painting

• 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. Afga Read more

  Kunstner er en generel betegnelse for en person, der producerer kunst uanset hvilken genre, det drejer sig om... Uddannet som kunstner på Det Kongelige Danske Kunstakademi 24 December 1981 Jurij Vinogrodskij Arturij født i Vilnius Lituaen opvokset i Danmark. Hans kunstnerisk navn er jurvinart. Uddannet som kunstner på Det Kongelige Danske Kunstakademi. Afgang 2010. Arbejder med maleriets udtryksform olie ratning på nuverener tilspunk er NAIVISME. Billedekunst olie maling er primere renskab at framstile kunst men skulprur har også store infliuelse på jurvinart. Han arbejdet meget med svaisning jern. Skabt uteliger tel små skulpture i metal. Til skulpture brugt often glas. Hans studietid arbejdet med skulpturen. Granit bronser tree glas og jern. Uddannelser og kurser 2000 Haderslev Kommunale Ungdomsskole 2002 VUC Kolding 2004-2010 Det Kongelige Danske Kunstakademi 2005-2006 Vilnius Academy of Art See jurvinart`s youtube Channel Minimer

• Abrahamsson, Anette
• Alibadi, Mahmoud
• Andersen, Christoffer Munch
• Andersen, Lise Blomberg
• Andersen, Pia

  oliemaleri - glas - keramik

  oliemaleri - glas - keramik Minimer

• 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

• Anna Liv
• Asbury, Kim
• Atla, Augusta

  AUGUSTA ATLA works visually in all mediums of art. The artwork of Augusta Atla explores emotional life of humanity, our representations and traditions of psychology, our existential conditions, our collective taboos and our strife for Survival, Love, Joy and Hope. She believes that art can aspire to keep a positive spirit for our look upon the future and ar Read more

  AUGUSTA ATLA works visually in all mediums of art. The artwork of Augusta Atla explores emotional life of humanity, our representations and traditions of psychology, our existential conditions, our collective taboos and our strife for Survival, Love, Joy and Hope. She believes that art can aspire to keep a positive spirit for our look upon the future and art may preserve love for Life. Her artwork has naturally taken departure from a necessity to express herself with freedom, to give attention to collective psychological conditions and “to keep joy, love and hope in her body”. Augusta Atla’s artwork grows on a hope to aspire to create intimacy between people, to visually give a language to our rich and complex hearts. The artwork deals with emotions in order to further an awareness of inner life, on both sexes and all sexualities, the inter-relationships of humanity and individual self-introspection. The artwork of Augusta Atla is also developed through an ongoing interest in representation of the ‘female figure’ and sensitivity of the body, both as a cultural idea and research on contemporary gender issues and sexualities, and on issues in art history as combating the normalised idea in painting and sculpture of ‘the female figure’ as an idealised and/or pleasurable object. Because she is a woman artist, she finds it very necessary to comment on the patriarchy in art history. Women and herself are currently her subjects for art, and opposed to previous ideas in art history, she wants the model to be alive rather than being controlled or composed (by the artist). Augusta Atla intends to give life to a new imagery of the female body without rejecting or denying all the layers of trauma and oppression in history. AA does not want to produce another ideal of women, nor does she want to reject gender altogether theoretically, so she is in some kind of limbo where pain of history and heterosexual social awareness is combined with a hope for a freer understanding of the body and a more complex psychological imagery with deeper emotions than that of pop culture, of art history, of religious imagery. Augusta Atla works freely between painting, performance, installation, short film, objects, graphic, collage, photography. Augusta Atla’s fundamental point of view on Art is that it is a free platform of speech - Art promotes the expression of life with freedom and awareness. The performance work is a group of time based artworks where visual mediums are mixed (theatre, poetry, dance, music, painting, collage, film, and visual social and anthropological research) and such works are an impulsive emotional experience for the viewer. The installation work is constituted of artworks that propose a visual emotional language on spatial terms. They are composed as a spatial collage and deal with psychological life of humanity and with issues of decay and survival. The installation work also consists of smaller collage objects, which may also be displayed and understood singularly on sculptural terms. The two-dimensional work gathers artworks on paper, textile, found material and/or canvas. It deals formally with the pictorial history of gender roles; thematically it deals with sexuality and emotional life; and conceptually, with relations to Folk Art, rituals and prayer. The film works are invented and constructed upon a psychological and anthropological research, they include field research in terms of travel, historical visual research and interview and debate with people and/ or professionals. The photographic works are made upon a pictorial research on gender roles, sexuality and presentations of femininity within Western Art History. Augusta Atla publishes her work on www.atla.dk Minimer

• Bach, Malene
• Bagge, Thomas Gunnar
• Baggesen, Lise Haller
• Balslev, Zven
• Bank & Rau
• Becker, Tine
• Bergsøe, Elisabeth
• Bigum, Martin
• Birkholm, Pia
• Bjelke, Maibritt Ulvedal
• Bjerresgaard, Karen

  The exhibition in January 2007 is a total installation with sound, objects, photos and graphic images under the theme Organ Transfer II. Organ Transfer II comments on the transplantation and trade of organs to Europe from different parts of the world. Contribution to the exhibition Indfanget for en tid in Galleri Think Ink in January/February 2008 shows l Read more

  The exhibition in January 2007 is a total installation with sound, objects, photos and graphic images under the theme Organ Transfer II. Organ Transfer II comments on the transplantation and trade of organs to Europe from different parts of the world. Contribution to the exhibition Indfanget for en tid in Galleri Think Ink in January/February 2008 shows linocuts from the series Boy – and Girl wallpaper. Images of events, that for better or worse, are part of the lives of boys and girls from third world countries. Through their upbringing they are being exposed to traditions and rituals that will have an impact for life. The children who are left to their own devices are particularly exposed to gross violations in life. Minimer

• Björk, Jessica Breitholtz
• Bjørn, Rasmus
• Bjørnskov, Linda
• Blöndal, Stefan

  Siden sine tidligste tegninger i 70´erne og de første oliemalerier skabt i 80´erne viser kunstneren en tydelig udvikling frem mod bestemte idealer. Hans skaberværk inddeles i perioder, hver kendetegnet af specielle stiltræk - fra en naturlig figurativ interesse, først for portrættet og nøgen krop, ofte udformet som dæmoniseret, erotiseret kvindeskikkelse, Read more

  Siden sine tidligste tegninger i 70´erne og de første oliemalerier skabt i 80´erne viser kunstneren en tydelig udvikling frem mod bestemte idealer. Hans skaberværk inddeles i perioder, hver kendetegnet af specielle stiltræk - fra en naturlig figurativ interesse, først for portrættet og nøgen krop, ofte udformet som dæmoniseret, erotiseret kvindeskikkelse, gennem fri, intuitiv kunstnerisk udfoldelse til moden fascination af formernes mangfoldighed og farvesammensætningens ubegrænsede ressourcer. Gennem tøjlesløs fantasi, sansernes rigdom og kreativitet formidler Stefan Blöndal den gradvise sammensmeltning af kærlighedens filosofi kontra lystens magnetisme, hvor lys, skygge og bevægelse, integreret i hinanden, skaber hans nonfigurative genre, præget af penselstrøgets bravur, begejstring og arbejdsglæde. - Leo Strauss. Minimer

• Boesen, Trine
• Bolther, Helle
• Bonde, Niels
• Bork, Trine
• Brinch, Jes

  For Jes Brinch art is communication. The media is the messenger, not the message. The concept generates the form of artwork. Any media is used uninhibited, both brand new as well as traditional media, and often in atypical combinations. Jes Brinch’s production includes installation art, object, light, sound, music, text, pure conceptual work, painting, scul Read more

  For Jes Brinch art is communication. The media is the messenger, not the message. The concept generates the form of artwork. Any media is used uninhibited, both brand new as well as traditional media, and often in atypical combinations. Jes Brinch’s production includes installation art, object, light, sound, music, text, pure conceptual work, painting, sculpture, graphic print, t-shirts, posters, anything without limitation. Art is made for the spectator, and Jes Brinch’s makes art that is both understandable and entertaining while giving food for thought and intellectual reflection. The art projects are produced from an existential point of view, and take a stand. Art is used as a critical tool to debate and question the values for life that is often taken for granted. Jes Brinch never worked in a linear style, but has made an effort to renew his means of expression. Minimer

• Brix-Thomsen, Pia

  Billedkunstner maleri tegning abstract landscapes

  Billedkunstner maleri tegning abstract landscapes Minimer

• Brøgger, Søren
• Buchardt , Lars
• Burchardi, Sofia
• Bülow, Anders

  My primary mode of artistic expression is painting. From this starting point I also work with sculpture, installation and animation, all of which are created as a direct transformation of the paintings. The works often revolve around the same basic idea. In the creation of the works I limit myself to using only few and minimal measures, which provides f Read more

  My primary mode of artistic expression is painting. From this starting point I also work with sculpture, installation and animation, all of which are created as a direct transformation of the paintings. The works often revolve around the same basic idea. In the creation of the works I limit myself to using only few and minimal measures, which provides freedom. The differences exist in nuances and the type of media of the works. The expression in my works is very tightly executed and strives for perfection. The works imitate digital or industrial construction. The surfaces are smooth with no traces of brushstrokes. An effort to move beyond human limitations arises in the works and the execution of the works is questioned. This happens in spite of the fact that the works are created manually. In the works I often repeat a geometric shape creating a pattern through repetition. With these means I explore the complexity of creating stylized coincidences. The patterns create either expanding grids or frozen movements. Using few means I explore the relationship between surface, weight and perspective. The same tension is found in the temporal aspect, as the execution of the works is a very slow process. The works may have been created much faster using digital and industrial methods. In my works I borrow from digital media, science fiction, architecture and pop culture. From these I adopt aesthetics and techniques and integrate them directly in the works. Collectively, these fragments constitute a universe in which I explore the boundaries between the different elements. The works strive for a cool though complex beauty. They seek a stringent harmony - and seek to oppose it at the same time. For example, I attempt a choice of colour that breaks with an immediate harmonious expression. The works seek to fill the surface/space and at the same time to dissolve or diffuse it. With their smooth surfaces they exude a distance, but with their frequently airy patterning they also exude depth. With these works I seek to meet the viewer in a both visual and bodily experience. Here the volume of the works plays a role. The works encourage wonder in the viewer due to their often indefinable material and multi-medial character. I do this in order to avoid associations to specific references and thereby allowing for several interpretations. Minimer

• Baagøe, Per
• Calmer, Ruben

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

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

• Campau, Ruth
• Carstensen, Claus
• Charlotte Petersen
• Christensen, Claus Top
• Christensen, Lisbeth Eugenie
• Christensen, Sara

  I work with a variety of media, depending on the specific demands or requirements of each project. Works often derive from experiences in everyday life. The physical materials I work with are chosen because they are interesting in terms of their potential for expansion and mutability. I attempt to ques- tion the universal and existential through the fami Read more

  I work with a variety of media, depending on the specific demands or requirements of each project. Works often derive from experiences in everyday life. The physical materials I work with are chosen because they are interesting in terms of their potential for expansion and mutability. I attempt to ques- tion the universal and existential through the familiar, without looking for concrete answers and solutions. I feel generally challenged by composition; mostly due to the fact that the act of choosing something results in other options not being realized. I find the space between objects, both abstract and physical, intriguing, and it informs my work with its different combinations of materials, meaning and form. Most of my works have a humoristic angle, sometimes involving puns or wordplays, but with slightly uncomfortable undertones. Minimer

• Christensen, Vivi

  "dont think just paint" Agnes Martin

  "dont think just paint" Agnes Martin Minimer

• Christiansen, Peter Rune
• Curbelo, Odey

  Painting has always been a manner of investigation to me. When I’m painting, the process in itself, the alchemy of the paintings, is at the centre of the investigation. The story of a painting is a double one, it’s both performance and representation: The construction of a painting is a narrative in itself, of how the paint is put on the canvas. After that, there is the narrative of the image.

  Painting has always been a manner of investigation to me. When I’m painting, the process in itself, the alchemy of the paintings, is at the centre of the investigation. The story of a painting is a double one, it’s both performance and representation: The construction of a painting is a narrative in itself, of how the paint is put on the canvas. After that, there is the narrative of the image. Minimer

• 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 unders Read more

  Søren Dahlgaard studied at the Slade School of Fine Arts in London and graduated in 2002. His teachers were Professors Phyllida Barlow, Stuart Brisley, Bruce McLean. History of art and theory professor Norman Bryson and lecture Andrew Renton. In the work of Søren Dahlgaard, method is challenged though narrative. He incorporates a type of understated slapstick in his work. This is mostly apparent in his performances and staged photography series. Visually he draws from the aesthetics of minimalism. Recently he has exhibited at P.S.1 Contemporary Arts Center MoMA New York, Ileana Tounta Contemporary Arts Center, Athens, International Prize for Performance, Galleria Civica Museum of contemporary art, Trento, Italy and Statens Museum for Kunst - the National Gallery, Copenhagen. He lives in Copenhagen (DK) www.sorendahlgaard.com Minimer

• Damgaard, Bodil
• Danø, Rasmus

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

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

• Davidsen, Cathrine Raben
• Degett, Karen
• Dinesen, Christian Elovara
• Donsø, Stephanie
• Dröscher, Benny
• Ebbesen, Torben
• 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 bygningskompl Read more

  Elle-Mie Ejdrup Hansen arbejder i flere forskellige medier som tegning, det klassiske oliemaleri og ikke mindst i store site-specifikke arbejder, der kredser omkring rum, teknologi og mennesker. Udgangspunktet for de store arbejder er en særlig topografi. Det kan være strandstrækningen fra Skagen til Sild, en stubmark i Vestjylland, eller et bygningskompleks som Gellerup Parken i Brabrand eller en kirke. Fælles for de store værker er anvendelsen af ny teknologi, som kan være forskellige former for lys, video, eller helt ny software, udviklet særligt til værket. I de store arbejder involveres ofte komponister og musikere, men også andre discipliner, som programmører, interaktions designere og teknikkere. Et særligt kendetegn for de store værker er, at de er skabt i tæt samarbejde med og involverer en række forskellige mennesker. Minimer

• 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 proc Read more

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

• Ekeroth, Hilda
• Elmer, -
• Emenius, Andreas
• Enevoldsen, Bjørn Pierri

  landskab konceptuelt maleri bjerglandskab kuglepens tegning

  landskab konceptuelt maleri bjerglandskab kuglepens tegning Minimer

• Enström, Alba

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

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

• Fajardo, Eric R.
• 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
• Fomsgaard, Jes
• Fonnesbech, Pia

  Tekst af Trine Ross: Pia Fonnesbech trækker sine malerier rundt om brede blændrammer, en teknik man kender fra en del samtidskunst, men hun bruger blændrammen anderledes end andre kunstnere, for det er som om hun betrækker den, ligesom man betrækker et polstret møbel. Og det er præcis den slags møbler Fonnesbech maler: stole med betræk og smukt svungne Read more

  Tekst af Trine Ross: Pia Fonnesbech trækker sine malerier rundt om brede blændrammer, en teknik man kender fra en del samtidskunst, men hun bruger blændrammen anderledes end andre kunstnere, for det er som om hun betrækker den, ligesom man betrækker et polstret møbel. Og det er præcis den slags møbler Fonnesbech maler: stole med betræk og smukt svungne ben, kommoder i bombeform og med mange kærlige hilsener til Danmarks første store møbelmager, Mathias Ortmann. Her er ikke meget, der gemmes af vejen, og møblerne får selskab af løsrevne lysekroner i en overdådighed, der ville være Christiansborgs besøgsgemakker værdig. Det kunne så tyde på ren royal røgelse, men det er det altså ikke alligevel. For pludselig ser man, at betrækkets diskrete striber udgøres af række på række af hvidmalede fluer, der giver billede dybde på mere end én måde. Rent billedteknisk opstår der en visuel illusion af tredimensionalitet på det jo ellers ganske flade lærred, men mere vigtigt er det, at fluerne får en til at tænke på forgængelighed, på alt det, som fine møbler og kostbare antikviteter ellers er hyret til at dække over: At vi skal dø, at alting er i fortsat forfald omkring - og inden i os. Minimer

• Fonseca, Deolinda
• Forslund, Leonard
• Foss, Johanne

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

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

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

  Værksted på samme adresse i sidebygningen.

  Værksted på samme adresse i sidebygningen. Minimer

• G., Hanne
• Geertsen, Ib
• Grahn, Lennard

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

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

• Grenaae, Lars
• Guttormsen, Signe
• Hansen, Mikael
• Hansen, Ole C.
• Hansen, Thorgej Steen
• Hartmann, Malene
• 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 tableauer, Read more

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

• Havsteen-Mikkelsen, Asmund
• Heiberg, Anne Skamstrup
• Heiberg, Lars
• Hoeck, Honza
• Holck, Peter
• Holm, Peter
• Holm, René

  www.reneholm.dk

  www.reneholm.dk Minimer

• Holm, Uffe
• Holstebro, Jimi

  Storbyers larm, den overdøvende stilhed og historierne der fortælles i mellemrummene. En fortolkning af hverdagens mundanitet fortolket i streger. Jimi Holstebro inviterer til et smugkig ind i en verden hvor tiden stilles i bero. Der inhaleres stilstand og der iværksættes en søgen efter det skønne i hverdagens trivialiteter. Med inspiration i det gr Read more

  Storbyers larm, den overdøvende stilhed og historierne der fortælles i mellemrummene. En fortolkning af hverdagens mundanitet fortolket i streger. Jimi Holstebro inviterer til et smugkig ind i en verden hvor tiden stilles i bero. Der inhaleres stilstand og der iværksættes en søgen efter det skønne i hverdagens trivialiteter. Med inspiration i det grafiske og en fascination fra tegneserier tegner og farver billedkunstneren, uddannet fra Det Jyske Kunstakademi, værker der leger med den gammelkendte fortælling om kunstnerens fordybelse i og ophøjelse af den fantastiske dagligdags monotone genkendelighed. frederiksbjerg.net Minimer

• Hultenberg, Kristofer
• Hüttel, Søren
• Inoue, Silas
• 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 chang Read more

  ARTIST STATEMENT 1) I do not see my paintings differing in style but I understand if you do 2) I think it is a cliché to view artist such as Jackson Pollock as clichés 3) I live half of my life in passive astonishment 4) I live a quarter of my life in frantic indifference 5) I live a quarter of my life in silent rage 6) I believe a painting can change the world 7) I don’t think Denmark is a very healthy place to be 8) I sometimes consider to make myself a tinfoil hat 9) I don’t believe everything can be conceptualized or contextualized 10) I am serious about my paintings 11) Irony is good in humor sometimes, mostly it is not good in art 12) I don’t really understand Duchamp but I like his work 13) I prefer a visible boss to hegemony any day 14) I believe that images are worth repeating 15) I left university and applied for Fine Arts Academy because of the novel “Beloved” 16) I don't think a painting is justified by referring to another painting 17) America terrifies me but I miss it every day 18) I believe Nike’s slogan to be today’s most relevant philosophy 19) I think it is a shame Esperanto didn’t catch on 20) I miss cassette tapes 21) I miss the desert 22) Almost daily people tell me that “I shouldn’t worry so much” 23) Almost daily I think that people ought to worry more 24) I agree with both Peter Weibel and Clement Greenberg 25) I have a mirror in each room which makes me very uncomfortable and self-conscious but Karen Blixen recommends it as a way to stay present 26) I wish I was more like Jim Morrison and sometimes I am 27) I sometimes think about Lenny Bruce 28) I think about Huckleberry Finn almost daily 29) I believe that A Chacun son Paradis 30) I (too) often say to myself: “oh Toto we’re a long way from Kansas” 31) I think analysis can be paralysis and often is 32) J'veux pas finir comme Kurt Cobain 33) I tend to trust women who wear cowboy boots 34) I am not afraid of the dark 35) I am afraid of people in pastels 36) Johnny Cash was mine exactly two decades before he was yours 37) I still have Kris Kristofferson to myself but it is not quite the same 38) I wish someone would just fix things but I always roll up my sleeves 39) I believe painting is an idiotic discipline 40) I believe painting is the most important discipline 41) I believe the sound is there even if there is no one around to hear it 42) I believe in Kenneth Noland 43) My favorite word is "Godspeed" 44) Patti Smith told me that anything is possible and I believe her Minimer

• Isaksen, Else Ploug
• Jelstrup, Dorte

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

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

• Jensen, Jan

  Billedkunstner, forfatter og foredragsholder

  Billedkunstner, forfatter og foredragsholder Minimer

• Jensen, JChristian
• 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. Jeg Read more

  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

• 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 meaning of Read more

  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, Bertil Skov
• 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, Morten Ernlund
• Kalbak, Annelise

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

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

• Kallan, Canuto

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

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

• 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 and ins Read more

  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 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’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 lies a wish for change and a will to take charge of her own destiny – and identity. In ’All My Suicides - Part Two’ Kalsmose 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 museums and juried exhibitions. 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

• Kaster, Karin
• Kilde, Kim

  Works with conceptual science fiction with a focus on subjectivity and time.

  Works with conceptual science fiction with a focus on subjectivity and time. Minimer

• Kjærgaard, Helle
• Kleivan, Nina Maria
• Knudsen, Vibeke
• Kofod, Zoe
• Kollandsrud, Siri
• Kristiansen, Jesper
• Kristoffersen, Sian

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

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

• 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 based i Read more

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

• Kvetny, Ida
• Kærn, Simone Aaberg

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

  Simone Aaberg Kærn, in the early 1990s, began working with projects relating to surveillance and control. This, however, soon turned into a fascination for the unreachable and impossible task of floating: flying in the space. Through animated flying videos, such as Air (1994), wanna fly (1995), and Royal Greenland (196), Simone Aaberg Kærn investigated and soon found a symbolic free space in the air. At first, it was animated spaces, in which she flew across the skies of Copenhagen, New York and Greenland seeking the limits of gravity and individual unassisted human flight. Soon after Simone Aaberg Kærn achieved her own flight certificate in order to produce the work, Sisters in the Sky. This was demanded by Anne Noggle, one of the female pilots, who also was portrayed in the work Sisters in the Sky (1997). Simone Aaberg Kærn’s painted portraits of female fighter pilots from Second World War was shown at and acquired by Louisiana Museum of Modern Art, Humlebæk. Sisters in the Sky is an impressive aesthetic and intellectual peephole of how women at that time could realize their dream of flying in a time of hardship. In the painting and sound installation, Simone Aaberg Kærn narrated their stories with a poetic, political and feministic gesture and introduced the notion of aero feminism – an aero feministic sisterhood across cultures and generations. One of Simone Aaberg Kærn’s most spectacular projects started in 2002. One day the artist read an article in a Danish newspaper about the girl Farial from Kabul in Afghanistan. Farial’s greatest wish was to become a fighter pilot. Simone Aaberg Kærn had no doubts; she had to attempt to reach her and show her how to fly. In Micro-Global Performance (2002-03) Aaberg Kærn took off in her fragile Piper Colt flight from Little Skensved, Denmark, to Kabul, Afghanistan. Micro-Global Performance is produced in collaboration with Magnus Bejmar. They flew across borders; crossing the enormous mountain range Hindukush (the Hindu Killer) to Kabul with the risk of the American Air Force would attack them. In the film Smiling in a War Zone (2005) Simone Aaberg Kærn crosses war zones and defies the military power in order to make contact to the girl Farial. She risked her own life so she could give Farial a journey in the air. In the film Farial flies the plane over Kabul. From a global perspective, the sky and the airspace are a place of battles – over power, prestige and politics. At the same time, the sky is a place of refuge for individuals, a place onto which you may project your own wishes and dreams. by Lars Grambye, Jacob Fabricius & Lotte Juul Petersen from the exhibition catalogue Simone Aaberg Kærn: Open Sky, Malmö Konsthall (Sweden) 2006 Used with permission of the authors and Galerie Asbæk © The authors Minimer

• Käszner, Smike
• Landgreen, Malene

  www.malenelandgreen.dk

  www.malenelandgreen.dk Minimer

• Larris, Mikkel
• Larsen, Anders Reventlov
• Larsen, Anders W.Ø.
• Larsen, Peter Kruse

  Bekendelse Efter i snart mange år at have arbejdet med at finde sammenhæng i de tanker og billeder, associationer og navne som opstod undervejs i – eller efter mit arbejde med objekter, stof og billede begyndte et mere perifært billede at tegne sig. Ord og tanker opstod spontant uden bevidste relationer Dette viste mig at jeg ved efterprøvelse og undersø Read more

  Bekendelse Efter i snart mange år at have arbejdet med at finde sammenhæng i de tanker og billeder, associationer og navne som opstod undervejs i – eller efter mit arbejde med objekter, stof og billede begyndte et mere perifært billede at tegne sig. Ord og tanker opstod spontant uden bevidste relationer Dette viste mig at jeg ved efterprøvelse og undersøgelse af umiddelbart usammenhængende ideer og tanker med den ydre verden at JEG ikke var den eneste der kendte MINE EGNE TANKER! Denne erkendelse var selvfølgelig en chokerende opdagelse for en dybest set ateist som jeg. At det skulle kunne være særlige ”kræfter” der automatisk knyttede enderne sammen var udelukket fordi de navne og steder der indfandt sig ofte samtidig med deres relation til mine egne idékonstellationer var knyttet til enten steder og navne jeg ikke kendte før eller situationer som var tidsbegrænsede- dvs. den øjeblikkelige tid som en realitet. Dette kuldkaster selvfølgelig enhver psykologi-snak om en verden der gennem sanserne perciperede er begrænset til hjernens domæne. Det bekræfter samtidig som vist kun de mest stagnerede fysikere og videnskabsmænd vil nægte, at det atomare verdensbillede i bund og grund er det mekaniske og at den og kvantemekanikken kun står på en tærskel til en anden verden. Efterhånden som denne odyssé blev mere og mere spændende og førte til steder og navne, der var relaterede til mit arbejde og som ofte som en rebus knyttede endnu et element til, skærpedes min opmærksomhed mod disse “indfald”. En dag stod ”Adelgade” klart i min bevidsthed. En eftermiddag tog jeg derind og kikkede mig omkring. En børnehave på den ene side – og så et lille forlag som hed Vandrer mod lyset på den anden. Det var vist ikke noget for mig tænkte jeg. Man da denne titel faldt mig ind ved forskellige ideer til arbejder der ligeledes faldt mig ind undrede jeg mig noget. Så en dag vendte jeg mig om på et bibliotek og kikkede lige ind på denne titel. Bogen lå flere uger i reolen inden jeg fik åbnet den. Et religiøst – filosofisk værk om verden menneske og Gud, om jordens skabelse, kampene mellem godt og ondt om krigen om historien om Kristus og hans liv og opgave. Om alle de religiøse vildfarelse og viljen og tankens magt. Bogen er medierede af en gruppe psykiske forskere engang mellem 1913 og 1920 deriblandt udgiverens hustru som det centrale medie. Der udgaves desuden” Hilsen til Danmark” et værk af 13 digtere fra guldaldertiden (altså efter deres død!) som et bevis på at bevidstheden overlever døden. Disse digtes lødighed er uomtvistelig og jeg har sidenhen deltaget i forelæsninger hvor paralleller bliver trukket mellem digterne liv og omtalt begivenheder eller referencer i digtene.” Spørgsmål og svar 1og2” er en samling spørgsmål rettede til mediet Johanne Agerskov af nogle relaterede personer i de år der fulgte til hendes død. I hovedværket som omhandler alt fra hjernens opbygning, om universets begyndelse til historiske begivenheder(selvfølgelig specielt omkring de store religionsstiftere og Kristus – om tidligere riger på jorden(!- ja rigtig gættede – Platons Atlantis er ikke en fabel) Om atomare og molekylære sammenhænge med den uendelig finere partikkelverden som universet består af og så selvfølgelig om denne kærlighedens lov som styrer alt og som vi kun ved at mærke vore egne ondskabsfuldheder når til fuld erkendelse af; At vi af dem vi forbryder os mod, af dem må vi søge at få tilgivelse. (Kristus soner således ikke vore synder, det må vi selv!) Det er hverken af naivitet eller blind religiøs og traditionel tro at jeg ikke et øjeblik vil blive og aldrig bliver i tvivl om at alt hvad der stå i denne bog er sandt- men alene ud fra den klare logik der er bevidsthedens logik der bragte den frem (for hvad er VISHED ellers hvis den ikke har en realitet der knytter et øjeblik sammen med den ved efterprøvelse knyttet- sansernes erfaring – til tankernes forestillinger) og så den kendsgerning at der ikke findes én eneste selvmodsigelse i den. Det påstår hverken jomfrufødsler eller genopstandelse i kødet – men det faktum at der er en oversanselig verden hvortil vores fysiske verden er knyttet og at det er til dén vores evige liv er forbeholdt. Det skal ikke nægtes, at enkelte oplysninger har været svære for mig at accepterer men jeg har med de evner og kompetencer indenfor de forskellige områder af palæontologi, historie, videnskabshistorie, fysik, filosofi og psykologi altid ved eftertanke fundet en logisk sammenhæng i hvad der står i denne bog. Etikken i bogen (som jo alle er kompetente i!) er lysende klar: Du må ikke slå ihjel! Du skal ville det gode Er der så ikke mere at opdage? Jo Alt, men jeg gider ikke spilde min tid på den i lang tids herskende evindelige filosoferende over vores begrænsninger som en klog abe. Den er i forvejen så fuld af selvmodsigelser at man nok før eller siden vil anerkende at det levende ikke kan opstå i atomare kugler der flyver rundt i det tomme rum! Så hvad venter vi på? Vi er ikke alene Vi er vejledt til ikke at handle mod vores inderste samvittighed Alt dette skete i årene efter årtusindskiftet. Siden har jeg gennem mine arbejder fremstillet arbejder der ligger på grænseområderne mellem bevidsthed og stof. For det er jo her en egentlig erkendelse og præsentation af en virkelighed, der både er tilstede som et fysisk objekt og samtidig er én ånds udtryk som er transcendent. Der er for mig at se ikke et problem i Kantsk forstand ved at bevidsthed og stof ikke danner en kontinuitet som derfor altid i en hvis forstand skal repræsenteres. . Den egentlige oplevelse og – hvis man bruger et ældre udtryk-henrykkelse, som kunst er i stand til at give beror på værkets evne til gennem forhold i tid rum følelse tanke erindring og nærvær at manifesterer denne transcendente verden. Fotsættes Several interesting issues rises due to fact that nature itself accommodate order The way things was intended to be and slowly attains- Is this order i.e. is the forces in power of the structure the feature of it- in such a condition so that our perceptual and conceptual capabilities enable us to comprehend it It seems that way while we have the mathematics. But then: Now that these things are real then somehow the entire math is real. That means that the 5. The….10.dimensions are realitys (Kaluza Klein Theory) Men det betyder samtidig at enhver genstand virker på andre måder end ved det direkte sanselige; Vi omgiver os med genstande hvis virkning på os vi i bedste fald har en vag fornemmelse af. Spørgsmålet er om vi netop gennem dem dels kan vriste os fri af den banale vanemæssige fortolkning og oplevelse af dem og samtidig se eller opfatte dem i en anden og ny sammenhæng og således få en mere grundlæggende forståelse af betydning. Her betydning taget i en kvalitativ forstand. Hvad der er godt og hvad der er dårligt. Et sådant bud har der gennem historien været flere af Det mest dybsindige hvad angår miljø og fremtidsudsigter for den vestlige verden kom fra Vicktor Schauberger. Hans indsigt i det biologiske kredsløb med vandet som den helt centrale element. En nærmere redegørelse for mine arbejders forhold til det værende og erkendelse følger og indrager Bla Jasques Benviniste(homeøpati), Wilhelm Reich(“Orgone”), Johan Grander(Revitaliseret vand) , Comuterteknologi (digitaliseret og digitalt transmiteret medicin) Minimer

• Larsen, Steen

  BY THE WAY Steen Larsen skriver selv om sine nye malerier: Titlen på min udstilling stammer fra Norge. Lidt uden for Kristiansand, en tidlig morgen dukker dette drive-in motel ud af vinterdisen. Som i et flashback med malerier af Edward Hopper og utallige roadmovies printer dette sted sig i min hukommelse, og bliver dermed arbejdstitlen til denne udstilling Read more

  BY THE WAY Steen Larsen skriver selv om sine nye malerier: Titlen på min udstilling stammer fra Norge. Lidt uden for Kristiansand, en tidlig morgen dukker dette drive-in motel ud af vinterdisen. Som i et flashback med malerier af Edward Hopper og utallige roadmovies printer dette sted sig i min hukommelse, og bliver dermed arbejdstitlen til denne udstilling. Jeg har genset Win Wenders storfilm fra firserne, og lyttet til Ry Cooders fantastiske musik til samme film ”Paris Texas.” Filmen handler om personen Travis, som er stået ”af” og man møder ham i Texas golde ørken, hvor han vandrer hvileløst omkring. Handlingen tager form ved, at broderen finder ham, og sammen tager de på et road trip tilbage til civilisationen og herved bliver Travis historie langsomt optrævlet. Dette univers, hvor historier opstår samtidig med, at kameraet panorerer rundt i landskabet interesserer mig. Derfor bliver mine malerier til en slags road - maleri. På denne udstilling BY THE WAY, har jeg været optaget af det, jeg vil kalde de fjerne veje. For mig starter de ved lyskrydset i Viby. Der, forenden af min baghave, åbner E45 sig ud til Europa. Roadmovien kan tage form, og oplevelserne venter forude. Motorvejenes serielle strukturer og asfaltens kilometervis af evighed tiltaler mig. Denne situation, at man de næste 2000 km bare skal sidde der, og lade sig lulle med af motorvejens rytme bliver til en form for zen tilstand......hvor sindet bliver renset, og der er trykket på pauseknappen......Det interessante for landskabsmaleren er så, at iagttage hvordan motorvejens ramme stort set er den samme herfra og til Sicilien. Autoværnet, skiltningen og afmærkningen på asfalten ændre sig ikke drastisk. Det gør derimod landskabet omkring en........Nordtysklands trivielle lige strækninger, Kassel bakkerne, rastepladserne, tankstationerne, München området hvor Brennerpasset giver adgang til alperne, til alle tunnelerne og forude venter syden med dens støvede vegetation og det azurblå middelhav man aldrig bliver træt af..... Så en lettere omskrivning af Dan Turell ville lyde: Man skulle have været lastbilchauffør......by the way.... 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 put my Read more

  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
• Lindhardt, Simon
• Lolk, Marie Søndergaard
• Lunau, Thomas
• Lyrstrand, Lisbeth Nielsen
• Madsen, Karen Gabel
• Madsen, Mikael
• 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

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

  Jeg maler abstraktioner over landskab, univers, kosmos .

  Jeg maler abstraktioner over landskab, univers, kosmos . Minimer

• Meibom, BC

  Grafiker/Tegner/maler; Skulptur/landart / kunst i det offentlige rum;

  Grafiker/Tegner/maler; Skulptur/landart / kunst i det offentlige rum; Minimer

• Mikkelsen, Yetty Sutjihati

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

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

• Moa, Solveig
• Modha, Parul
• Munnecke Christensen, Anne
• Munnecke, Iben
• Mygind, Rasmus Høj
• Mølgaard, Per
• Møller, Jo
• Møller, Karsten Bertil
• Møller Schiødt, Pelle

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

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

• Møller, Sofie Bird
• Mørkeberg, Mie
• Naomi, Dorte
• Nielsen, Bodil
• Nielsen, Leif

  Autodidakt kunstner. Studieophold i: Italien, Frankrig, Slovenien, USA, Spanien og Tyskland. Som kunstner udforskes og udfordrer jeg flere forskellige udtryksformer fra digte til skulpturer, malerier, grafik, glas og keramik. Altid har jeg gået mine egne veje for at finde en udtryksform oftest med en indbygget underfundighed. Min basen er naturligvis min Read more

  Autodidakt kunstner. Studieophold i: Italien, Frankrig, Slovenien, USA, Spanien og Tyskland. Som kunstner udforskes og udfordrer jeg flere forskellige udtryksformer fra digte til skulpturer, malerier, grafik, glas og keramik. Altid har jeg gået mine egne veje for at finde en udtryksform oftest med en indbygget underfundighed. Min basen er naturligvis min bopæl, her har jeg også etableret: Galleri GAL Leifs’ Art Galleri.Her er ofte skiftende temaudstillinger, hvor forskellige kunstnere deltager. Fugle er mit skulpturelle foretrukne motiv. De skabes ofte af forskelligt genbrugsmaterialer, som på denne måde opnår en form for reinkarnation. I maleriet forfølges tanken, ideen, emnet gennem farvevalg og titel. Mine unikke keramiske skåle med huller er skabt til opbevaring af livets mening eller indhold - måske? Grafikkens sorte og hvide kontraster fremhæver enkeltheden i motivet.Jeg har medvirket på udstillinger i: Sverige, Norge, Frankrig, Italien, Belgien, Bulgarien, Makedonien, England, Rumænien, Ægypten, Japan, USA, Canada, Jugoslavien, Slovenien, Tyskland, Polen, Spanien, Baltikum og Sovjetunionen. Hen ad vejen er det blevet til over 175 udstillinger uden for Danmark. Flere gange har mine forskellige arbejder opnået priser i bronze, sølv og guld. Minimer

• Nielsen, Mogens Otto
• Nielsen, Shaun James

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

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

• Niemann, Mikkel

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

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

• Nord, Julie

  Hybrid Pictures - on Julie Nord’s drawings Eyes stare unmovingly out into space. Not fixing us, the picture’s viewers, but directing their slightly off-centre gaze towards something else. Almost catatonically blank, the doll’s-eye sidelong gaze which stares out of the picture is a recurrent motif in Julie Nord’s work. In Illustration for a Lost Tale (p.15) Read more

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

• Norre, Michael
• Norsker, Fie

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

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

• Nymann, Helene
• Nørgård, Camilla
• Nørholm, Lise
• Nørring, Jonas Engbirk

  Operating 77m3 RumForKunst Art of Kailas

  Operating 77m3 RumForKunst Art of Kailas Minimer

• Odell, Anna

  Mine malerier tager lang tid at lave, og jeg maler i olie, lag på lag. Jeg fundet ud af at realisme egentlig ikke interesserer mig så meget. Mit maleri forholder sig til traditionerne indenfor minimalistiskt maleri og til en vis grad til abstrakt ekspressionisme. Robert Ryman, Patrick Heron, Rothko, Agnes Martin, Gustons abstrakte malerier fra 50´erne, Pollock Read more

  Mine malerier tager lang tid at lave, og jeg maler i olie, lag på lag. Jeg fundet ud af at realisme egentlig ikke interesserer mig så meget. Mit maleri forholder sig til traditionerne indenfor minimalistiskt maleri og til en vis grad til abstrakt ekspressionisme. Robert Ryman, Patrick Heron, Rothko, Agnes Martin, Gustons abstrakte malerier fra 50´erne, Pollock og Jasper Johns abstrakte grå monochromer ("Numbers" ). Min inspiration kommer for det meste fra små hverdagsting. Men det passer mig at male i rigtigt store formater. At få det intime vist på en måde, som bliver til noget mere end bare en personlig, lille og spontan betragtning. Det fysiske/kropslige forhold er vigtigt i mit maleri. Det er vigtigt at værkerne er så store at beskueren næsten fornemmer, at man kan træde ind i selve værket. Det fysiske består også af farvens virking, tynd, tyk, transparent osv. Også selve processen (at lave et stort maleri ) er meget kropslig og krævende. Jeg er interesseret i tid, rum og eteriske verdener. Det føles næsten lidt tabuagtigt, men det er meget spændende. Form og ikke-form. Er interesseret i baggrund og forgrund, hvordan de forholder sig til hinanden; kan godt lide når de skifter plads uden at man bemærker det med det samme. Vægtløst tilstand optager mig meget. Vil ikke arbejde med gravitation, men vil at alt skal svæve i et åbent rum. Mønstre er også meget vigtige for mig. De giver noget at holde fast i, når jeg arbejder uden noget specifikt objekt. Jeg giver mig selv nogle regler, som jeg skal forholde mig til. Nu skal fx samme mønster være over hele lærredet. Hvordan maleriet derefter udvikler sig, ved jeg aldrig helt. 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 show Read more

  Mie Olise is a Danish New York based artist. She graduated her MFA from Central St. Martins in London in 2007. MO is working with narratives about abandoned constructions and settlements in painting, architectural constructions and media, to tell stories that are psychological, melancholic, often about fading memory. Mie Olise opened her solo show at SNYK Skive Museum of Art:"The Exquisite capabilities of The Flying Carpet" sept 2009, with work created at the Skowhegan Artist Residency in Maine, US Currently Olise is doing an Artist Residency at ISCP International Studio and Curatorial Programme in New York. Olise also holds a MA in Architecture. Minimer

• Olivares, Miguel Vega
• Olsen, Martin Richard
• Otte, Allan

  *Allan Otte* is among the primary exponents of the new figurative painting on the young Scandinavian art scene. With cool lack of nostalgia Allan Otte depicts the province as a landscape organized by rows of windmills, silos and stacked pallets. The choice of subject matter and untraditional methods of painting lead to subtle holes poked in the naturalist illusion. Allan Otte is nominated for the Carnegie Art Award 2008.

  *Allan Otte* is among the primary exponents of the new figurative painting on the young Scandinavian art scene. With cool lack of nostalgia Allan Otte depicts the province as a landscape organized by rows of windmills, silos and stacked pallets. The choice of subject matter and untraditional methods of painting lead to subtle holes poked in the naturalist illusion. Allan Otte is nominated for the Carnegie Art Award 2008. Minimer

• Overgaard, Anne Skole
• Ozmec, Karen

  Emne: mennesket som genteknologisk eksperimentarium. Medie: Maleri, foto, print på lærred og akrylplader

  Emne: mennesket som genteknologisk eksperimentarium. Medie: Maleri, foto, print på lærred og akrylplader Minimer

• Parisius, Lisbeth
• Pedersen, Anne-Marie
• Pedersen, Jonna

  Visual artist, based in Copenhagen. Working internationally, with city landscapes of New York, London, Berlin and Copenhagen and modern still life. Pedersen is eager to investigate things and places that have soul, and which may be blind spots in many people's minds. She is inspired by time gaps in the city, and then traces of people in the big city. It Read more

  Visual artist, based in Copenhagen. Working internationally, with city landscapes of New York, London, Berlin and Copenhagen and modern still life. Pedersen is eager to investigate things and places that have soul, and which may be blind spots in many people's minds. She is inspired by time gaps in the city, and then traces of people in the big city. It is especially the "city skin" that she captures and interprets. She also possesses a great fascination for packaging that tells a story. She calls her paintings of consumer products for time images and is thus challenging the concept of still life. Minimer

• Pedersen, Søren Birk
• Petersen, Jane Maria
• Pihl, Jonas
• Plaetner, Lone

  Et 2 ugers ophold i New York City (USA) i maj, var jeg på research rejse med mit digitale kamera. Efterfølgende har jeg arbejdet med flerfarve tush i tegninger. I materialer som papir, film, folie. Rejsen blev støttet af Statens Kunstfond (2011) 15 farve tush tegninger + 2 oliebilleder á 100 x 81 cm blev vist som " Layers " hos Galerie Jytte Arntzen 13 a Read more

  Et 2 ugers ophold i New York City (USA) i maj, var jeg på research rejse med mit digitale kamera. Efterfølgende har jeg arbejdet med flerfarve tush i tegninger. I materialer som papir, film, folie. Rejsen blev støttet af Statens Kunstfond (2011) 15 farve tush tegninger + 2 oliebilleder á 100 x 81 cm blev vist som " Layers " hos Galerie Jytte Arntzen 13 april - 6 maj 2012 Udstillingen blev anbefalet både d. 12 maj 2012 af TV2 Lorry / Lounge IByen tillæg. Kl. 18:30 og 19;30. Samt i Politikens papirudgave på Ferniseringsdagen d. 13.4.2012 af Trine Ross Minimer

• Ploug, Anne Marie
• Pøhlsgaard, Mogens
• Rangstrup, Maibritt
• Rasmussen, Else
• Rasmussen, Steen

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

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

• Ravn, Inge-Lise

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

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

• Rex, Jytte
• Richards, Indigo
• Rosengaard, Rasmus
• Rosenkilde, Krista
• Rotvit, Stefan
• Rude, Mille

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

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

• Rød, Jakob
• Sanvig, Ann-Lisbeth Albek

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

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

• Sass, Julie

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

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

• Schulenburg, Andreas

  By Andreas Schulenburg "Alles ist verkehrt" is the title I use for the this book, presenting a selection of my works from exhibitions in later years. My shifting choice of media derives from a constant need of multiplicity, airing an ambition to create a common language of form in spite of - and across borders of genre and material. My complete ast Read more

  By Andreas Schulenburg "Alles ist verkehrt" is the title I use for the this book, presenting a selection of my works from exhibitions in later years. My shifting choice of media derives from a constant need of multiplicity, airing an ambition to create a common language of form in spite of - and across borders of genre and material. My complete astonishment as to the world in which i stand, does not leave me any choice but to seek a connection. this is where art provides me the possibility of switching the buttons and tuning the controls of the meaningless and something incomprehensible becomes comprehensible, that is, in my understanding, when art steps into its character. Minimer

• 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 and s Read more

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

  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

• Sennels, Carl Johan
• 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.
• Spaabæk, Gorm

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

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

• Starck, Nanna
• Stürup, Jasper Sebastian
• Stærk, Ann Sophie
• Støvring, Birgitte
• Søndergaard, Jonas Hvid

  TRANSIT, tekst af Ditte Vilstrup Holm. I Jonas Hvid Søndergaards seneste malerier når det kaotiske nye højder. Her konfronteres de tidligere præcist afgrænsede former med en lavastrøm af changerende farver. Det rykker motiverne væk fra sit holdepunkt i hverdagens genkendelige former til et fabulerende univers, der både rummer mareridtets skræk og drømmens a Read more

  TRANSIT, tekst af Ditte Vilstrup Holm. I Jonas Hvid Søndergaards seneste malerier når det kaotiske nye højder. Her konfronteres de tidligere præcist afgrænsede former med en lavastrøm af changerende farver. Det rykker motiverne væk fra sit holdepunkt i hverdagens genkendelige former til et fabulerende univers, der både rummer mareridtets skræk og drømmens aspirationer. Nattehimlen opløser sig i en eksplosion af lys. Træernes knudrede grene strækker sig opad og fordrejes i eksplosionens skær. Verden krøller sig sammen mod et nyt centrum, mens resterne af den stabile verden flyver omkring i tumulten af den forandring, som sker. Tyngdekræften har ikke længere hold i kompositionen, og verdens genkendelighed er hurtigt ved at forsvinde. Som spraymalet kitsch, hvor alting er bøjet alt for overdådigt i forelskelsens neon, blander en ekspressiv baggrund sig nu med betonstykker i frit fald. To traditioner af abstraktionens historie kolliderer i et kaotisk univers. Det ekspressive møder det stringente, det afvejede det spontane, mens det tørre og præcise formsprog konfronteres med aftryk af det vilde og ustyrlige. Abstraktionens egen verden får plads. TRANSIT, text by Ditte Vilstrup Holm. In the latest work by Jonas Hvid Søndergaard, the chaotic reaches new heights. The formerly distinct, delineated shapes are now confronted with a lava stream of blended colour. The motifs are pulled away from their centre of mundanely recognizable forms, towards a fabulating universe, capable both of a nightmare’s horrors and the aspirations of dream. The night sky dissolves in an explosion of light. Knotted tree branches reach up and contort in the glare of the blast. The world curls up towards a new centre while the remains of what once was stable fly in the tumultuous change that has taken over. Gravity no longer has a hold on the composition and the world in its familiarity is rapidly disintegrating. Like spray painted kitsch, where everything refracts too lavishly in neon love, an expressive background is juxtaposed with concrete slabs in free falling. Two historical traditions of abstraction crash into a chaotic universe. The expressive confronts the exact, the calculated joins the impulsive and the dry and precise language is being challenged by marks of the wild and the uncontrollable. The proper world of abstraction has asserted itself. Minimer

• Sørensen, Anna
• Sørensen, Bent Hedeby
• Sørensen, Bjarne Werner
• Theuerkauf, Ninja Due
• Thorup, Camilla
• Torpe, Anne
• Traberg, Carina

  Carina Traberg arbejder med udforskning af det moderne liv, med et fokus på arkitektur og visuelt at skabe alternative verdener til det bestående. Hendes seneste arbejder har centreret sig omkring collager skabt fra fotos taget fra rejser og byer hvor Carina Traberg har levet. Materialet til værkerne er taget fra et utal af forskellige situationer, områd Read more

  Carina Traberg arbejder med udforskning af det moderne liv, med et fokus på arkitektur og visuelt at skabe alternative verdener til det bestående. Hendes seneste arbejder har centreret sig omkring collager skabt fra fotos taget fra rejser og byer hvor Carina Traberg har levet. Materialet til værkerne er taget fra et utal af forskellige situationer, områder og bygninger, såsom tyrkiske miniature malerier, modernismen, videospil og byliv. Minimer

• Tyrrestrup, Hans
• Taaning, Søren

  Søren Taaning flyttede umiddelbart efter afgang fra Kunstakademiet i København (2001) til Vestjylland. Søren Taaning`s kunstneriske praksis omfatter egne værker, projektudvikling, formidling ,kuratering. I 2005 etablerede han det første Billedkunstneriske GrundKursus. I 2008 dannede han arbejdsfællesskabet Skovsnogen sammen med billedkunstneren Rene Schmidt.

  Søren Taaning flyttede umiddelbart efter afgang fra Kunstakademiet i København (2001) til Vestjylland. Søren Taaning`s kunstneriske praksis omfatter egne værker, projektudvikling, formidling ,kuratering. I 2005 etablerede han det første Billedkunstneriske GrundKursus. I 2008 dannede han arbejdsfællesskabet Skovsnogen sammen med billedkunstneren Rene Schmidt. Minimer

• Uhrskov, Tina
• Ulrich, Kjeld
• Vanggaard, Melou
• Vangsgaard, Mette
• Vind, Christian

  Hermetic, intellectual, and full of art historical references – playful and tongue-in-cheek. Both statements seem to fit Christian Vind’s paintings and paper works equally. All in all Vind’s work must be said to constitute some of the most unique young art found in Scandinavia right about now. Especially in the two books from Vind’s own publishing ho Read more

  Hermetic, intellectual, and full of art historical references – playful and tongue-in-cheek. Both statements seem to fit Christian Vind’s paintings and paper works equally. All in all Vind’s work must be said to constitute some of the most unique young art found in Scandinavia right about now. Especially in the two books from Vind’s own publishing house “HVIDPAPIRFEBER” (Whitepaperfever) does Vind’s labyrinthine approach to art making become apparent. With a sort of pedantic emotionality, drawings consisting of equal part William Blake, Edvard Munch and Harley Davidson collide and crash with photos of the Danish countryside and found objects of mysterious origin. Since his graduation from The Royal Academy of Fine Arts, Christian Vind has found a niche in the Danish art world with his works which for a large deal focus on tracing origin – in art history as well as in concrete media. Minimer

• Vinkler, Agnete Krogh
• Vodder, Anna Fro
• von Platen, Cai Ulrich
• Wandel, Maria

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

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

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

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

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

• Wilcke, Torgny

  The beauty and poetry lies in the complex activity of looking which involves pure retinal sensation as well as preconception and reference (Opie). “Length to Blocks - That’s Beat” is about combining the direct working process of painting with a complexity of reading open to personal reference which takes place when you are confronted with something. I Read more

  The beauty and poetry lies in the complex activity of looking which involves pure retinal sensation as well as preconception and reference (Opie). “Length to Blocks - That’s Beat” is about combining the direct working process of painting with a complexity of reading open to personal reference which takes place when you are confronted with something. I want the form to be familiar, knowable, open, workable, playable, and to be modular and fragmentable both in actual fact and idea. I like painting because it is simple and direct. I want to build paintings directly like moulding concrete and bricks, like building walls and houses. I want fragments with a factual clarity to combine into a painterly and elemental quality. Fragmented structures and series that are flexible and open to place and time and persons. Flexibility gives space to the viewer just like the very different possible spaces, homes, persons that can fit within the modular set up of the Swedish IKEA home/office solutions. And modules, bricks, blocks, and lengths of lumber, or similar materials are flexible to building many kinds of walls and spaces. The paintings are not functioning walls, houses and storages, but may have a narrative space more realistic than the (almost) completed constructs. The fragmented paintings, though extremely concrete, may set up a narrative - a narrative different from storytelling and literary reference, but maybe close to the bits of broken narratives experienced in modern world The paintings are open, and the fragments are open to individual sampling and lack the clear narrative known from a balanced story or painting. Minimer

• Wilmont, Barry Lereng
• Wolsing, Thomas
• Würden, Carsten von
• Wæhrens, Maria
• Wörsel, Troels
• Zedamator
• Øvlisen, Thomas Hallas
• Aagaard, Troels