Lydia Hauge Sølvberg
1989, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg
Signe Boe
The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg & The School of Graphic Arts & Grafisk skole http://www.signeboe.comIt’s Running
photopolymer print, bronze, sound and video , scorch mark, phone, office chair, cables
Photos by David Stjernholm
Veronica Riget
Vibe Overgaard
The School of Language, Space and Scale Skolen for Sprog, Rum og Skala & Department of Theory and Communication & Skolen for Teori og Formidling
Theodor Walldius
Gabriel Bott
1988, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg
Anne Eckersberg
The School of Language, Space and Scale Skolen for Sprog, Rum og Skala
Nikolaj Phillipsen
Nike Åkerberg
1986, The Painting Department Malerskolen
Oskar Jakobsen
1986, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg http://oskaroskar.comIntelligo, 2017
Data-infused pink oyster mushrooms (Pleurotus djamor), aluminium, stainless steel, electronics, power cables, humidifier, PVC tubing, LED strip lights, ethernet cables, LED display panel, refrigerator, PE food containers
Special thanks to Rine Rodin and Simon Rasmussen.
Intelligo, 2017
Datainfuserede pink østershatte, (Pleurotus djamor), aluminium, rustfrit stål, elektronik, ledninger, luftfugter, PVC slange, LED lys, ethernetkabler, LED diplay, køleskab, PE madbeholdere
Stort tak til Rine Rodin og Simon Rasmussen.
Nicky Sparre-Ulrich
Jens Hüls Funder
1985, The School of Walls and Space Skolen for Mur og Rum http://www.jenshulsfunder.comNina Mølgård Knappe
Simon Rasmussen
1987, The School of Sculpture Charlottenborg Billedhuggerskolen Charlottenborg & The School of Graphic Arts & Grafisk skole http://www.simon-rasmussen.com/
On a brilliant day in may, of the year 1868, a gentleman was reclining at his ease on the great circular divan which at that time occupied the centre of the salon carré, in the museum of the louvre. This commodious ottoman has since been removed, to the extreme regret of all the weak-kneed lovers of the fine arts; but our visitor had taken serene possession of its softest spot, and, with his head thrown back and his legs outstretched, was staring at Murillo’s beautiful moon-borne Madonna in deep enjoyment of his posture. He had removed his hat and flung down beside him a little red guide-book and an opera-glass. The day was warm; he was heated with walking, and he repeatedly, with vague wariness, passed his handkerchief over his forehead. And yet he was evidently not a man to whom fatigue was familiar; long, lean, and muscular, he suggested an intensity of unconscious resistance. His exertions on this particular day, however, had been of an unwonted sort, and he had often performed great physical feats that left him less jaded than his quiet stroll through the Louvre. He had looked out all the pictures to which an asterisk was affixed in this formidable pages of fine print in his Bädeker; his attention had been strained and his eyes dazzled; he had sat down with an æsthetic headache. He had looked, moreover, not only at all the pictures, but at all the copies that were going forward around them in the hands of those innumerable young women in long aprons, on high stools, who devote themselves, in France, to the reproduction of masterpieces; and, if the truth most be told, he had often admired the copy more than the original. His physiognomy would have sufficiently indicated that he was a shrewd and capable person, and in truth he had often sat up all night over a bristling bundle of accounts and heard the cock crow without a yawn. But Raphael and Titian and Rubens were a new kind of arithmetic, and they made him for the first time in his life wonder at his vaguenesses.
Henry James, The American, 1877 (Boston James R. Osgood)
On a brilliant day in may, of the year 1868, a gentleman was reclining at his ease on the great circular divan which at that time occupied the centre of the salon carré, in the museum of the louvre. This commodious ottoman has since been removed, to the extreme regret of all the weak-kneed lovers of the fine arts; but our visitor had taken serene possession of its softest spot, and, with his head thrown back and his legs outstretched, was staring at Murillo’s beautiful moon-borne Madonna in deep enjoyment of his posture. He had removed his hat and flung down beside him a little red guide-book and an opera-glass. The day was warm; he was heated with walking, and he repeatedly, with vague wariness, passed his handkerchief over his forehead. And yet he was evidently not a man to whom fatigue was familiar; long, lean, and muscular, he suggested an intensity of unconscious resistance. His exertions on this particular day, however, had been of an unwonted sort, and he had often performed great physical feats that left him less jaded than his quiet stroll through the Louvre. He had looked out all the pictures to which an asterisk was affixed in this formidable pages of fine print in his Bädeker; his attention had been strained and his eyes dazzled; he had sat down with an æsthetic headache. He had looked, moreover, not only at all the pictures, but at all the copies that were going forward around them in the hands of those innumerable young women in long aprons, on high stools, who devote themselves, in France, to the reproduction of masterpieces; and, if the truth most be told, he had often admired the copy more than the original. His physiognomy would have sufficiently indicated that he was a shrewd and capable person, and in truth he had often sat up all night over a bristling bundle of accounts and heard the cock crow without a yawn. But Raphael and Titian and Rubens were a new kind of arithmetic, and they made him for the first time in his life wonder at his vaguenesses.
Henry James, The American, 1877 (Boston James R. Osgood)
I love painting as the only truth by David Minařík
In the process of creating, I put an emphasis on emotional identification with the supra-individual social and metaphysical complex. This complex is in most of the situations recognized by the personification of paradigm, as the supra-individual “self” *. Such “self” is reversely defined into individual art-historical movements and creative disciplines applied on certain periods of describable tendencies, obvious metaphors and references. We identify ourselves with this phenomena in individual, often parallel solutions of the visual references, both as viewers and creators. We base our aestheticization of the artistic expression on this phenomenon.
In the decisive process, the self-definition of human being and its positions in wider contexts are important to me. Physical and psychological navigation in the context of a given situation, to which an individual is exposed to.
The being in relation to an artwork most often looks for an analogy with oneself (in those cases where this is not possible it becomes the actual motive of the artwork) or with a subjective experience **. General objectivity is in such cases often a guideline and a bit of a dodge of the author’s expression through a collage of his thoughts. Loudly undressed definitions of general experience, disillusioned by plain entertainment. It results in the loss of intimacy of the artwork, the motive’s conformity will not allow a timeless indefinite dimension which is the constructive element to bind the contemporary aesthetic paradigms.
The status of the artwork often becomes an inappropriate popularization of the artful process such as the political-social dimensions of a “happening” ***.
The ability of empathy is, and always will be, for the authors of the artefacts the relevant authority. Through the creative process and the identification with the supra-individual “self”, man can realize an intuitive idea that the meaning of life is hidden outside the human experience.
Inclinationes Naturales – Natural inclinations of the form
The existence of emotion in painting toward the viewer. Here, while “happening”, an emotional bond between the object and the subject of observation occurs. These emotions can be not admitted. They may be transferred towards the impulse of the viewer’s intuition, defining a further development of the narrative or logical thoughts.
Emotions caused by the “happening” between the viewer and the artefact may often be admitted. In such cases, they may be further used as a base to affect directly the viewer’s ego for the use on the field of a pure conscious reaction. For instance, insult, chaos, aligned rebellious movements, self-identification as a member of a subculture, nostalgic intimacy, etc. This is often connected with ideological-social or political content.
Entelechy – the complete realisation of the final form
A perspective, as a defining situation in the painting aiming for self-identification, is determined to be observed by one pair of eyes. A perspective can be expressed in many ways. The perspective of dimension, color, time, inner space, state and character of the object (depravity, novelty, worn-off-ness, collage-ness of connected objects). That way is the perspective destined to be observed only by one subject in the state of “happening”. Such a perspective is mirrored in the viewer’s inner world in opposite values and therefore results in being zeroth, flat. The present of the western world is defined by individualism and from that arising flatness of neoliberal practice, nowadays has already been surpassed. Many contemporary paintings focus for this reason on flat organization of the situation.
Perspective is closely connected to human physicality. In this context, physicality does not only refer to bones, flesh and other soft tissues with blood flowing inside of them, but also pain, narrative processes, history, imagination and both physical and psychical experiences connected with an overview and distance, etc. Physicality and its peripheries are the stable foundation stone of the motive of an art creation.
Theology – Purpose Of Form
Interpretation, explanation, definition and other analysis of the metaphysics of an artwork, are the direct intervention into the integrity of the author’s will. Therefore outer silence, as the element framing the perception, is the most respected commodity linked with painting, sculpture, installation or video etc. It is the principal element of a “happening”, the correct setting, the fine tuning of the introduced situation. That’s why the shouts of colours and the stories of the structures about their creation shall stay unspoken. If the interpretation of an artwork becomes part of the artwork itself, it is often the main motive and also a critique of the interpretation itself.
Institutions vs. intuitive freedom of consciousness.
Formal art world vs. an informal grouping of people with no reason and no location.
Wolheim attack -> What is art? vs. How is art?
There is no exact need for a result.
These and many others are my reasons for painting. Those are my thoughts in process. A small sample of my system of work during the painting process.
* I borrowed this term from a sociological realism and I believe I can extend it by an art historian context.
** It can by understand as simulacrum by J. Baudrillard.
*** According to the theory about artworks of art by G. Deleuze.
Hannibal Andersen
1985, The School of Time-Based Media Skolen for Tidsbaserede Medier & The School of Walls and Space & Skolen for Mur og Rum http://www.hannibalandersen.dk
“[Hannibal] has hired the director of Kunsthal Charlottenborg to perform an opening speech on the opening of the MFA Degree Show. The speech itself is also a result of commissioning and is written by an anonymous “e-lance” worker from the “sharing economy” Internet platform fiverr.com – a place where all kinds of services are bought and sold for as little as $5.”
Malte Starck
Eduardo R. Chain
Kirsten Astrup
1983, The School of Language, Space and Scale Skolen for Sprog, Rum og Skala www.kirstenastrup.com
TROE OG AGTSOM (Faithful and Diligent)
HD Video 24:45 min.
Kirsten Astrup’s video work was created for and in the Central Post Building located opposite the Copenhagen Central Station. Built to serve as the headquarters of the Danish postal service in 1912, it stands as an architectural symbol of the era’s faith in the future, communication and modern civilisation. Today the building is empty; it was recently sold and will soon be transformed into a luxury hotel.
Based on research into the history and architecture of the building, the work comprises a series of tableaux, each associated with a musical score composed by the artist. In the film we are introduced to a range of queer postal workers and their managers: a lesbian couple with something of a crush on postal worker Atlanta Longlegs.
The film touches on themes such as working conditions, gentrification, privilege, gender identity, and the end of the welfare state. In terms of genre it occupies a field somewhere between cabaret, TV drama, a Christmas series and a musical requiem.
TROE OG AGTSOM (Faithful and Diligent) is the old official motto of the Danish postal service that has been used since the days of absolute monarchy.
The cast includes mezzo soprano Nana Bugge Rasmussen and actor Danica Curcic.
Large parts of the text featured in the film were written by Maria Bordorff.
Anne Sofie Fenneberg
Ingrid Høiskar Borgfjord
1986, The School of Language, Space and Scale Skolen for Sprog, Rum og Skala22 autosomer
I
II
III En gang bar jeg to kofferter ned fra et fjell, fyldt med sten, fordi jeg trodde jeg hadde funnet diamanter. Skulle ønske jeg kunne gjort det samme i dag
Autosomer er de kromosomene i en organisme som ikke er (allosomer).
Mennesket har 22 autosomer og ett par kjønnskromosomer. Autosomene koder for de fleste egenskapene i et individ.
Jeg lukker øynene
forestillingen borte
fra kjelleren hører jeg stemmen
si til
min far
Jeg kaldte henne din sønn
mummel og latter fra publikum
trekker dynen over hode for å forsvinne
inn i søvnen
og det uvisse
