Alain Delorme: Totems

Svensk nedenfor

Alain Delorme, born 1979, is a French photographer who has had acclaimed exhibitions in museums and galleries around the world. His ‘Totem’ series from 2010 shows men who transport unreasonably high stacks of goods on bicycles and cars through the city. The photographs have been called “masterful expressions of China – the world’s factory and the market economy’s new El Dorado.” But all that shines in the east is not real gold. Nor is it the case with these photographs.

The images are altered in Photoshop, and Alain Delorme is not trying to hide this fact. Rather the 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 the 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 the city the picture was taken. I increased the amount of goods on the vehicles to give the impression that the carrier, usually a migrant, is being swallowed up. I wanted to show a form of slavery. The symbols of wealth that the migrants shipped around were a shocking contrast to their own poverty.“

At first, Western viewers do not usually notice the manipulation: “That’s surely what China’s mass production system looks like.” 

But then the feeling creeps in that the height of the stacked goods cannot possibly be true. An interpretation of the artist’s intentions emerges: Men on bicycles are rushing against a backdrop of pulsating construction sites. A city is in a race towards the future. Skyscrapers are the 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 the same time. We cannot continue like this. Sooner or later, everything will collapse.

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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

Dansk tekst nedenfor

The Danish artist Niels Nedergaard was known for his painting rather than for his photography. Nevertheless, the photographs featured in this exhibition offer excellent insight into the 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 the next seven years, the Egyptian capital was his permanent base, and his direct access to the pulse of Cairo life and the city’s Arab architecture and ornamentation prompted him to develop a geometric, colourful style of painting unparalleled in Danish art.

The photographs in the exhibition testify to the inspiration Nedergaard drew from the megacity’s past as well as the present, and from its daytime and night-time faces. The stark contrasts of Cairo, its richly diverse lifestyles, the spiritual life of the Sufis, and not least men and the brightly coloured lights of the night streets are among the themes appearing in the relatively few, but strongly personal photographs. The photographic material is accompanied by specially selected drawings and paintings by the artist, most of which are exhibited here for the first time. Nedergaard’s own voice can also be heard: the last room of the exhibition presents a TV broadcast focusing entirely on Nedergaard, shown on Danish national TV (DR) in 1985.

The photographs in the exhibition are all sourced from Nedergaard’s family, friends and acquaintances. Some of the photographs are presented as original prints, while others are new prints from more or less battered negatives also found among the surviving archive materials. It is not always clear whether Nedergaard himself pressed the camera button, or whether it was operated by friends. It is certain, however, that he deliberately used and preserved the prints chosen for display.

Nedergaard returned to Denmark in 1986. He died the following year due to an AIDS-related illness at Rigshospitalet in Copenhagen. To this day, he remains one of the most prominent visual artists of his generation and a rare representative of artistic work carried out in the field where Eastern and Western traditions intersect.

The 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 the show. Created in collaboration with Strandberg Publishing, the book features articles by Johan Zimsen Kristiansen, Jakob Skovgaard-Petersen, May el-Toukhy and Peter Wandel. Read more here.

The book is available in the museum shop, priced at DKK 150. An exhibition poster is also available for DKK 40.

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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.


Gerry Johansson: The Books

Dansk nedenfor

“I travel to places, observe them, and try to figure out what they represent.” 

Given the thousands of places around the world that Gerry Johansson has observed over the 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 the darkroom of his basement that the 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 the 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 the moment, walked out of the 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 the photographs depict a place, hardly a single one showing a human being.

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”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.


Diane Arbus Photographs, 1956-1971

NB! With a CPF Festival Pass you get 50% off on a ticket to Louisiana in the festival period 2-12 June.

Louisiana presents the 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 the most significant artists of the 20th century. The direct, even confrontational, gaze of the individuals in her photographs remains bracing to our eyes still today – provoking recognition, empathy and unease.

THE RANGE OF HUMANITY

The 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.

AN ARTIST'S EVOLUTION

Highlighting her evolution as an artist over fifteen years, the exhibition 'Diane Arbus: Photographs, 1956–1971' features 150 photographs, drawn from the Art Gallery of Ontario’s collection and representing the full chronological arc of Arbus’s work.

From the early, intimate 35mm format prints to the sharply focused square format she embraced after 1962, these photographs allow us to trace the artist’s evolving vision as part of a changing social landscape. While early works reveal an artist gripped by the range of humanity and life as it unfolded on the street, the 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 the couple worked together – he as photographer, she as stylist, producing photographs for fashion magazines. Although she started making pictures for herself in the early 1940s, it was only in 1956, when she numbered a roll of film #1, that she began seriously pursuing the work for which she has come to be known.

Go to Louisiana's website


Trine Søndergaard: Faraway Nearby

Dansk tekst nedenfor

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 the title “Faraway Nearby”. In the works, Søndergaard unites the photographic gaze, Greve Museum's historical textiles, and local young people who have been models for the new portraits.

In the photos, the material cultural heritage and art's searching and sensuous approach to history is brought together. In all of the works is a distinct interest in time. Or perhaps, in fact, a dissolution of time, as the artist manages to create motifs across past and present.

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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.


Paolo Di Paolo x Pier Paolo Pasolini: La lunga strada di sabbia (The long road of sand)

La lunga strada di sabbia (The long road of sand) - photographs by Paolo Di Paolo and texts by Pier Paolo Pasolini

On the occasion of the 100th anniversary of Pier Paolo Pasolini's birth, the Italian Cultural Institute in Copenhagen presents the exhibition "La lunga strada di sabbia" (The long road of sand) by photographer Paolo Di Paolo and author and film director Pier Paolo Pasolini. The exhibition enholds many unpublished black and white photos, videos and documents, curated by Silvia Di Paolo, in collaboration with Fondazione Sozzani and under the patronage of Centro Studi Pasolini.

In 1959, Paolo Di Paolo was 34 years old and had photographed for five years for the 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, the "economic miracle" had just begun. The newspapers tended to present a microcosm of mythical characters, as an alternative to the gray everyday life, to the fear of war, to the great emigration, and to the poverty that was not yet a distant past.

Arturo Tofanelli, director of the magazine Successo and the weekly magazine Tempo, hired the two talents, who did not know each other, to report on the Italians' summer holiday, a report which was subsequently printed in Successo in three sections.

The author and photographer set off from Ventimiglia with the plan to travel along the coasts of Italy to the south and subsequently up the opposite coast to Trieste. But they had different visions for the 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 the future. I also came up with the title 'The long road of sand', which should indicate the Italians' arduous journey to achieve prosperity and vacation."

A complex, delicate partnership emerged, which was to unite them only in the first part of the journey, but which was consolidated in mutual respect and trust.

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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.


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 the seamless ideology of the 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 the 32nd Images Festival in Toronto, the 31 Stuttgarter Filmwinter in Stuttgart and the 7th Medrar Video Festival in Cairo.
The exhibition is generously supported by Malmö Stad, the Swedish Arts Council, and Arts Council England and is also a part of Copenhagen Photo Festival 2022. The 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 the utilisation of the 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 the Norwegian artist-run publishing platform, Heavy Books.

 


Astrid Kruse Jensen: Resonance

Dansk tekst nedenfor

Astrid Kruse Jensen presents new works in her upcoming exhibition Resonance at Martin Asbæk Gallery. The exhibition includes both cyanotypes and works created by using polaroid film.

In her artistic work, Astrid Kruse Jensen has constantly explored the 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 the 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 the upcoming exhibition.

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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.


Irina Rozovsky: Behind the Trees

Harbo Bar presents a selection of works by the praised and acknowledged photographer Irina Rozovsky. Photographs from her latest projects reveal her extraordinary talent to notice and capture diverse life among the trees, shaping stirring images of moments filled with serenity and calmness.

We can follow her into these small landscapes that appear quite familiar as ideal. People inhabit beautiful public spaces to find their perfect spot for some privacy to act their at times mysterious or pure and outright rituals. Strolling with Irina Rozovsky through leisure shaped nature, we wander and wonder about peoples little pleasures in plain air. 

Though strongly related to a documentary tradition these images have an open and exploring character, often with a narrative twist, that reminds us about the nature of poetry.

“…It is a little like the difference between poetry and prose. In prose, the gaps are filled. Language is used to explain, clarify, articulate. Prose tells us what the writer knows, often suggesting to the reader what to think. Poetry, on the other hand, is as much about what is not said, as what is. It encourages the reader to look, think and draw their own conclusions. To inhabit the spaces between things…” (Editor Georgina Reid on gardens in Wounderground journal)

Harbo Bar is happy to exhibit a special small combination of motives curated by Lene Harbo Pedersen from the book In Plain Air. A long term project Irina Rozovsky photographed within Prospect Park, Brooklyn, NY 2011-2020. As a book published by Mack in 2021. These motives are accompanied by two images of the unpublished, latest series Traditions Highway.

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Harbo Bar præsenterer et udvalg af værker af den roste og anerkendte fotograf Irina Rozovsky. Fotografier fra hendes seneste projekter afslører hendes ekstraordinære talent for at lægge mærke til og indfange mangfoldigt liv blandt træerne, der danner rørende billeder af øjeblikke fyldt med ro og sirenitet.

Vi kan følge hende ind i disse små landskaber, der fremstår velkendte dog ideelle. Folk indtager disse billedskønne offentlige rum for at finde deres perfekte enemærker til lidt privathed, således at de kan udføre deres til tider mystiske eller jordbundne, autentiske ritualer. Når vi slentrer med Irina Rozovsky gennem formet natur, bevæges vi og forundres over folks små fornøjelser udenfor - ’en Plein Air'.

Selvom fotografierne er stærkt relateret til den dokumentariske tradition, har disse billeder en åben og udforskende karakter, ofte med et narrativt twist, der minder os om poesiens natur.

“...Det er lidt ligesom forskellen mellem poesi og prosa. I prosa udfyldes hullerne. Sproget bruges til at forklare, præcisere, formulere. Prosa fortæller os, hvad forfatteren ved, og foreslår ofte læseren, hvad han skal tænke. Poesi handler derimod lige så meget om, hvad der ikke bliver sagt, som hvad der er. Det opmuntrer læseren til at se, tænke og drage deres egne konklusioner. At bebo mellemrummene mellem ting ..." (Redaktør Georgina Reid om haver og parker i Wounderground journal)

Harbo Bar er begejstrede over at udstille et særligt udvalg af motiver kurateret af Lene Harbo Pedersen fra bogen In Plain Air, et langvarigt projekt fra Prospect Park, Brooklyn, NY fotograferet af Irina Rozovsky i 2011-2020. Projektet blev udgivet som bog på forlaget Mack i 2021. Disse motiver ledsages af to billeder fra en upubliceret serie, Traditions Highway.


Hien Hoang: Asia Bistro – Made in Rice

In the exhibition Asia Bistro – Made in Rice exhibited at the venue FRAME in the Festival Centre, Hien Hoang's explores stereotypes, clichés and discrimination against Asians in the West.

The winner of this year's open call in the category Framing Identity, Hien Hoang (born 1990), is a multimedia artist from Vietnam, now living in Hamburg, Germany. She is interested in the concepts of symbol formation, perception and identities. Her work is a combination of photography, performance, sound and installation, and she often combines her works with the existing space and landscape to add multiple layers and change the context.

Hien Hoang’s work has been exhibited at Planten un Blomen Hamburg (DE), Art Houses – old Parliament Singapore (SNG), Kunsthaus Hamburg (DE), Melkweg Amsterdam (NL), Begehungen Chemnitz (DE), and Museum Belvédère (NL), among others.