Emil Alenius Boserup

Kinga Bartis

Get some sleep.

Don’t give advice.

Take care of your teeth and gums.

Don’t be afraid of anything beyond your control. Don’t be afraid, for

instance, that the building will collapse as you sleep, or that someone

you love will suddenly drop dead.

Eat an orange every morning.

Excerpt from: Ron Padgett, How to be perfect  Ron Padgett, “How to Be Perfect” from Collected Poems Copyright © 2013 by Ron Padgett

Get some sleep.

 Don’t give advice.

Take care of your teeth and gums.

Don’t be afraid of anything beyond your control. Don’t be afraid, for

instance, that the building will collapse as you sleep, or that someone

you love will suddenly drop dead.

Eat an orange every morning.

Excerpt from: Ron Padgett, How to be perfect  Ron Padgett, “How to Be Perfect” from Collected Poems Copyright © 2013 by Ron Padgett

Detail, oil on canvas 6×9 cm

detalje, olie på lærred 6×9 cm

Fabian Wigren

1987, The School of Media Arts Skolen for Mediekunst & The School of Media Arts & Skolen for Mediekunst www.fabianwigren.com

Inheriting Troubles

Video, 25.50 min

In ”Inheriting troubles”, I want to explore the relationship between the documentary filmmaker (me) and the Subject (Towe). I have known Towe for 8 years and been filming her for 7. Towe is diagnosed with Asperger syndrome and ADHD. When I first met her she had given up on the outside world, fed up with the constant misunderstandings and conflicts with her surroundings, she had locked herself up in her apartment. However, through games on facebook, Towe found a new context and new community of friends from all around the world. Filtered through the screen of her laptop the world became clear, exciting and meaningful again.

Growing up with a chronic disease (Rheumatism) and myself being a gamer, I could relate to her situation. Through her story, I could see myself more clearly: a 13-year-old filtering the world through a screen as the reality of the outside was too much. Later, a 20-something aspiring documentarist, trying to make sense of the world through a lens and the screen of a camera. We have a kinship in the choice of alienating ourselves from the outside world. But in the process of making this film, I have become increasingly worried that I will exploit her precarious situation.  I have been afraid of the unavoidable, filtering her story through my own gaze and translating it to something else that she can’t relate to. Something that she is not.

Stephanie Bech

Marco Spörle

Banaan Al-Nasser

Sara Sjölin

1991, sara.sjolin@gmail.com

Rika djur is a dramatized compilation of video recordings made between 2002 and 2005 by Sara Sjölin, her close friend and accomplice My, and Sara’s extended family. It uses this rough biographical material to examine communication across generations, technologies and species. The manipulation of the original recordings is minimal and lies mainly with the editing process.

One might label the film a bio-com, edited with a humorous, tender gaze at Sara’s own, as well as her family’s, desire to document and glorify everyday situations and moments. The film is a playful portrait of this desire and a testament to how the camera nourished and magnified the theatrical aspects of a tightly-knit community in a small Swedish town. Sara Sjölin’s practice often relies on highlighting parts of the artistic process that are usually peripheral in a finished work, the leftovers and surplus from the initial desire to make art. In Rika djur she extracts from this a sincere humor, the joy of parallel perspectives. In this way, the film makes these recorded memories seem anticipatory of Sara Sjölin’s current artistic practice, as if they’ve been waiting to be represented.

In the audio piece Eva, direct observation blends with speculation to paradoxically create a connection where there can be none, or one that isn’t known. By putting forth prejudice and passed-on mythological ”knowledge” – basically anthropomorphic – about snakes, it is as if Eva sheds the skin of interspecies relations. Sara’s speech is structured like a message, as on a voicemail, addressing a listener without expecting a response. Here is also a way of making a very concrete and visual description turn abstract, by holding back information about the object described. As it unfolds, this description becomes a narrative about ways of relating to the strange and unfamiliar. On a greater scale, this speech makes us think about how the gap between a domesticated animal and a wild one is bridged by discourse itself.

George Koutsouris



Plastic cable pipes, normal and black MDF, wood, sound absorptive material, acoustic fabric, acrylic mirror, steel fasteners, 8-channel electroacoustic installation, (loudspeakers, microphones, PC, 15’ real-time echo composition), text.
Dimensions variable.

Sponsored by Dietzel UnivoltDayton AudioAkustikstoff.comHomathermTræfiberDanmark ApSOdeon A/SRias A/S.

Photo by David Stjernholm.

Photos by George koutsouris.

Photo by David Stjernholm.

Photo by David Stjernholm.

Photo by George Koutsouris.

Photo by David Stjernholm.


Ida Retz Wessberg

1986, http://www.idaretz.com

Interview in the radio: about Ida Retz Wessberg’s two sculptures for the MFA Degree Show 2018 and about the french sculptor Camille Claudel (NB: Sorry, only in danish):


Radio-interview: om Ida Retz Wessbergs to skulpturer til Afgang 2018 og om den franske skulptør Camille Claudel:


Champion, reversed


(detail of cast in plaster).

Champion, reversed


(detalje, afstøbning i gips).

Camille Claudel (left) and Jessie Lipscomb in their studio in Paris, around 1907.



Camille Claudel (til venstre) og Jessie Lipscomb i deres atelier i Paris, cirka år 1907.

Camille Claudel: La Vague


Onyx Marble, bronze

(Photo from book)

Camille Claudel: La Vague


Onyx marble, bronze

(Foto fra bog)

Filling power

The air

around the down

to fill the jackets






rundt om dunet

til at fylde i jakkerne

Anna Kristine Holmberg

Kristoffer Raasted

1988, The School of Media Arts Skolen for Mediekunst & The Painting Department & Malerskolen http://kristofferraasted.dk https://orchiddomain.github.io/

Silver opera

Silver pool



Light blue paint


Silver humming bird

purple feathers

pink feathers

You are onomatopoetica

Great glaciers still covered central america

a mosaic of multi-coloured stones

Glass screens & moveable internal walls

Dynamism of volumes & vertical space

Enigmatic silhouettes,


defy easy description.

sometimes /

an intimate measure

of understanding

seems to be floating

in the taste

of the spicy chillies

and curries.



Melon postcards

Mango postcards


Jungle postcards




Garden postcards




Podcast from the garden


Passion fruit podcast


Humming bird

Architectural space.

on the outskirts of the capital in a desert of volcanic rock.


clinging closely to the lichen-covered trunk.


It shone in seven bands of colour.

Pattern of circles

the whirlpools in the water

leafs drift by

raindrops draw

a pattern of circles

the light is sepia

earlier today

a beautiful detail

a million falling

drops on the tracks

we took the train

the amber museum is closed

we’ll buy some maxi singles


i’ll follow you back

to the station

we talk in the door


texture in the digital realm

generating sterile

ear dancing

dancing ear

the dot is black

emotions of the voice


i went to two meetings today

and cleaned two fridges










ice flowers



en sammenhængende

flydende strøm af toner


Silent bamboo

gas silo echo

tonight I feel a lot older

I truly enjoy listening


Dice caleidoscope


royal moments



opera cocoon


endless moments

one after the other

enters into your life

from outside of time

Sebastian Hedevang

Panda Politics




Ching Ching (1972 PINGWU – 1985 London)

Photo: David Stjernholm




Jennie (1937 Sichuan – 1937 SS Andre)

Photo: David Stjernholm




Ling-Ling (1970 Baoxing – 1992 Washington D.C.)

Photo: David Stjernholm




Yen Yen (1972 Sichuan – 2000 Vincennes)

Photo: David Stjernholm




Lan Lan (1969 Baoxing – 1979 TOKYO UENO)

Photo: David Stjernholm




Chi-Chi (1955 Sichuan – 1972 London)





Stefan Plahn

Frederik Worm

Frederik Næblerød

Emelie Carlén

1985, http://www.emeliecarlen.se

Lip sync is an installation consisting of sculpture, sound and video depicting the discussion of emotional labour, whith a focus on the usage of the female voice in narrative technologies and urban soundscapes. the female voice as a normative guidence in daily routes, cinema and contemporary video essay. A monolouge script discusses these problematics.

Ockie Basgül Dogan

David Stjernholm

1986, http://www.davidstjernholm.com/

Ten Ten, 2018


Ten Ten, 2018

Heaven and Earth, 2018

You take a box of instant mashed potatoes and a jar of apple sauce. You open the jar, you twist it, you twist it quite hard. You open it, you empty it out, now if you can’t empty it all out, use a spoon, and then, you add the instant mashed potatoes and then you have Himmel und Erde. Heaven and Earth!
Heaven and Earth is a dish by Anni Albers. It is also the title of Emilia Bergmark’s graduation work from Det Kongelige Danske Kunstakademi, an installation featuring interior elements, sculptures and a monologue by a bitter tea kettle.

All textiles in the installation are generously sponsored by Kvadrat.

‘A bitter tea kettle is a seasonal worker in a life-style cafe at The International Art Space Station that orbits Earth. It is off-season now, so she is back on Earth to have her first exhibition in the art-world. She is an aspiring mixed media artist and her pieces mainly explore motives of edibles, such as vegetables, sandwiches, cheese and ham. However she admits to feeling disappointed with how the show came out. She feels that it is too heavy and a bit stiff, perhaps due to the gravity of the context.’ 1


1.The synopsis for the sound piece ‘Heaven and Earth’, Emilia Bergmark, 2018

‘[Addressing the visitor entering the room]  Welcome! Come in! [Paus] Would you like a cookie? They’re Madeleines.

Me? Oh, I’m part of the tea-set. [Gesturing towards the sofa] Sit down! Have a cookie! I usually serve tea in a life-style cafe at The International-Art-Space-Station that orbits Earth – Yes! – a life-style cafe – in space! – It’s a cultural outreach program launched by NASA – to promote contemporary art in outer space. [Paus] But it’s off-season now, and as worker in space I have to come down to Earth at least once a year to avoid OSTEOPOROSIS – that’s when your bones get brittle – living in weightlessness causes bone loss you see  [jokingly] – so if I’m not careful I may fall to bits, loose my handle, chip my spout. [Addressing the listener] So, while I’m down here I have to build up my bones again – I just came from a Pilates session at the fitness centre. [Paus. Associating, talking to herself more than to the viewer] As a little teapot I was called short and stout… [Self-pitying] I had terrible body complex after that! [Paus, almost crying] I stopped eating sweets! Madeleine cookies used to be my favourites! [Paus] I.. I didn’t touch them for years!

[Snaps back to service persona, cheerful]… Sorry, did you try the cookies? Go on, have a bite!’2

2. Excerpt from the sound piece ‘Heaven and Earth’, Emilia Bergmark, 2018


‘It’s a potato… yes, it’s a sculpture ‘A Kilo of Potatoes’…’3

3. Excerpt from the sound piece ‘Heaven and Earth’, Emilia Bergmark, 2018


‘What are you looking at? [as if looking around] Yeah – that’s ‘Ham and Cheese and Toast’. [Paus- filler] Eh…


Did-did you ever think about ham? That a slice of ham is a picture of a ham, made of ham. And, did you ever think about vegetarian ham? That vegetarian ham is a picture of a ham… not made from ham.’ 4

4. Excerpt from the sound piece ‘Heaven and Earth’, Emilia Bergmark, 2018



I made a sculpture recently, it’s inspired by Constantin Brancusi’s ‘Bird in Space’ – Do you know that piece? It’s a bronze sculpture – abstract – it communicates the notion of flight itself rather than describing the appearance of any particular bird… or something… [To herself] It could be seen as rather phallic, but perhaps that’s just me… Anyways… I made a sculpture inspired by ‘Bird in Space’. But it’s less abstract… more… Figurative! [Matter a fact] It’s a cucumber. When I was working on it in my room at the space-station I would joke about it and call it [jokingly]’Cucumber in Space’ [paus] But it’s just a joke… Down here it’s bad-taste to joke about Brancusi. It’s all quite serious down here in the art-world I’ve noticed. 5

There it is, the cucumber, it’s over there. [Pointing] Look, just over there!

5. Excerpt from the sound piece ‘Heaven and Earth’, Emilia Bergmark, 2018

Voice: Lisa Lind Dunbar
Music arrangement: Simon Brinck
Recording: Hannibal Andersen

Photo credits: David Stjernholm

THANK YOU: Martin Erik Andersen, Moa Alskog, Aurora Bergmark, Sara Bergmark, Karin Bergmark, Birgit Bergmark, Viktor Billund, Inge Friberg, Raffaele Gallina, Maria Gondek, Karen Harsbo, Maria Lepistö, Olof Olsson,
Henrik Reimann, David Stjernholm, Joel Stoorhöök, Franco Turchi and The Royal Danish Academy for Fine Arts.

The project has been generously supported by the Fund for Immaterial Labour of the Royal Danish Art Academy and Carl Friesendahls Minnesfond. All textiles in the installation are sponsored by Kvadrat.

Asta Lulu Refn

Viktor-Emil Dupont Billund

1989, http://viktorbillund.com/

Morten Knudsen

Louis Scherfig

The School of Walls and Space Skolen for Mur og Rum & The School of Sculpture Charlottenborg & Billedhuggerskolen Charlottenborg


Photo: David Stjernholm

CRUDE SPACE (XENOGRAPHY), 2018, refrigerators, light diffuser, paint, PET, color print, styrofoam, lights, cables, text.

Photo: David Stjernholm

Photo: David Stjernholm

Photo: David Stjernholm

Photo: David Stjernholm

Photo: David Stjernholm

Photo: David Stjernholm

Louka Anargyros

1992, The School of Language, Space and Scale Skolen for Sprog, Rum og Skala & The School of Sculpture Charlottenborg & Billedhuggerskolen Charlottenborg loukaanargyros@hotmail.fr

Leatherboys, 2018

painted ceramic

photo by David Stjernholm

photo by David Stjernholm

photo by David Stjernholm

photo by David Stjernholm