en en en en en en en en en en en ja en de en en en en en en en en fr en en en en en sv en en en en en en sv sv sv sv sv sv en da da en en en en en en en en da da da da da da da en en da en en en en en en en en sv sv sv sv sv sv sv en en en en en en en en en en en en en en en da en en en da da en en en en en en en en da da da da da da da da da da sv en en sv nl nl de sv cs sv fr cs sv fr en pl de da sv nl sv en de da sv sv sv sv de da fr cs de de de fr sv fr da en sv fr sv fr it en en fr de sv en da da jbo en it en en en en en en en en en da da da da da da da en en en en en en en en en en en en da en en en en da da da en en en en en en en en en en en da da da fi da en en sv fr de fr en en ko vi it th en en en en en ru en en en de da da en de de en en en en en en en en en en en en en en en en gu en
Alain Delorme, born 1979, is a French photographer who has had acclaimed exhibitions in museums and galleries around te world. His ‘Totem’ series from 2010 shows men who transport unreasonably high stacks of goods on bicycles and cars through te city. Te photographs have been called “masterful expressions of China – te world’s factory and te market economy’s new El Dorado.” But all that shines in te east is not real gold. Nor is it te case with these photographs.
Te images are altered in Photoshop, and Alain Delorme is not trying to hide this fact. Rather te opposite. He is more than happy to tell you how he went about it:
“I cycled around Shanghai six hours a day for six weeks. Then I worked on creating te Totem series for a year. I used 6,000 photographs to create 18 images retouched beyond recognition. Not even people living in Shanghai could say where in te city te picture was taken. I increased te amount of goods on te vehicles to give te impression that te carrier, usually a migrant, is being swallowed up. I wanted to show a form of slavery. Te symbols of wealth that te migrants shipped around were a shocking contrast to their own poverty.“
At first, Western viewers do not usually notice te manipulation: “That’s surely what China’s mass production system looks like.”
But then te feeling creeps in that te height of te stacked goods cannot possibly be true. An interpretation of te artist’s intentions emerges: Men on bicycles are rushing against a backdrop of pulsating construction sites. A city is in a race towards te future. Skyscrapers are te new totem poles. Like stacks of consumer goods produced for western countries. Delorme wants to convey both humour and poetry. But it is as if he wants to warn us at te same time. We cannot continue like this. Sooner or later, everything will collapse.
Alain Delorme, född 1979, är en fransk fotograf som haft uppmärksammade utställningar på museer och gallerier världen över. Inte minst har hans bilder från Shanghai, Kinas mest dynamiska stad, hyllats.
Sviten Totems från 2010 visar män som på cyklar och kärror forslar orimligt höga staplar av varor av olika slag genom staden. Fotografierna har kallats “mästerliga uttryck för Kina – världens fabrik och marknadsekonomins nya El Dorado.” Men allt som glimmar i öster är inte äkta guld. Inte heller dessa fotografier bör sägas.
Alain Delorme försöker inte på något vis dölja att hans fotografier är skapade med hjälp av bildredigeringsprogrammet Photoshop. Snarare tvärtom. Han berättar mer än gärna hur han gick till väga:
”Jag cyklade runt Shanghai sex timmar om dagen i sex veckor. Sedan höll jag på i ett år med att skapa Totems. Jag tog 6000 fotografier för att skapa 18 bilder retuscherade till oigenkännlighet. Inte ens den som bor i Shanghai skulle kunna säga var i staden bilden är tagen. Jag ökade på mängden varor på fordonen för att ge intrycket att transportören, oftast en migrant, håller på att uppslukas. Jag ville visa på en form av slaveri. Symbolerna för rikedom som migranterna forslade omkring var en chockerande kontrast till deras fattigdom.”
I början brukar västerländska betraktare inte lägga märke till manipulationen. “Det är säkert så det ser ut i massproduktionens Kina.” Men så smyger sig känslan på att staplarnas höjd rimligtvis inte kan stämma. Fram växer en trolig tolkning av konstnärens avsikter:
Män på cyklar hastar fram mot en fond av pulserande byggarbetsplatser. En stad befinner sig i en kapplöpning mot framtiden. Skyskrapor är de nya totempålarna. Precis som staplar av konsumtionsvaror producerade åt västländer. Delorme vill förmedla både humor och poesi. Men det är som om han samtidigt vill varna oss. Vi kan inte fortsätta så här. För eller senare kommer allting att rasa ihop.
Niels Nedergaard: Fotografier fra Cairo
Te Danish artist Niels Nedergaard was known for his painting rather than for his photography. Nevertheless, te photographs featured in this exhibition offer excellent insight into te artist’s extremely original work, influenced as it was by Middle Eastern aesthetics and culture.
In 1979, Nedergaard (1944–1987) set out for Cairo and settled there. For te next seven years, te Egyptian capital was his permanent base, and his direct access to te pulse of Cairo life and te city’s Arab architecture and ornamentation prompted him to develop a geometric, colourful style of painting unparalleled in Danish art.
Te photographs in te exhibition testify to te inspiration Nedergaard drew from te megacity’s past as well as te present, and from its daytime and night-time faces. Te stark contrasts of Cairo, its richly diverse lifestyles, te spiritual life of te Sufis, and not least men and te brightly coloured lights of te night streets are among te themes appearing in te relatively few, but strongly personal photographs. Te photographic material is accompanied by specially selected drawings and paintings by te artist, most of which are exhibited here for te first time. Nedergaard’s own voice can also be heard: te last room of te exhibition presents a TV broadcast focusing entirely on Nedergaard, shown on Danish national TV (DR) in 1985.
Te photographs in te exhibition are all sourced from Nedergaard’s family, friends and acquaintances. Some of te photographs are presented as original prints, while others are new prints from more or less battered negatives also found among te surviving archive materials. It is not always clear whether Nedergaard himself pressed te camera button, or whether it was operated by friends. It is certain, however, that he deliberately used and preserved te prints chosen for display.
Nedergaard returned to Denmark in 1986. He died te following year due to an AIDS-related illness at Rigshospitalet in Copenhagen. To this day, he remains one of te most prominent visual artists of his generation and a rare representative of artistic work carried out in te field where Eastern and Western traditions intersect.
Te exhibition is curated by art historian Johan Zimsen Kristiansen. A book about Niels Nedergaard’s time in Cairo (ed. Peter Wandel) is published to coincide with te show. Created in collaboration with Strandberg Publishing, te book features articles by Johan Zimsen Kristiansen, Jakob Skovgaard-Petersen, May el-Toukhy and Peter Wandel. Read more here.
Te book is available in te museum shop, priced at DKK 150. An exhibition poster is also available for DKK 40.
Niels Nedergaard var ikke kendt for sit fotografi, men for sit maleri. Alligevel giver netop fotografiet et godt indblik i denne kunstners yderst originale værk, påvirket af æstetik og kultur fra Mellemøsten.
I 1979 rejste Nedergaard (1944-1987) til Cairo og slog sig ned. I de følgende syv år var den egyptiske hovedstad hans faste base, og med direkte adgang til byens puls og den arabiske arkitektur og ornamentik udviklede han et geometrisk og farvestrålende maleri uden sidestykke i dansk kunst.
Fotografierne på udstillingen vidner om den inspiration, som Nedergaard hentede i megabyens fortid såvel som nutid, og såvel om dagen, som om natten. Det kontrastfyldte Cairo og byens mangfoldige livsformer, det spirituelle liv hos sufierne, og ikke mindst mænd og nattens kulørte lys er blandt de temaer, der dukker op på de relativt få, men til gengæld stærkt personlige fotografier. Det fotografiske materiale ledsages af enkelte tegninger og malerier fra kunstnerens hånd, de fleste udstillet for første gang. Endelig gives der plads til Nedergaards egen stemme: En portrætudsendelse, som blev vist på DR i 1985, kan opleves i udstillingens sidste rum.
Udstillingens fotografier stammer alle fra Nedergaards efterladte arkivmateriale hos familie, venner og bekendte. Nogle af fotografierne vises i form af originaltryk, mens andre er nytryk fra mere eller mindre ramponerede negativer, som også findes i det overleverede. Det er ikke altid lige klart, om det er Nedergaard selv, der har trykket på knappen på kameraet, eller om det er venner omkring ham. Sikkert er det dog, at han har brugt og bevaret netop de udstillede aftryk.
Nedergaard vendte tilbage til Danmark i 1986. Han døde året efter som følge af AIDS på Rigshospitalet i København. Stadig i dag fremstår han som en markant dansk kunstner fra 1980’erne og en sjælden repræsentant for kunstnerisk arbejde i krydsfeltet mellem de østlige og de vestlige traditioner.
Udstillingen er kurateret af kunsthistoriker Johan Zimsen Kristiansen. Sideløbende med udstillingsåbningen udgives en bog om Nedergaards tid og virke i Cairo (red. Peter Wandel) med artikler af Johan Zimsen Kristiansen, Jakob Skovgaard-Petersen, May el-Toukhy og Peter Wandel. Læs mere om bogen her.
Bogen er på dansk og engelsk og kan købes i museumsbutikken for kr. 150. En udstillingsplakat koster kr. 40.
“I travel to places, observe them, and try to figure out what they represent.”
Given te thousands of places around te world that Gerry Johansson has observed over te years, from Kvidinge to Ulan Bator, it is perhaps not entirely without interest that he has a permanent address in Höganäs, 46.7 km from Landskrona Foto. In any case, it is in te darkroom of his basement that te photographs attain their perfection – and have earned him epithets such as “classical black and white photography personified”.
He lived in Varberg when he became Swedish school champion in colour photography in 1961. But those days are over. “Photography in black and white is like listening to te radio. Colour is like watching television.”
Gerry Johansson is a visual artist who has an ability to express himself in words as well. But other people too have formulated memorable quotations about their impressions of his pictures:
“It always seems as if someone has recently been in Gerry Johansson’s pictures, but has just left. No one has touched anything, or done anything, no one has messed things up, made a muddle, caused a disturbance, or moved anything. Just someone who was there for a little while, walked into te moment, walked out of te picture.”
Or: “I can’t detect in a single one of Gerry Johansson’s pictures anything, however small, that shows off or pretends to be something else. You wish you could be such a person. Someone who no longer pretends or makes things up. You wish you were a Gerry Johansson picture.”
A number of visitors to this exhibition will also probably walk away wishing they were a Gerry Johansson picture. Or maybe a Gerry Johansson book. There are a number here to choose from, 42 to be exact, photo books as austere as they are self-willed, arranged in showcases. Virtually all te photographs depict a place, hardly a single one showing a human being.
”Jag reser till platser, betraktar dem och försöker lista ut vad de representerar.”
Med tanke på de tusentals platser världen över som Gerry Johansson betraktat under åren, från Kvidinge till Ulan Bator, är det möjligtvis inte helt ointressant att han är bofast i Höganäs, 46,7 km från Landskrona Foto. Under alla omständigheter är det i mörkrummet i hans källare fotografierna når sin fulländning – och förtjänat honom epitet som ”den klassiska svartvita fotografin personifierad”.
Han bodde i Varberg när han 1961 blev utsedd till svensk skolmästare i färgfotografering. Men de där dagarna är förbi. ”Att fotografera i svartvitt är som att lyssna på radio. Färg är som att titta på tv.”
Gerry Johansson är en bildkonstnär som har en förmåga att uttrycka sig även i ord. Men också människor som drabbats av hans bilder har strött tänkvärda citat omkring sig:
”Någon tycks alltid, och alldeles nyss, ha varit i Gerry Johanssons bilder, men alldeles nyss gått därifrån. Det är ingen som har rört något, eller gjort något, inte bråkat, inte stojat, inte stört, inte flyttat på några grejer. Bara varit där en liten stund, promenerat in i ögonblicket, promenerat ut ur bilden.”
Eller: ”Jag kan inte i en enda av Gerry Johanssons bilder upptäcka något enda litet som gör sig till, eller låtsas vara något annat. Man önskar att man kunde vara en sådan människa. En som inte längre låtsas eller hittar på. Man önskar att man vore en Gerry Johansson-bild.”
Troligtvis kommer även ett antal besökare till den här utställningen att gå härifrån och önska att de vore en Gerry Johansson-bild. Eller måhända en Gerry Johansson-bok. Här finns ett antal att välja mellan, närmare bestämt hela 42 lika strama som egensinniga fotoböcker utlagda i montrar. I princip alla fotografier avbildar en plats, i princip inget enda en människa.
by Copenhagen Photo Festival
Diane Arbus Photographs, 1956-1971
NB! With a CPF Festival Pass you get 50% off on a ticket to Louisiana in te festival period 2-12 June.
Louisiana presents te first large-scale retrospective in Scandinavia of legendary American photographer Diane Arbus. In a career that lasted little more than fifteen years, Arbus produced a body of work whose style and content have secured her a place as one of te most significant artists of te 20th century. Te direct, even confrontational, gaze of te individuals in her photographs remains bracing to our eyes still today – provoking recognition, empathy and unease.
TE RANGE OF HUMANITY
Te striking black and white photographs of American photographer Diane Arbus (1923–1971) revolutionized portraiture, through their range of subjects and their style. Primarily made in and around New York City, Arbus selected her subjects – including couples, children, nudists, suburban families, circus performers, and celebrities, among others – for their singularity.
“I would like to photograph everybody,” she declared in a letter to a friend in 1960. Arbus aimed to describe, in vivid detail, a range of human difference, at a moment when visual culture strove instead to emphasize uniformity.
Highlighting her evolution as an artist over fifteen years, te exhibition 'Diane Arbus: Photographs, 1956–1971' features 150 photographs, drawn from te Art Gallery of Ontario’s collection and representing te full chronological arc of Arbus’s work.
From te early, intimate 35mm format prints to te sharply focused square format she embraced after 1962, these photographs allow us to trace te artist’s evolving vision as part of a changing social landscape. While early works reveal an artist gripped by te range of humanity and life as it unfolded on te street, te later works - created using a larger format - mark her emergence as a mature and compelling artist.
Born in 1923, Diane Arbus grew up in an affluent New York family that owned a department store on Fifth Avenue. At age 18 in 1941 she married Allan Arbus and for a decade te couple worked together – he as photographer, she as stylist, producing photographs for fashion magazines. Although she started making pictures for herself in te early 1940s, it was only in 1956, when she numbered a roll of film #1, that she began seriously pursuing te work for which she has come to be known.
Go to Louisiana's website
Trine Søndergaard: Faraway Nearby
In 2020, Greve Museum began a collaboration with art photographer Trine Søndergaard. This collaboration has culminated in a photo exhibition with 25 new photographic works with te title “Faraway Nearby”. In te works, Søndergaard unites te photographic gaze, Greve Museum's historical textiles, and local young people who have been models for te new portraits.
In te photos, te material cultural heritage and art's searching and sensuous approach to history is brought together. In all of te works is a distinct interest in time. Or perhaps, in fact, a dissolution of time, as te artist manages to create motifs across past and present.
I 2020 indledte Greve Museum et samarbejde med kunstfotograf Trine Søndergaard. Det har nu resulteret i en fotoudstilling med 25 nye fotografiske værker under titlen “Faraway Nearby”. I værkerne forener Søndergaard det fotografiske blik, Greve Museums historiske tekstiler og lokale unge mennesker, der har været modeller til de nye portrætter.
I værkerne blandes den materielle kulturarv og kunstens søgende og sanselige tilgang til historien. Fælles for værkerne er en udpræget interesse for tid. Eller måske i virkeligheden en opløsning af tiden, idet kunstneren formår at skabe motiver på tværs af fortid og nutid.
NUDE, FAMOUS - OYSTERS AND CHAMPAGNE
Te world's top photographers have captured te stunning images of celebrities as you've never seen them before - stripped down in te lap of luxury or in te most unexpected situations. Welcome to 140 unique images that will blow your mind!
If you have a ticket from Copenhagen Photo Festival 2022 there's an offer where you can go 2 pay for 1 (until 12 June)!
Special offer on te 11-12 June!
Pay 300DKK go 2 for 1 (museum) and get lunch for 2 people in Bistro Perspektiv.
Book at te latest 9 June at boka@falsterbophoto.com
Verdens bedste fotografer har taget de fantastiske billeder af berømtheder, som du aldrig har set dem før - afklædt midt i luksus og flair eller i helt uventede situationer. Velkommen til 140 unikke billeder, der vil overraske dig!
VERDENSBERØMT OG AFKLÆDT MIDT I LUKSUS
Her møder du mange verdensberømte mennesker, som du aldrig har set dem før - Lady Gaga, Te Beatles, Pamela Anderson, Nelson Mandela, Salvador Dali, Dronning Elizabeth II, Kong Carl XVI Gustaf, Madonna, Richard Gere, Jonas Gardell, Brigitte Bardot, Kendal Jenner og mange andre. Men der er også ukendte professionelle modeller i den klassiske genre af fotografering - nøgen undersøgelse.
Kunstens nøgenhed er ikke kun en skønhedsoplevelse, den har også spillet en væsentlig rolle i befrielsen fra censur og diktatur. Udstillingen viser mange eksempler på dette, ikke mindst bidragene fra nogle af de spændende kinesiske fotografer, der deltager. Over fyrre verdensberømte fotografer er repræsenteret i den nye udstilling. Deres billeder sælges på store auktioner og gallerier over hele verden, ofte til meget høje priser. Her er drømmende billeder af Mona Kuhn og Michel Dweck, spektakulære kompositioner af David LaChapelle, elegante portrætter skabt af Herb Ritts. Mode
og nøgenhed i kombination er mesterligt portrætteret af Camilla Åkrans, Anna W Thorbjörnsson, Bingo Rimér og Johan Lindeberg. Rock- og popstjerner er i fokus for billederne af Brian Duffy, Anton Corbijn og Harry Benson, mens kvinderne er afbildet af Jean-Baptiste Huyhn, Lucien Clergue,
Russell James, Tiane Doan na Champassak, Bruno Bisang og mange flere. Manden i centrum har Herb Ritts og Robert Mapplethorpe, nogle af de få
fotografer, der afbildede nøgne mænd. Du vil også møde fire af Kinas mest innovative fotografer, hvis billeder i nogle tilfælde provokerer i en opstand mod censur. Udstillingen blander alvor og glamour, berømthed luksus og klæde, glæde og provokation og håber at give dig en helt uforglemmelig oplevelse. Du kan runde udstillingen af med champagne og østers i museets Bistro Perspektiv!
Hvis du har en billet fra Copenhagen Photo Festival 2022 er der tilbud, hvor du kan komme 2 ind for éns pris.
Særtilbud den 11-12 juni!
Betal 300 DKK for 2 personer og få indgang samt frokost for 2 personer i Bistro Perspektiv.
Bestil senest 9. juni på: boka@falsterbophoto.com
PHOTOGRAPHERS REPRESENTED IN TE EXHIBITION
Anna W Thorbjörnsson • Sverige
Anton Corbijn • Nederlandene
Anton Renborg • Sverige
Bert Stern • Danmark
Bettina Rheims • Tyskland
Bingo Rimér • Svensker
Brian Duffy - Storbritannien
Bruno Bisang • Italien
Burt Glinn • Danmark
Camilla Åkrans • Sverige
Chen Man • Kina
Chris Levine • Danmark
David LaChapelle • Danmark
Ellen von Unwerth • Tyskland
Ewa-Mari Johansson • Sverige
Hans Gedda • Sverige
Harry Benson • Skotland
Herb Ritts • Usa
Horst P Horst • Germay
Jean-Baptiste Huynh • Frankrig
Johan Lindeberg • Sverige
John Claridge - Storbritannien
Julian Lennon - Storbritannien
Justin de Villeneuve • Storbritannien
Linda McCartney • Danmark
Lucien Clergue • Frankrig
Marco Glaviano • Italien
Mark Seliger • Danmark
Martin Hugo Maximilian Schreiber • Tjekkiet
Michael Dweck • Danmark
Mona Kuhn • Brasilien
Nathalia Edenmont • Ukraine
Norman Parkinson - Storbritannien
Paolo Roversi • Italien
Patrick Demarchelier • Frankrig
Peter Beard - Danmark
Peter Lindbergh • Tyskland
Pompeo Posar • Italien
Ren Hang • Kina
Robert Mapplethorpe • Danmark
Roxanne Lowit • Danmark
Russell James • Danmark
Sante D'Orazio • Danmark
Steven Meisel • Danmark
Terry O'Neill • Storbritannien
Tian Taiquan • Kina
Tiane Doan na Champassak • Frankrig
Uwe Ommer • Tyskland
Xu Heng • Kina
by Copenhagen Photo Festival
Paolo Di Paolo x Pier Paolo Pasolini: La lunga strada di sabbia (Te long road of sand)
La lunga strada di sabbia (Te long road of sand) - photographs by Paolo Di Paolo and texts by Pier Paolo Pasolini
On te occasion of te 100th anniversary of Pier Paolo Pasolini's birth, te Italian Cultural Institute in Copenhagen presents te exhibition "La lunga strada di sabbia" (Te long road of sand) by photographer Paolo Di Paolo and author and film director Pier Paolo Pasolini. Te exhibition enholds many unpublished black and white photos, videos and documents, curated by Silvia Di Paolo, in collaboration with Fondazione Sozzani and under te patronage of Centro Studi Pasolini.
In 1959, Paolo Di Paolo was 34 years old and had photographed for five years for te newspaper Il Mondo. Pier Paolo Pasolini was a promising 37-year-old author who had published La meglio gioventù, Ragazzi di vita and Una vita violenta. He was not yet a film director.
In Italy, te "economic miracle" had just begun. Te newspapers tended to present a microcosm of mythical characters, as an alternative to te gray everyday life, to te fear of war, to te great emigration, and to te poverty that was not yet a distant past.
Arturo Tofanelli, director of te magazine Successo and te weekly magazine Tempo, hired te two talents, who did not know each other, to report on te Italians' summer holiday, a report which was subsequently printed in Successo in three sections.
Te author and photographer set off from Ventimiglia with te plan to travel along te coasts of Italy to te south and subsequently up te opposite coast to Trieste. But they had different visions for te project. "Pasolini was looking for a lost world of literary ghosts, an Italy that no longer existed - remembers Di Paolo - I was looking for an Italy that looked to te future. I also came up with te title 'The long road of sand', which should indicate te Italians' arduous journey to achieve prosperity and vacation."
A complex, delicate partnership emerged, which was to unite them only in te first part of te journey, but which was consolidated in mutual respect and trust.
On Thursday 9 of June at 7 pm, te Italian Cultural Institute invites you to te finissage, where theym will offer a glass of Italian wine. In addition, cand.mag. in Italian language and culture Siri Rønne Christiansen will talk about Pier Paolo Pasolini, and how Pasolini and di Paolo had different views on te past and te future in a time in great development. Te trip along te road of sand was just one among many journeys for Pasolini, and although in this context he may seem retrospective, he was also curious and far-sighted, and therefore a source of inspiration on many point. Admission to te event is free and everyone is welcome.
La lunga strada di sabbia (Den lange vej af sand) - fotografier af Paolo Di Paolo og tekster af Pier Paolo Pasolini
I anledning af 100-året for Pier Paolo Pasolinis fødsel præsenterer Det Italienske Kulturinstitut i København udstillingen "La lunga strada di sabbia” (Den lange vej af sand) af fotograf Paolo Di Paolo og forfatter og filminstruktør Pier Paolo Pasolini. Udstillingen består af fotografier, hvoraf mange upublicerede, videoer og dokumenter, kurateret af Silvia Di Paolo, i samarbejde med Fondazione Sozzani og under patronat af Centro Studi Pasolini.
I 1959 var Paolo Di Paolo 34 år og havde fotograferet i fem år for avisen Il Mondo. Pier Paolo Pasolini var en lovende 37-årig forfatter, der havde udgivet La meglio gioventù, Ragazzi di vita og Una vita violenta. Han var endnu ikke filminstruktør.
I Italien var ”det økonomiske mirakel” lige begyndt. Aviserne havde en tendens til at fremvise et mikrokosmos af mytiske karakterer, som et alternativ til den grå hverdag, til frygten for krig, til den store emigration, og til den fattigdom, som man var ved at lægge bag sig.
Arturo Tofanelli, direktør for bladet Successo og ugebladet Tempo, hyrede de to talenter, som ikke kendte hinanden, til at rapportere om italienernes sommerferie, en reportage som efterfølgende blev trykt i Successo i tre afsnit.
Forfatteren og fotografen tog afsted fra Ventimiglia med planen om at rejse langs Italiens kyster mod syd og efterfølgende op langs den modsatte kyst til Trieste. Men de havde forskellige visioner for projektet. "Pasolini ledte efter en tabt verden af litterære spøgelser, et Italien, der ikke længere eksisterede - husker Di Paolo - jeg ledte efter et Italien, der så ud i fremtiden. Jeg udtænkte også titlen ”Den lange vej af sand”, som skulle indikere italienernes omstændige rejse for at nå frem til velstand og ferie." Et komplekst, delikat partnerskab opstod, som kun skulle forene dem i den første del af rejsen, men som konsolideredes i gensidig respekt og tillid.
Torsdag d. 9. juni kl. 19.00 inviterer Kulturinstituttet indenfor til finissage, hvor de byder på et glas italiensk vin, og cand.mag. i italiensk sprog og kultur Siri Rønne Christiansen vil fortælle om Pier Paolo Pasolini, og hvorledes Pasolini og di Paolo havde forskellige syn på fortiden og fremtiden i en samtid i stor udvikling. Turen langs vejen af sand var blot én blandt mange rejser for Pasolini, og selvom han i denne sammenhæng kan virke tilbageskuende, så var han også nysgerrig og fremsynet, og derfor en inspirationskilde på mange punkter. Entré til arrangement er gratis, og alle er velkomne.
by Copenhagen Photo Festival
Elisabeth Molin: ___(dizzy)*~ + Minh Ngoc Nguyen:
Gallery Format in Malmö presents two exhibitions during Copenhagen Photo Festival: Elisabeth Molin's  ___(dizzy)*~ and a window exhibition by Minh Ngoc Nguyen.
Elisabeth Molin’s practice gives a thought-provoking view into how lens based media inform and is put to use in a contemporary art practice.
Her work deals with slips in perception, time warps and bodily displacements, often materialized as video, photography, installation and performance. Looking beyond te seamless ideology of te world we live in, her work finds multiple jarring contradictions, dislocations, asymmetries and quiet injustices.
Elisabeth Molin has had exhibitions at Wiels, Brussels; Sundy, London; Sixty Eight Institute, Copenhagen; Austrian Cultural Forum, London and Danish Cultural Institute, Edinburgh, among others. She has shown her videos as part of te 32nd Images Festival in Toronto, te 31 Stuttgarter Filmwinter in Stuttgart and te 7th Medrar Video Festival in Cairo.
Te exhibition is generously supported by Malmö Stad, te Swedish Arts Council, and Arts Council England and is also a part of Copenhagen Photo Festival 2022. Te exhibition will run 13th May - 12th June
Minh Ngoc Nguyen (b.1992) is a Copenhagen-born and based artist. He graduated from Akademin Valand in 2018 with an MFA in Photography.
Through te utilisation of te contemporary still life, his work aims to deconstruct and re-constitute familiar objects and iconography, often tied to Southeast Asian- and post-internet visual culture. He recently published his first photobook “Sour Sun” under te Norwegian artist-run publishing platform, Heavy Books.
by Copenhagen Photo Festival
Astrid Kruse Jensen: Resonance
Astrid Kruse Jensen presents new works in her upcoming exhibition Resonance at Martin Asbæk Gallery. Te exhibition includes both cyanotypes and works created by using polaroid film.
In her artistic work, Astrid Kruse Jensen has constantly explored te basic material of photography, both through chemical processes, but also through text-based works as well as photographs of both fabric and bronze.
A recurring theme in Astrid Kruse Jensen's practice has been te relation between photography and memory, where time becomes an abstract phenomenon that does not necessarily follow our linear understanding of it. This theme will also be explored in te upcoming exhibition.
Astrid Kruse Jensen præsenterer nye værker på sin kommende udstilling Resonance hos Martin Asbæk Gallery. Udstillingen inkluderer både cyanotypier og værker skabt ved polaroid film.
Astrid Kruse Jensen har i sit kunstneriske virke konstant udforsket fotografiets grundmateriale, både igennem de kemiske processer, men også igennem tekstbaserede værker såvel som fotografier på både stof og bronze.
Et gennemgående tema i Astrid Kruse Jensens praksis har været fotografiets relation til erindringen, hvorved tiden bliver en abstrakt størrelse, der ikke nødvendigvis følger vores gængse lineære forståelse heraf. Dette tema vil også gå igen på den kommende udstilling.
by Copenhagen Photo Festival
Disko Bay Book Release – Inuuteq Storch: Keepers of te Ocean
Disko Bay presents Keepers of te Ocean by Inuuteq Storch, a personal exploration of intimacy with and within te overwhelming nature of west Greenland. Te book portrays te close community of Storch’s hometown Sisimiut photographed over te past three years.
Everyday images of friends, family, food and interiors form part of te subject matter combined with Storch’s own intervention and experimentation. Unstaged yet absorbing, intimate and vulnerable. His intuitive narrative style draws te viewer into te image, giving us te feeling of being present ourselves. A rare sight when it comes to portrayals of Greenland – exceptional, meaty and sorely needed.
"Te landscape is a recurrent subject, as is te sky, te light and te dark. Te natural world is always close by, and just as te tides come and go, nature flows in and out of Keepers of te Ocean. In a culture where te weather and te ocean have always played a key role, it is natural for someone who lives by te coast to look out for whoever is at sea. People take care of and watch over each other. When asked about te book’s title, Innuteq replied with a picture of a sunny ocean view from his apartment in Sisimiut, captioned: “Keeping an eye on every sailor”."
From te preface by Martin Brandt Hansen
Inuuteq Storch (b. 1989) lives and works in Greenland. He is a graduate of te International Center of Photography in New York and of Fatamorgana school of photography in Copenhagen. He has exhibited in Greenland, Denmark, Te United States, Norway, and Colombia, and has published te photo books Porcelain Souls, Flesh and John Møller – Mirrored, Portraits of Good Hope.
Disko Bay is an independent photobook publisher based in Copenhagen, Denmark. We focus on talented photographers and Fine Art photography and are dedicated to exploring te possibilities of photography on paper. Disko Bay works closely together with photographers, designers and print makers to curate and craft unique books in very limited print runs. Our aim is to promote Danish photographers on te international scene of photography and in te world of photo books. Disko Bay is te first publisher in Denmark to focus exclusively on this art genre.
Disko Bay præsentere Keepers of te Ocean af den unge grønlandske fotograf Inuuteq Storch - en personlig udforskning af intimitet i og omkring den overvældende natur i Vestgrønland. Bogen portrætterer det nære samfund i Storchs hjemby Sisimiut fotograferet gennem de seneste tre år.
Fra bogens forord af Martin Brandt Hansen:
Landskabet er et genkommende motiv sammen med himlen, lyset og mørket. Naturen er hele tiden tæt på, og ligesom når bølgerne skyller ind og ud under tidevande, flyder naturen ind og ud i Keepers of te Ocean. I en kultur hvor vejret, og især havet, altid har haft en stor betydning, er det naturligt som kystboer med udsigt til havet at holde øje med enhver til søs. Man passer på hinanden og holder øje med hinanden. Som Inuuteq selv svarede med et billede af en solrig havudsigt hjemme fra lejligheden i Sisimiut, da jeg spurgte ham om titlens betydning: ”Keeping an eye on every sailor”.
Inuuteq Storch (f. 1989) bor og arbejder i Sisimiut, Grønland. Han er uddannet fra International Center of Photography i New York og fra Fatamorgana, Danmarks Fotografiske Billedkunstskole i København. Han har udstillet i Grønland, Danmark, USA, Norge, Colombia m.m. og har udgivet fotobøgerne Porcelain Souls, Flesh og John Møller – Mirrored, Portraits of Good Hope. Inuuteq Storch er udstillingsaktuel på Copenhagen Photo Festival 2022, hvor han er udvalgt som en del af deres nordiske talentprogram.
Sign up for our newsletter
"*" indicates required fields
This field is for validation purposes and should be left unchanged.
For galleries, museums etc.
Exhibition ideas and questions
+45 42 44 20 10
© 2022 Copenhagen Photo Festival. All rights reserved
To provide te best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behaviour or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional Functional Always active
Te technical storage or access is strictly necessary for te legitimate purpose of enabling te use of a specific service explicitly requested by te subscriber or user, or for te sole purpose of carrying out te transmission of a communication over an electronic communications network.
Te technical storage or access is necessary for te legitimate purpose of storing preferences that are not requested by te subscriber or user.
Te technical storage or access that is used exclusively for statistical purposes. Te technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on te part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Te technical storage or access is required to create user profiles to send advertising, or to track te user on a website or across several websites for similar marketing purposes.
Manage options Manage services Manage vendors Read more about these purposes
Accept Deny View preferences Save preferences View preferences