002 and works in the field of social experimentation. Wooloo’s first work was an online experiment: the Wooloo.org website, that today is connecting the resources of more than 22.000 cultural producers in 140 countries. More recently, the group organized the housing of three thousand activists with private families during the UN climate change summit in Copenhagen in 2009. Supplying the infrastructure for visitors to come and voice their opinion - and for strangers to share their homes and experiences - the Wooloo project was a large-scale exercise in communal cooperation. Wooloo live and work in Copenhagen and New York. Minimer

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

  Jeg ser mig selv som en kunstner, der arbejder med forskellige strategier: dels indgreb i det sociale og urbane rum, dels konceptuelle skulpturer og grafisk / tekst-baserede værker herunder den digitale tegning. Den røde tråd i disse praksiser er i fokus på det sociale liv, hvad enten det er løsninger på dagligdags problemer ved at bygge broer for at Læs mere

  Jeg ser mig selv som en kunstner, der arbejder med forskellige strategier: dels indgreb i det sociale og urbane rum, dels konceptuelle skulpturer og grafisk / tekst-baserede værker herunder den digitale tegning. Den røde tråd i disse praksiser er i fokus på det sociale liv, hvad enten det er løsninger på dagligdags problemer ved at bygge broer for at undgå at træde i vandpytter, eller illustrativt belyse den praktisk handling, at lave æblekager. Gennem opmærksomhed til de ofte skjulte detaljerne i det sociale liv, søger jeg grænsen mellem virkelighed og fiktion, min projekter ofte tage form af det absurde, til det punkt hvor grænsen mellem fiktion og virkelighed bliver ustabil Minimer

• Aagaard, Grete