Former Exhibitions

Here you can find information about the exhibitions which were part of Fototriennale.dk 2009.

---

Exhibitions 2009

Here you will find a list of the participating museums and galleries sorted by city in alphabetical order. By using the map you can quickly access the city further down on the page.

---

ASSENS

---

West Funens Art Museum, Willemoesgården

The photos are interesting from a current point of view, because they tell about a landscape that no longer exists: A landscape where agriculture had yet to be mechanized and made more efficient and where large areas laid uncultured and uninhabited.
To put the changes of the landscape into perspective Museerne på Vestfyn has asked engineer and photographer Viggo Lind to photograph the same landscapes in 2009. Viggo Lind is a photographer of nature and based on Funen. He has produced a long line of animal and landscape photography.

About Viggo Lind
Born 14 October 1948 in Kerteminde.
Educated low voltage engineer from Odense Teknikum in 1972.
Even as a boy I started to look at birds and the interest for photography started almost at the same time. Later the interest spread to environmental preservation, Danish amphibians and reptiles and a few years later I devoured bats. I build a bat detector to be able to hear their ultra sounds.
(here my knowledge about electronics was useful)
The interest for photo covers: Fauna, flora, landscapes and nature as a whole.
In 1995 Åge V. Jensens Fonde bought Æbelø and in 1997 a book about the island was written. I was asked to make the photographs for the book and since then I have come there on a regular basis. There has always been something fascinating about about islands and their often unusual nature, and this goes in particular for Æbelø. In addition you are far away from your often busy everyday business when you are on an island, and this gives you a nice calmness to observe, register, enjoy and photograph the many impressions.
I have been a ”photographer” on the following books concerned with the natural resorts of Åge V. Jensens Fonde: "Æbelø" - Status 1997, "Æbelø" - Status 2000, "Høstemark" - Status 2001.
Through the years I have given countless slide presentations at home and abroad with focus on nature.
I have tought photography at evening schools for many years.
Previously I have participated in contest photography.
Since 1985: Teacher at Teknisk Gymnasium and the higher education for technicians in Odense
Member of DN and DOF
Have since 2002 been part of the project “Naturovervågning” in Tarup-Davinde
2008: Fellow referee at Selskab for Dansk Fotografis annual competition “Den Nationale 2008”, where almost 3000 photos was submitted.

To the top

---

FAABORG

---

Faaborg Museum for Fynsk Malerkunst

Jeppesen’s works present us with a rare, personal gaze at out surroundings, where the world emerges as true and factual by virtue of the registrative nature of the photographic medium; but also very much as unreal pictorial spaces where everything appears beautified, dramatized, mysterious and not least fascinating.

All works shown at the exhibition are based on shots from the last seven years’ journeys around various countries, and as a whole they can be seen as a poetic depiction of the way of life and the way of the world in its many nuances.

– Peter Lav

About Adam Jeppesen
Born 1978 in Denmark. Lives and works in Copenhagen. Trained at the Photo School Fatamorgana. Is represented in the collections of Museet for Fotokunst, the National Photo Museum and at the Danish and the Swedish Arts Foundation. Has exhibited in many places in Europe and the USA.
www.adamjeppesen.com

To the top

---

KERTEMINDE

---

Toldboden

Whilst photographing I focused on the strange and arbitrary way that fences appear upon our landscape. Straight lines are often ruled in an office somewhere and materialize on the land as schisms of land use and ownership. I found myself returning to the same camera angle, often cropping two houses in half. The series grew using this format. Houses represent our home, our shelter, our security, our loves, our inheritance, our nest egg, our access to schooling, our status and position in the capital market, etc. The potential pessimism of the exercise was replaced with the discovery that I had unwittingly captured a metaphor of coexistence and good neighbours. Focusing on 'the space between' rather than people or things, I use the terrain défini to ask the audience to confront questions of individuality, possession and ownership. In this way I hope to raise awareness of dialogue and environment. The bland documentary style used is perhaps confronting at first, inviting the viewer to believe that there is a total lack of poetry in the images. Viewed in totality, however, the images with their repetition of cropping and focus make us reconsider a familiar world, full of nuance and personal meanings. We, the invisible people of these photographs, become strangely tangible again.

- Greg Smith

Thanks to Kathryn McCool, David Major and Michael Harkin

About Greg Smith
Born 1958 in Australia. Has trained in art, graphic design and teaching. All-round artist who works with everything from painting, sculpture and photography to drama, literature and music.

To the top

---

Johannes Larsen Museet

About Takeshi Shikama
Born in 1948, Tokyo
The Japanese photographer Takeshi Shikama has specialised in making intense and expressive images of forest landscapes.
His recent works consist of entirely hand-crafted platinum prints, which can be described as a traditional process very much different from digital photography widely prevalent today. Even the slightest details of his subjects are delicately expressed in Takeshi Shikama's platinum images, which have an extremely broad tonal scale displaying subtle graduations of jet-black, grey and even white.
In 2008, several of his photographs were purchased for the collection of the Bibliothèque Nationale de France.
www.shikamaphoto.com

To the top

---

ODENSE

---

Udstillingssteder i Odense:

• Museet for Fotokunst
• Funen Art Academy
• Café Biografen
• Fyns Grafiske Værksted
• Filosofgangen
• Vollsmose Kulturhus

---

Museet for Fotokunst

With the eyes of a tourist he would explore the country and photograph relentlessly – almost every meal, every person, every waiter or waitress, every bed, every toilet – every thing. Shore returned to New York with hundreds of rolls of film and in order to remain faithful to the concept of the project, he sent his films to a Kodak lab to be developed and printed postcard size just as most tourists would have done. Hundreds of exquisitely composed colour pictures documented our everyday houses, streets, signs, motel bedrooms etc. in a matter-of-fact style – in short: images of our fast-living, consumer-orientated world.

Thus Shore had begun his documentation of the urban and commercial sprawl of the 1970’s and 1980’s synchronous with the rise of the tourist industry – a large sociological change that would threaten to wrap America in a boring sameness, depriving most of the country of its distinctive character and its people of their sense of place.

About Stephen Shore
Born 1947 in the USA. Self-taught photographer specializing in the American landscape. Pioneer of art photography in colour. Has published many photo books and exhibited solo in many places all over the world, including the Museum of Modern Art (USA), the Metropolitan Museum of Art (USA), Spazio Oberdan (Italy), Kunsthalle Düsseldorf (Germany) and Jeu de Paume (France). Recipient of among other awards the Aperture Award (2005), National Endowments for the Arts grants (1974, 1977) and a Guggenheim Foundation Fellowship (1975). Head of the Department of Photography at Bard College (New York) since 1982.
www.billcharles.com & www.303gallery.com

To the top

---

Funen Art Academy

The photo series “Greetings from Montenegro 2007 – 2009” focuses on this problem, and is about one of the most recently created states in the world, Montenegro. The series functions as a visual treatment of the issue, in an attempt to expose the abuse of resources and potential in a country like Montenegro, behind whose rocky landscapes a metaphysical power lies hidden in the mentality, historical memory and geopolitical position of the country.

For the last two years Alen Aligrudic has travelled around his former homeland and photographed, registered and documented the visible decline, the emptiness and at the same time – in glimpses – the natural magnificence of Montenegro.

With the photo series he offers us a journey into a neglected landscape: rapidly decaying abandoned buildings; closed-down factories; dead, rotting animals; and industrial waste. All photographed in vast landscapes empty of human beings, where rocks, seas and forests form the background.

The emptiness is an omnipresent phenomenon. It can be seen purely physically, in the deserted buildings and the visible decay, but the emptiness is also present in the metaphorical sense, where feelings of hopelessness, greed and apathy seem to permeate the grey, desolate landscapes.

Alen Aligrudic works with this lost country in a kind of psychoanalysis of what can happen to the world and the time in which we live – while at the same time analysing human nature more generally. Photography is used as registration and narrative at one and the same time.

– Sara Gjøde and Alen Aligrudic

About Alen Aligrudic
Born 1977 in what was then Yugoslavia. Lives and works in Denmark. Fifth-year student at the Funen Academy of Art. Has a B.A. from the Academy of Perfor¬ming Arts, Department of Still Photography (Prague). Has exhibited in among other countries Denmark, Germany, Sweden and the Czech Republic.
www.alengrudix.dk

To the top

---

Café Biografen

About Lotte Fløe Christensen
Lotte Fløe Christensen is born in 1979 in Ry, Denmark. Lives and works in Copenhagen. Studied until 2007 at The Glasgow School of Art, from where she holds a BA (hons) in art photography. In the course of the BA she studied one semester at The School of Art and Design in Helsinki, Finland. Her photography has been exhibited in Glasgow, Berlin, Arles, Venice and Copenhagen where she last year participated in the exhibit “Nordiske stemninger – vor tids landskabsfotografi” (“Nordic atmosphere – landscape photography of our time”) at ARKEN. In July 2009 a solo exhibition with LFS’s photography is shown in Toronto, Canada.

To the top

---

Funen Graphic Workshop

During the week long project, Hans Jensens Stræde 20 was transformed into a botanical workshop; an Exploratorium where parts from plants and big knarled pieces of bark, placed between two sheets of cardboard, were crushed in the printing press. Finally the cardboard was sealed with varnish and thus ready for printing.

The expression in the final prints was extremely diverse. For example, filigree work, where the only color came from the natural pigment of the plant or the flower. Or black prints using weathered pieces of wood with a beautiful grain. Also, colourful experiments using the ‘á la´poupé’ technique, printing several plates together, or using translucent inks to improve depth. Many interpretations of Landscape were created in print.

To the top

---

Filosofgangen

To the top

---

Søren Dahlgaard:
The Dough Warrior landscape painting, 2008

The Dough Warrior landscape painting, 2008, is a cross-media work, meaning that the work exists in several different media. The event was a 30-minute live performance with many spectators in the park of the Louisiana Museum. Søren Dahlgaard was dressed in a specially designed bread suit where the hands too consisted of baguettes, which were his brushes. He painted in various ways. He tossed the paint through the air with expansive gestures and smeared the paint on the hedge with the baguette brushes with great care and precision.

About Søren Dahlgaard
Born 1973 in Copenhagen (DK)
Søren Dahlgaard studied at the Slade School of Fine Arts in London and graduated in 2002. His teachers were Professors Phyllida Barlow, Stuart Brisley and Bruce McLean.
In the work of Søren Dahlgaard, method is challenged through narrative. His work is conceptual and linked to an extent to the ground breaking Gutai group, the New York avantgarde movement of the 1960´s as well as land art from the 1970´s.
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 and International Prize for Performance, Galleria Civica Museum of Contemporary Art, Trento, Italy.

Back to the list

To the top

---

Tine Hauch-Fausbøll:
Puzzles

In Tine Hauch-Fausbøll’s works the photograph is used as a space in which reality can be arranged. The picture usually includes elements we know, elements of which we have learned understandings, but which take on new meanings through the staging – they are liberated from automated reading and create the potential for a new narrative of space, memory and existence. For example Hauch-Fausbøll uses existing pictures – photographs as well as paintings – and toys and elements from nature in her tableaux.

However, it is in the photographing of these that the illusion really arises, since here she has full control of what is to be seen, and how it is to be seen. She also works with scale as a further challenge to the viewer’s perception of reality, both through the photographing and through the enlargement of the pictures. Small toy figures or rooms in a doll’s house are thus experiences as physically present and draw us into the picture plane, which for Hauch-Fausbøll is a space of play, memory and contemplation.

In the series ‘Puzzles’ she works with nostalgic landscape photographs found on the lids of jigsaw-puzzle boxes, which she uses as a background for her own artistic elabo¬ration with small toy objects. The figures merge thematically and visually with the background scene, and the viewer is left in doubt for a moment about where the illusion begins; the background itself turns out to be a photograph, and with the addition of toy objects that Hauch-Fausbøll positions convincingly, the picture space and its potential for interpretation is expanded. The artificial and sentimental character of the landscape is underscored and repeated in the staging, but at the same time this very device opens up the picture and creates a new, playful narrative.

– Mie V. Jensen

Tine Hauch-Fausbøll
Born 1963 in Denmark. Trained as an art photographer at the Glasgow School of Art. Solo exhibitions at the Bornholm Museum of Art, Galleri Torso (Odense) and Galleri Image (Århus). Has also participated in group exhibitions in among other countries Denmark, Scotland and Sweden.
www.tinehauch.dk

Back to the list

To the top

---

Jakob Jensen

Landscape is archetypal as a visual phenomenon. Over millions of years we have learned to read off visual information from the landscape quickly and efficiently. In the photo series Arizona, begun in 2002, the viewer is confronted with the search of the eyes and brain for recognition and meaning. This is analog photography, not manipulated in a computer.

The exhibition shows bluish landscapes in a process of dissolution or at the moment of creation. For they are created by the viewer as much as by the artist. Small objects and the surfaces of various materials are photographed very close up, so they recall magnificent mountain landscapes. They have a very small depth of focus, and dissolve into diffuse mists, clouds and light reflections, becoming abstract, as in memories and dreams. At the same time there are so few fixed points of reference in focus that it is incredible that we can associate the image with a landscape.

For me it is all about the brain assembling pieces into a picture, but at the same time seeing things that are not there; and details that are there, but cannot be explained, that are disregarded because they do not fit. We cannot rely uncritically on our sense of vision. Metaphorically, it is also about mankind’s infinite urge to change everything in the world in accordance with his own preferences. The aesthetic is smooth and a little too pure.

The pictures are both easy and hard to understand. Like nature – it cannot be understood, it is just there. But you can recognize it and sense it at an unconscious level. This is also where the picture remains suspended, more as a poetic question than an answer...

- Jakob Jensen

About Jakob Jensen
Born 1970 in Denmark. Lives and works in Berlin and in western Zealand, Denmark. Trained at the Muthesius-Hochschule für Kunst in Kiel (1995-2000). Artist and curator. Primarily creates photo-based works. Has exhibited extensively, especially in Germany and Denmark.
www.jakobjensen.net

Back to the list

To the top

---

Myoung Ho Lee

Myoung Ho Lee photographs trees as if he is making portraits. They stand isolated from the surroundings against a white backdrop and become two-dimensional in appearance. The landscape behind is reduced to a background, if not actually just a dark area at the bottom of the picture plane. Myoung Ho Lee chooses particular trees, preferably those with a slender trunk. He only rarely works with those where the trunk is contorted, and the composition is always very precise. The placing of the tree in the picture plane is meticulously calculated.

These ‘portraits’ of trees are far from the botanist’s sober photographing of tree species. Whereas the botanist would focus on the tree typical of the species, Myoung Ho Lee chooses the tree for its own distinctiveness. Perhaps a botanist would even call his portrait of a high-boled birch a badly cropped tree. A forester might think the large elm with its dense crown needs thinning out. Myoung Ho Lee collects pictures of trees. There is a mania in the project that recalls Bernd and Hilla Becher’s conceptual photo-graphy. While they chose water towers, gasometers or half-timbered houses and created innumerable typologies, Myoung Ho Lee has so far concentrated on the tree in his pro¬ject, which therefore also has the simple title Tree.

In order to separate the tree from its surroundings at all, Myoung Ho Lee has created a kind of outdoor studio where two cranes hold a giant linen backdrop up. In the final picture all traces of the cranes have been removed in a digital retouching. Only the tension in the four corners of the backdrop suggests that something is going on that we are no longer allowed to see. What remains is pictures where reality and idea create a new universe.

– Ingrid Fischer Jonge

About Myoung Ho Lee
Born 1975 in South Korea. Art photographer and teacher with a PhD in photography. Has exhibited in both Asia and the USA and has received several awards, including the Photograph Critique Award, The Committee of Photograph Critique Award as well as the Young Photographer Award (Korea).
www.yossimilo.com

Back to the list

To the top

---

Nikolaj Recke

Together the three car tyres in the photographs form the three dots over the i’s in the sentence “I miss Sol LeWitt”. LeWitt, who died in 2007, is considered the father of conceptual art, who revolutionized art in the 1960s with works that were not primarily visually beautiful, but were intellectually stimulating; works where the idea preceded the image. Conceptual art constitutes a recurrent inspiration in Nikolaj Recke’s works, and the sentence can thus be read as homage to LeWitt, addressing his absence as a person and his presence as an idea. But more generally too as homage to art as an idea and a tool with which to reflect on the world.

It is not any old landscape that the car tyres are placed in. It is the American South West, not only the source of the mythology of the Wild West, but also the home of the ‘Land Art’ which, in the 1960s, revolutionized art by defying the convention that the work of art necessarily belonged in the white space of the gallery. Land Art broke out of the gallery and explored the whole world not only as its exhibition space, but also as its material. In this context the car tyres can be seen as a reference to the fact that one can only access most Land Art works by car, since they are located in desolate, remote areas of the landscape.

With simple means, understatement and finesse the three photographs are an investigation of the possibility of relating to (art) history and the landscape through art by making a mark, in Recke’s case in the form of a tyre.

– Jacob Lillemose

About Nikolaj ReckeBorn 1969 in Denmark. Trained at the Royal Danish Academy of Fine Arts (1989-95). Works with photography, video and drawing. Has exhibited in Europe, the USA and Asia. Founder of the digital exhibition platform www.artnode.org.
www.nikolajrecke.dk

Back to the list

To the top

---

Luzia Simons

Landscape consists of many things. The broad lines are created by innumerable elements, of which the flower is one very small part. For Luzia Simons, however, the flower is her whole world, and it is not just any flower, but the tulip and only the tulip that interests her. This ornamental plant was originally imported to western Europe in the sixteenth century from Turkey and very quickly became extremely popular. It has many varieties, and more are being created all the time.

Luzia Simons moves between the evidently visible and the many cultural codes associated with the iconography of the flower. In particular, the withered flower often appears as a Vanitas symbol, but the tulip also sometimes has erotic connotations. Thus we can get very far away from the pretty tulip in the garden in Luzia Simons’ photographic oeuvre.

In the video work Stockage 0 time is made visible by means of the static focus on the flower, which slowly withers and becomes gossamer-thin. The process of aging is inexorable, but does not become ugly in Luzia Simons’ interpretation. On the contrary, the process proves to have its own beauty, which softens the harsh message.

However, Luzia Simons also often lets the flower unfold in all its glory in colour photographs in colossal format. Here one’s thoughts turn to the oriental aesthetic in which the tulip also has its origin.

About Luzia Simons
Born 1953 in Brazil. Lives and works in Germany. University degree in history, Paris VIII, Vincennes and in art studies from the Sorbonne. Works with photography and video. Has exhibited all over the world.
www.luziasimons.de

Back to the list

To the top

---

Arvid Sveen

The project can be described, in simple terms, as an artistic, meteorological, visual portrayal of the mountain Tromsdalstinden throughout the year. All the pictures were taken from the same spot and show the same limited section. This means that the mountain’s many faces and changes in light, different weather and seasons emerge clearly. The number of appearances is endless, and my choices are not objective. But the intention, asks Peter Wessel Zapffe, the point and the objective? He talks about mountain-climbing – I about the project Tinden (The Summit). I moved from low horizons to Tromsø, without knowing how I would approach all the mountains photo¬graphically. The summit is powerfully present in this city. I wanted to find out what visual experiences it could give me. Finally, and – to keep the record straight – I too have been a the Summit, once.

Arvid Sveen 2006

According to Sámi tradition, Tromdalstinden is a sacred mountain. When the Sámi passed the mountain with their reindeer on their way towards the sea in the summer, or on their way back towards Sweden, they greeted the mountain with reverence. Some asked for luck and good fortune, good health or to be allowed to keep their reindeer herd and thus their livelihood. One had to go around and beneath the mountain, not too close and not on the mountain. Not a stone had to be moved.

It is therefore a very special mountain Arvid Sveen has photographed. Once a sacred mountain, now a symbol of the city of Tromsø. By re-photographing the mountain through the course of the year and various types of weather, he has almost scientifically documented the visual form of the mountain, but has also created pictures which sometimes refer back to earlier pictorial traditions such as that of 19th-century Romanticism or the 20th-century National Geographic. And then there are pictures that extend beyond ordinary imagination and insight, but unfold with a distinctive colour palette and stoic calm. All the pictures are published in the book Tinden. Portretter / Portraits, which appeared in 2006.

About Arvid Sveen
Born 1944 in Norway. Visual artist, photographer and graphic designer. Solo exhibitions all over Scandinavia. In 2004 received the Finnmark County Culture Award. Is represented in many public and private art collections. Has exhibited all over the world.
www.arvidsveen.com

Back to the list

To the top

---

Myne Søe-Pedersen:
Untitled Series 2001-2009

The photographs in Untitled Series 2001-2009 show a number of old books. Nevertheless the subject of the series is not the books as such. Søe-Pedersen has photographed them with an analog technique where the books have been lit from below, which means that shadows only fall on the top surface and around the folds on the cover. The book, a three-dimensional object, thus appears two-dimensional, and the subject of the representation becomes the actual surface of the dust cover. The result is abstract and invites the viewer to look at the subject in another way than if the titles of the books had been featured and linked associatively with the content of the books. The choice of shooting technique involves a wish to create a situation of exclusive concentration on the surface. Moreover, the enlarged format means that the reproduction is displaced from a 1:1 coding. Instead a number of details appear: scratches, folds, faded corners and worn edges – all bearers of knowledge about the use and life of the objects. A common feature of the series is that the front covers of the books present a variety of depictions of the landscape, but their geographical origin or any real locality is difficult to place. At the concrete end of the spectrum an idyllic country road appears with a blue sky and summery clouds. Among the more abstract is an urbanized landscape shown in a bird’s-eye view, looking most of all like an artificial town created as an architectural model. Søe-Pedersen’s conceptual approach emancipates the subject, and in a kind of double image two landscapes appear across each surface – the traces of the ravages of time and the motif specifically depicted on the cover. Through Søe-Pedersen’s lens the consequences of the books’ lives in the schoolbag, on the living-room table, in the summer cottage etc., are elevated so they bear up a narrative as significant as the stories written down inside the books. The presence to be found in the details is exposed to the viewer, and this is a general interest in Søe-Pedersen’s photographic works, which are often concerned with the exploration of the photographic medium in itself and its relation to time and presence.

- Stine Hebert

About Myne Søe-Pedersen
Born 1972 in Denmark. Trained at the Gerrit Rietveld Academie, Amsterdam (1998-2001) and the Cooper Union School of Art, New York, USA. Has exhibited in many places in Holland and Denmark, including the Spring Exhibition at Charlottenborg. Recipient of Berlage Fund grant at Gerrit Rietveld Academie in 2001.
www.mynesoe.net

Tilbage til listen

Til toppen

---

Pétur Thomsen:
Imported Landscape

In the year 2003 The National Power Company of Iceland started the building of the 700 MW Kárahnjúkar Hydroelectric Project in eastern Iceland. The project consists of three dams, one of them being the highest in Europe, and a hydroelectric power plant. The dams block among others the big glacial river Jökulá á Dal, creating the 57km2 artificial lake Hálslón.

The Power plant is primarily being constructed to supply electricity to a new Aluminium smelter built by Alcoa of USA in the fjord of Reyðarfjörður on the east coast of Iceland.

The artificial lake and the constructions have spoiled the biggest area of wild nature in Europe, making the Kárahnjúkar project not only the biggest project in Icelandic history, but also the most controversial one. There have been a lot of debates about this project. Environmentalists are fighting for the preservation of the wild nature while those supporting the project talk about the need to use the energy the nature has to offer.

The best way for me to participate in the debate was to follow the land in its transformation. Since the beginning of the project in 2003, I have been going regularly to the construction site, taking landscape photographs showing a contemporary Icelandic landscape.

- Pétur Thomsen

About Pétur Thomsen
Born 1973 on Iceland. Trained at École Nationale Supérieure de la Photographie (ENSP) in Arles (2001-2004) and École Supérieure des Métiers Artis¬tiques in Montpellier (1999-2001). Has exhibited all over the world.
www.peturthomsen.is

Back to the list

To the top

---

Carina Zunino:
Red Desert & Drifting (video)

Tumultuous silence and the intense presence of eternity.

In her works Carina Zunino explores how we experience our surroundings and relate to scale (body in space) and time (the present and memory).

The video “Drifting” consists of a single image of a ‘classic’ landscape. A large-scale projection of an apparently motionless landscape. The small nuances are revealed at the end in the film, when you see what is actually happening in the landscape as you watch it.

In “Drifting” Zunino focuses on optical illusion as an element of human per¬ception when we encounter nature with our intellect and our body. What do we see? And what do we experience ourselves as seeing?

The music for “Drifting” has been composed and put together by the musician Signe Gjesing.

The work “Red Desert I-V” is a panorama of desert pictures, rounded off at each end by a road. We are presented with a vast, desolate and impenetrable landscape which nevertheless opens up in fissures for a road through it. It is in the combination of the two-dimensional subject and the three-dimensional paper that your thoughts are guided towards both nothingness/timelessness and a ‘here and now’, and to mental and physical space at the same time.

Each picture has been manipulated in several ways: on the one hand it has been given a colour shade that plays up to our individual colour associations and which at the same time removes all black and white from the pictures and gives them an indistinctness that dislodges them from the realism of the photograph. Then they are cut with a knife so that the experience of the two-dimensional pictorial world at the same time becomes an experience in the viewer’s own three-dimensional space.

About Carina Zunino
Born 1974 in Denmark. Trained at the Royal Danish Academy of Fine Arts and the Chelsea College of Art and Design, London. Works with photography, video and installation. Has exhibited in many places in Europe. Exhibits at Filosof¬gangen, Odense.
www.carinazunino.dk

Back to the list

To the top

---

Vollsmose Kulturhus

The pictures are shot with a hand-held camera through the open window while the plane rolls about 45-60 degrees to the left to get the almost vertical angle. With the camera in one hand and the joystick in the other Jan Winther Kofod takes photographs that are only rarely cropped afterwards. The pictures are com-posed at the moment of shooting. This is an achievement in itself, considering the conditions.

Jan Kofod Winther’s technique is called vertical photography. The photographs are usually taken from a great height and were originally used for among other things surveying or military purposes. Today vertical photography is used in connection with urban planning, environmental studies, archeological investigations etc., but also as Jan Kofod Winther uses it.

Another technique is so-called oblique photography, which is used in connection with the photographing of properties and built-up areas in general. This is done at a low height, but cannot capture the abstract patterns and structures that can be seen in the landscape. Jan Kofod Winther focuses on just this – the sometimes abstract formal idiom of nature and the collective formal language of human beings when it comes to expression in the spaces of the city and the cultural landscape. But he is also preoccu¬pied with the transient encounter between nature and mankind, an encounter that does not leave permanent traces, but which can bring poetry to everyday life.

– Ingrid Fischer Jonge

About Jan Kofod Winther
Born 1950 in Denmark. Aerial photographer. Has taken pictures since the 1980s and exhibited at among other places the Øregaard Museum, the Danish Museum of Contemporary Art, Brundlund Palace and Kristianssund.
www.winther-airphoto.com & www.janwinther.dk

To the top

---

RINGE

---

Faaborg-Midtfyn Bibliotekerne
Ringe Bibliotek

About Michael Marten
Born in London in 1947. His first job was caption writer for the Camera Press photo agency. In 1973-74 he was one of a group who published An Index of Possibilities, an 'alternative' encyclopaedia of ideas. In 1979 he started Science Photo Library, a photo agency specialising in science and medicine. Since 2003 he has concentrated on landscape photography. His first series was Five Walks on Ansty Down (2004). He has been working on Sea Change since 2003. The work has been exhibited in May 2009 at the Blue Sky Gallery in Portland, Oregon, and in September 2009 at the Grazia Neri Gallery in Milan. Michael lives in London with his wife Caroline.
www.michaelmarten.com.

To the top

---

SVENDBORG

---

Naturama

It is therefore no random river that Müller-Pohle has chosen for his project, but a river that has played a major role in the history of Europe. In the project he has sailed down the river with his underwater camera in his hand and photographed at the water’s edge, so that both the world above the water and the world below the water are included in a single picture. This has resulted in some very surprising pictures, poetic in character, but also slightly ominous. They are rather reminiscent of David Lynch’s introductory scene in the film Blue Velvet (1986), where you see a peaceful suburban lawn which on closer scrutiny turns out to be full of hordes of voracious insects. Two worlds clash in an invisible drama.

Andreas Müller-Pohle also has another agenda. He has taken water samples in connection with each shot and can thus tell us about the river’s content of nitrates, phosphates, cadmium etc. It becomes clear that the closer the river gets to its mouth in the Black Sea, from the Romanian side, the more polluted the water becomes. He mixes science and the actual quantifiable results with an artistic idiom in the form of the picture, thereby creating a statement that has a clear political tone.

- Ingrid Fischer Jonge

About Andreas Müller-Pohle
Born 1951 in Germany. Lives in Berlin. Photo and film artist as well as publisher and teacher. In 1980 founded the magazine European Photography. Has had many exhibitions in Europe, the USA and Japan. In 2001 was awarded the Reind M. De Vries European Photography Prize.
www.muellerpohle.net

To the top

---

FotoTriennale.dk, Museet for Fotokunst, Brandts Torv 1, DK - 5000 Odense C, Denmark, E-mail: info@fototriennale.dk