Group show: I mellem tiden

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“I Mellem Tiden” (translation: In between Time)  highlights young photography and is a visual representation of how it can feel to be young and in between places - physically as metaphorically. Five young photographers each bring their own interpretation based on what it means to them in their lives. 

The exhibition is an invitation to stop and reflect on how it feels to be young today, with everything it includes of insecurities from not following the common timeline, the euphoria of having found your calling, the doubt from your choices and so on. At the same time, it is also an insistence on giving more room for slowness and reflection in a time filled with high demands and expectations. Hopefully, it can evoke recognition, strengthen and inspire especially those who, like us, do not necessarily follow a completely stringy existence and may at times feel lonely as a result.

 

Artists:

Cecillie Klausen

Emma Surya Petersen

Ingrid Johanne Møinichen

Johanna Sofie Sylvest

Maja Marie Aabye

 

Åbningstider:

5/6 17-21

6/6 12-18

7/6 15-20

8/6 15-20

9/6 15-21

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“I Mellem Tiden” er en udstilling, der sætter fokus på det unge fotografi og er en visuel repræsentation af, hvordan det kan føles at være ung og imellem steder fysisk som metaforisk. Fem unge fotografer kommer med hver deres visuelle fortolkning med udgangspunkt i hvad det betyder for dem. 

Udstillingen er en invitation til at stoppe op og reflektere over det at være ung i dag; med alt det, der medfølger af bl.a usikkerhed over ikke at følge den gængse tidslinje, euforien over at have fundet det, man brænder for og tvivlen om de valg man har taget. Samtidig er den også en insisteren på at give mere plads til langsommelighed og refleksion i en tid fyldt med høje krav og forventninger. Forhåbentlig kan det vække genkendelse, styrke og inspirere især dem, der ligesom os, ikke nødvendigvis følger en helt snorlige eksistens og kan føle sig ensomme i dette.

 

Kunstnere:

Cecillie Klausen

Emma Surya Petersen

Ingrid Johanne Møinichen

Johanna Sofie Sylvest

Maja Marie Aabye

 

Opening hours:

5/6 17-21

6/6 12-18

7/6 15-20

8/6 15-20

9/6 15-21


Alexandra Rose Howland: Leave and Let Us Go

Alexandra Rose Howland (1990, US/UK) has spent the last decade living in the Middle East and creating work that challenges traditional coverage of the region and its geopolitics. Her background as an abstract painter continues to impact her work, leading to a multidimensional practice using imagery, found objects, collage, sound, and video.

As a public, we are bombarded with outside perspectives that fuel a preconceived and often false narrative and understanding of who people are and what they experience. Through her work, Howland explores new ways of using imagery, occupying public spaces, and encouraging people to witness the diversity of humanity, regions, and events in a more inclusive way.

Howland immerses her audience within the work as an experience rather than making them passive observers. By creating an interactive dialogue, her work creates a more honest understanding of ‘the other’ while simultaneously battling the contemporary conundrum of image saturation.


Krista Svalbonas: Displacement

The American-Latvian artist and this year's solo artist in the Framing Vision category, Krista Svalbonas, is fascinated by the effect of architectural form and structure on the psychology of the human condition and her cultural background as an ethnically Latvian/Lithuanian artist informs this interest. Krista ́s parents spent many years after the end of World War II in displaced-person camps in Germany before they were allowed to emigrate to the United States.

Svalbonas's exhibition "Displacement" investigates her family's childhood memories of temporary housing structures, that were appropriated from other (often military) uses to house tens of thousands of postwar refugees. Svalbonas's connection to this history has made her acutely aware of the impact of politics on architecture, and in turn on a people’s daily lived experience. Svalbonas ́s work explores architecture’s relationship to cultural identity, social hierarchy, and psychological space.


Group show: Skabertrang

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Skabertrang is a creative workshop for the mentally vulnerable in Copenhagen at Aftenskolen Fountain House. Created during the Corona period, to spread communities and creativity. The photography team ‘Foto med Nye Øjne’ has been one of the many creative teams at the evening school and here many students have opened their eyes to the wonderful world of photography.

 The works in the exhibition ´Mid-Space´ in the Social Flower Garden are the result of creative tasks and processes. The photographic medium plays a major role both as a visual expression, but also as a photograph of other artistic modalities such as painting, drawing, collage, sculpture and poetry.

The creative process creates a free space. In that free space arises the opportunity to express thoughts and feelings that are otherwise difficult to describe. In the common creative space offered in Aftenskolen Fountain House, you can work in small groups with teachers specializing in their subject and in the creative workshop Skabertrang, two artists/teachers are present. Here are spaces that are safe. Where there is no right and wrong. The communities here are spacious. It's ok to have a bad day and here you can share your story with others. Learning is in focus, because learning something new and expressing oneself can expand the horizon and lead to new paths in life. Here you are not alone.

The title ‘Mid-Space’ alludes to the spaces we do not see. The spaces that exist between objects, words and tones, between people and between actions. A kind of intermediate stage or invisibility.

We hope you enjoy the exhibition and the garden.

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Skabertrang er et kreativt værksted for psykisk sårbare i København i Aftenskolen Fountain House. Skabt i perioden med Corona, for at udbrede fællesskaber og kreativitet. Fotoholdet ‘Foto med Nye Øjne’ har været et af de mange kreative hold på aftenskolen og her har mange kursister fået øjnene op for fotografiets forunderlige verden. 

Værkerne i udstillingen ´Mellem-Rum´ i Den Sociale Blomsterhave er resultatet af kreative opgaver og processer.  Det fotografiske medie spiller en stor rolle både som visuelt udtryk, men også som en affotografering af andre kunstneriske modaliteter som maleri, tegning, collage, skulptur og poesi. 

 Den kreative proces skaber et frirum. I det frirum opstår muligheden for at udtrykke tanker og følelser, som ellers er svære at beskrive. I det fælles kreative rum i Aftenskolen Fountain House kan der arbejdes på mindre hold med undervisere specialiseret i deres fag og i det kreative værksted Skabertrang er to kunstnere/undervisere til stede. Her er rum der er trygge. Hvor der ikke er rigtigt og forkert. Fællesskaberne er rummelige. Det er ok at have en dårlig dag og her kan man dele sin historie med andre. Fagligheden er i fokus, for det at lære noget nyt og udtrykke sig kan udvide horisonten og fører til nye veje i livet. Her er man ikke alene.

Titlen ‘Mellem-Rum’ hentyder til de rum, vi ikke ser. De rum der er mellem objekter, ord og toner, mellem mennesker og mellem handlinger. En slags mellem stadie eller usynlighed.

Vi håber du nyder udstillingen og haven.

Alle på Skabertrang, kursister på Aftenskolen Fountain House, Skoleleder Henriette Bundgaard, kunstner og underviser Henriette Lykke, kunstner og underviser Ania Arturo.


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.

 


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.


Astrid Kruse Jensen: Resonance

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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.


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.


Female art photographers take center stage

On June 2.-12. 2022, Copenhagen Photo Festival, which is the largest photo festival in the Nordic region,
opens up for reflection and play with the boundaries of photography in collaboration with galleries,
museums and cultural actors in Copenhagen and Scania. The festival center is located at the artificial island
Refshaleøen in Copenhagen, where three international female art photographers are among the highlights.
With humor, diversity, and artistic finesse, they portray new aspects of common narratives of the media,
society and history through the art of photography.

On 2-12 June Copenhagen Photo Festival will for the 12th time open all over Copenhagen with three
international women's lens-based art in focus. Hien Hoang, Alexandra Rose Howland and Krista Svalbonas
won the Copenhagen Photo Festival's open call, and will exhibit at the festival center on Refshaleøen. Each
of the artists blurs the boundaries between documentation and art, leaving a personal and highly topical
impression.

Stereotypes, conflict zones and a highly topical depiction of escape

Vietnamese Hien Hoang won in the category Framing Identity with the project ‘Asia Bistro - Made in Rice’. In
her works, she confronts us with classic notions of Asian culture. In the Framing Society category, the
Anglo-American artist Alexandra Rose Howland won for the project ‘Leave and Let Us Go’. Through collages
of everyday images collected from the inhabitants of Mosul, she strives to unfold a more nuanced and
diverse image of the war-torn region, which is often only known through the media coverage.
American-Latvian-Lithuanian Krista Svalbonas won in the category Framing Vision, which honors an
aesthetic visionary project. With ‘Displacement’, she explores the history of her parents and grandparents.
After Russia's invasion of the Baltic countries in the 1940s, they were driven into exile and housed in camps
for displaced people in Germany. The project illustrates the unfortunate story of displaced people for whom the idea of "home" is undermined by political agendas beyond their control. The war in Ukraine puts her
historically investigative works in a frighteningly contemporary perspective.

The festival gathers Danish photography and puts a long-term focus on talents

In addition to the three solo exhibitions, this year’s festival highlights emerging talents and leading Danish
photographers. According to Managing director Maja Dyrehauge Gregersen, it is important that the festival
shows the audience the quality and diversity that the Danish photo scene has to offer.

“Copenhagen Photo Festival is the natural gathering place for leading actors within Danish photography. I
am particularly proud that this year’s festival presents many internationally oriented and entrepreneurial
actors from the Danish photo and art scene. Amongst other, there will be exhibitions, a market for photo
books, and activities from the Photojournalist education at DMJX, TOFU Collective, Fotogodsbanen from
Århus, PhotoScope from Hillerød, Blankt Papir Press and many more”, says Maja Dyrehauge Gregersen.

Another central part of the festival's work is to lift the Danish talent pool. At the festival, you can therefore
once again experience Futures Nordic Talents, which presents the five photographers Iben Gad, Inuuteq
Storch, Luna Scales, Oscar Scott Carl and Tine Bek. The Futures Nordic Talents initiative is a talent program
that helps accentuate emerging Danish photographers. It is supported by the EU's cultural support program
Creative Europe and runs until 2024.

Activities for photo enthusiasts throughout Copenhagen

At the festival site at Refshaleøen, you can look forward to a sharp program of workshops, talks, music and
guided tours, which will be held throughout the festival period. Here you can learn more about
photography, play with the media's tools or just enjoy the festival atmosphere. There is also ample
opportunity to experience the photographic media unfold throughout many of the art galleries, museums,
and cultural institutions across Greater Copenhagen, for example at Fotografisk Center, Martin Asbæk
Gallery, Alice Folker Gallery, NW Gallery, Banja Rathnov Gallery and Clausens Kunsthandel, together with
Det Grønlandske Hus, Landskrona Foto og Galleri Format in Malmö amongst others. Copenhagen Photo
Festival 2022 is currently supported by the City of Copenhagen, Det Obelske Familiefond and Creative
Europe – the EU's cultural support program.

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About Copenhagen Photo Festival

On 2-12 June 2022, the Nordic region's largest photo festival kicks off for the 12th time. The festival is held
in close collaboration with galleries, museums and cultural institutions in Copenhagen and southern
Sweden. Every year established and budding Danish and foreign photographers contribute, and the festival
is visited by approximately 55.000 people. The festival puts photography on the agenda under the three
main pillars Framing Identity, Framing Society and Framing Vision through exhibitions, workshops, talks,
portfolio reviews and social events.


Gerry Johansson: The Books

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“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.