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• Ramadan, Khaled

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

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

• Ramdas, Anu
• Randi Og Katrine, Randi og Katrine
• Randløv, Carina
• Rangstrup, Maibritt
• Rasborg, Camilla

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

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

• rasmus knud

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

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

• Rasmussen, Else
• Rasmussen, Jesper

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

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

• Rasmussen, Lene

  Skulptur, tegnekunst, portrætter i blyantstegning eller gips/bronze.

  Skulptur, tegnekunst, portrætter i blyantstegning eller gips/bronze. Minimer

• Rasmussen, Lillibeth Cuenca

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

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

• Rasmussen, Steen

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

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

• Rasmussen, Tom Backe
• Ravn, Inge-Lise

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

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

• Recke, Nikolaj
• Reenberg Jensen, Christina
• Reilly, Olga Baunbæk
• Reinbothe, Finn
• Reuter Christiansen, Thorbjørn

  Min praksis er, og har altid været, en kollektiv og performativ proces, der inddrager forskellige medier. Mit fokus er det offentlige rum og jeg arbejder ud fra temaer som eksempelvis direkte demokrati, grænser eller den amerikanske drøm.

  Min praksis er, og har altid været, en kollektiv og performativ proces, der inddrager forskellige medier. Mit fokus er det offentlige rum og jeg arbejder ud fra temaer som eksempelvis direkte demokrati, grænser eller den amerikanske drøm. Minimer

• Rex, Jytte
• Rex, Rosemaria
• Ribe, Torben
• Richards, Indigo
• Rolighed, Flemming
• Rosengaard, Rasmus
• Rosenkilde, Krista
• Rosenmeier, Lisa
• Rosenmunthe, Johan
• 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

• Ruge, Ane Mette
• Rød, Jakob
• Røge, Ann Mai Lunde

  Site-Specific Live- and Recorded Performance Audio/Visual Installation & Printmaking Endurance and the Ephemeral Artwork Through durational performance and printmaking I explore the body as a place of emotion and energy. As a response to the aspiration for a cohesive self-image, I reflect on personal experience. Combined with memory and imagination, a Læs mere

  Site-Specific Live- and Recorded Performance Audio/Visual Installation & Printmaking Endurance and the Ephemeral Artwork Through durational performance and printmaking I explore the body as a place of emotion and energy. As a response to the aspiration for a cohesive self-image, I reflect on personal experience. Combined with memory and imagination, a visual journey involves symbolic portraiture and layered references. I am interested in physical and emotional space, which I attempt to define through an instinctive engagement with site-specific live- and recorded performance. Raw moving image and audio installation along with traces of activity are key elements in most of my work. I question the absence and presence of myself as an artist as well as the relationship between past and present. My own body is a primary tool in the exploration of identity, memory and affiliation. Chalk has for more than 18 months accompanied me as a crucial medium on this journey. Minimer

• Røhling, Rasmus
• Rømer, Nis

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

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

• Rössell, Peter