OPEN CALL 2023 – Last Call for Entries

The deadline for submissions for our OPEN CALL 2023 is rapidly approaching and we are looking so much forward to exploring your take on this year's theme: 'Rewilding'. You can of course read much more about the call via the link below, but most importantly please note that:

The deadline for submission is 1 November!

In the video below Maja Dyrehauge Gregersen, our very own festival director and member of the jury selecting the winners of the OPEN CALL 2023, takes us on a tour of the festival exhibition park on Refshaleøen and introduces the open call, the overarching theme of ‘rewilding’ and some of the many possible ways to approach the theme. 

“What happens if we want to ‘rewild’ photography? Rewild photo journalism? The story? The snapshot?” - Festival Director Maja Dyrehauge Gregersen

Go to the open call submission page here

Learn more about the open call 2023 here


Make Photography Wild Again!

Dansk tekst nedenfor 

As a new initiative Copenhagen Photo Festival launches its Open Call 2023 under the overarching theme of ‘Rewilding’, which highlights sustainability and Copenhagen’s appointment as UNESCO’s World Capital of Archetecture in 2023. With the theme ‘Rewilding’ the festival encourages artists, talents and photographers to think ‘wildly’ and set photography free. The winners of the call wins a solo exhibition during next year’s festival in June.

An urban wilderness in the middle of Copenhagen may not be the most obvious exhibition venue, but the old Danish industrial giant B&W’s shipyard, which is placed on the island of Refshaleøen in the sweet spot between Copenhagen Contemporary, Michelin-Restaurant Alchemist and Reffen Street Food, has for several years been a green exhibition space and backdrop for Copenhagen Photo Festival.

The place is a historical piece of land in the midst of an industrial urban space which once laid ground to the building of ships. Since then rose hips, trees and wildflowers have taken over the former building site. 

Sustainability and ‘Rewilding’

In 2023 the festival focuses on the topical concept ‘Rewilding’: “with our theme we address a current agenda and invite artists and photographers to expand the usual exhibition conventions – glas and frame on white walls – and explore new perspectives on urban spaces and sustainability. On ‘Beddingen’, as the former shipyard is known, we have an exceptional opportunity to lay out an urban landscape to this challenge – and to rewild photography,” says festival director Maja Dyrehauge Gregersen. 

‘Rewilding’ 

The theme ‘rewilding’ is particularly relevant as Copenhagen will bring special attention to sustainability in 2023 as UNESCO’s World Capital of Architecture which will focus specifically on the UN’s 17 sustainable development goals. ‘Rewilding’ refers to a process where nature regulates itself without interference from humans and without serving human purposes 

The term has in recent years been used to propose solutions to some of today’s climate and biodiversity crises. But the concept also shakes established power relations and challenges traditional understandings of the relationship between humans and nature. The festival encourages artists, talents and photographers to explore this field and to interpret the term in its broadest sense.

Calling established and aspiring artists from all over the world

We encourage all interested artists, photographers and talents to apply for CPF’s Open Call 2023. The winners will be chosen by the members of our programme committee: head of the DMJX, Søren Pagter; curator and head of communication at Martin Asbæk Gallery, Patricia Breinholm; photo editor at the newspaper Weekendavisen, Mie Brinkmann and festival director Maja Dyrehauge Gregersen. 

Deadline is 1 November. Winners are announced on 1 March. The exhibitions will open during next year’s festival in June. 

Find more information about the open call here 

Start your submission for the open call here

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Gør fotografiet vildt igen! 

Som noget nyt lancerer Copenhagen Photo Festival næste års open call under ét bærende tema, der binder an til bæredygtighed og Københavns udnævnelse som arkitekturhovedstad i 2023. Med temaet ‘Rewilding’ opfordrer festivalen til at tænke ‘vildt’ og sætte den fotografiske kunst fri i naturen. Vinderne får deres egen soloudstilling under festivalen i 2023

Det er måske de færreste, der tænker, at et urbant vildnis på Refshaleøen er et oplagt udstillingsrum, men B&Ws gamle bedding, der ligger i smørhullet mellem Copenhagen Contemporary, Restaurant Alchemist og Reffen Street Food, har i flere år lagt græs, buske og udstillingsrum til Copenhagen Photo Festival. 

Stedet er et historisk stykke jord midt i Refshaleøens industrielle byrum, der engang blev brugt til at bygge B&W’s skibe på. Siden har det fået lov til at forvilde som en tidslomme blandt Refshaleøens rå arkitektur, hvor hybenroser og vilde blomster nu har overtaget den nedlagte bedding. 

Bæredygtighed og ‘genforvildning’

I 2023 stiller festivalen skarpt på det højaktuelle begreb ‘rewilding’  – eller genforvildning med et fordansket ord: 

“Med vores tema taler vi ind i en topaktuel agenda og inviterer kunstnere og fotografer til at udvide de gængse konventioner om glas, ramme og hvide vægge for at se nye perspektiver på byrum og bæredygtighed. På Beddingen har vi en enestående mulighed for at lægge landskab til den udfordring og gøre fotografiet vildt igen,” siger festivaldirektør Maja Dyrehauge Gregersen. 

‘Rewilding’ 

Temaet ‘rewilding’ binder an til, at København i 2023 er verdens arkitekturhovedstad med særligt fokus på bæredygtighed og de 17 verdensmål. Det betegner en proces, hvor naturen får lov til at regulere sig selv uden indblanding fra mennesker og uden at tjene menneskelige formål. 

Begrebet har vundet frem i de senere år som en løsningsmodel på nogle af tidens klima- og biodiversitetskriser. Samtidig ryster begrebet også ved etablerede magtstrukturer, der udfordrer en traditionel forståelse af forholdet mellem mennesket og naturen. Festivalen opfordrer ansøgere til at afsøge dette spændingsfelt – og til den videst mulige tolkning af begrebet.

Kalder alle etablerede og spirende kunstnere!

Alle interesserede kunstnere og fotografer opfordres til at søge. Vinderne udvælges af festivalens programudvalg, der består af lederen af DMJX’s fotolinje, Søren Pagter, kurator og kommunikationsansvarlig hos Martin Asbæk Gallery, Patricia Breinholm, Weekendavisens fotoredaktør, Mie Brinkmann og festivaldirektør, Maja Dyrehauge Gregersen. 

Deadline er 1. november, og vinderne annonceres 1. marts. Udstillingerne åbner til næste års festival i juni. 

Læs mere om vores open call 2023 her 

Begynd din ansøgningsproces her


A Big Heartfelt Thank You

Video: Sonia Tomegros Regalado / @noia_de_mon

We want to thank everyone who made Copenhagen Photo Festival 2022 so very special. We are so happy for every single visit to the festival venue and at all the festival partner venues across Copenhagen and Scania – we are grateful you were part of this year's festival!

And of course we also want to thank everyone who made this year’s Festival Center so very special and worth the visit: Our three international solo artists, Hien Hoang, Alexandra Rose Howland and Krista Svalbonas, Tofu Collective’s exhibition at the Space Frame with Chinese artists Luo Yang and Lin Zhipeng, DMJX’s presentation of three photo journalistic talents Jesper Houborg, Louise Herrche and Mads Frost, Odesa Photo Days’ two exhibitions Granny by Olena Morozova, the group exhibition The Thin Line and the Norwegian curator Charlotte Wiig’s group exhibition of a host of female photographers called A Female Gaze and not least the five selected FUTURES Nordic Talents, Iben Gad, Tine Bek, Oscar Scott Carl, Inuuteq Storch and Luna Scales.

Thank you to our generous supporters and helping hands

We are also grateful for all the generous supporters financing the exhibitions: Københavns Kommune, Det Obelske Familie Fond, Creative Europe Programme, Nordic Counsel of Ministers and Værksted for fotografi as well as all the helpful and supportive volunteers and staff that make this festival physically appear at all.

Last but not least we want to thank everyone arranging events and exhibitions around Copenhagen and Scania from the many festival partner venues, the gallery walks and artist talks to DJ sets, sound and image equipment people and all the people engaging with the amazing world of contemporary photography – we genuinely appreciate your flexibility, engagement, good work and happy spirits – we love to make this festival with you!

Thank You! Click here to see all partners and supporters!


Festival Programme for the Weekend

Still not quite sure what to do this weekend? Don't know what to see? We've got the perfect remedy. The last weekend of the festival is going to be buzzling with activities and events at our Festival Center, so do not hesitate to stop by!

To help you navigate here's the programme for this weekend at the Festival Center – to learn more click on the event!

Friday 10 June

11-20 pm Enjoy the 9 exhibitions at the Festival Center and exhibition park 

4-6 pm NFT-Friday with eyeeye.me

5 pm: Apéro with DJ Henrique Hinnerfeldt – enjoy the exhibitions, music and a drink at the ROOF TOP BAR

Saturday 11 June

11-20 pm Enjoy the 9 exhibitions at the Festival Center and exhibition park: 

11 am-4 pm Photo Book Market with more than 15 publishers

4 pm: Apéro talk – meet the FUTURES NORDIC TALENTS Iben Gad, Tine Bek and Luna Scales for a tour and a talk of their exhibition and enjoy the exhibitions, music and a drink at the ROOF TOP BAR.

Sunday 12 June

11-20 pm Enjoy the 9 exhibitions at the Festival Center and exhibition park.

11.30 am - 2.30 pm Cyanotype Workshop by Fotografi på Godsbanen.

1- 4 pm Polaroid Transfer Workshop by Sille Juline Høgly Petersen

4 pm: Apéro light  – enjoy the exhibitions, music and a drink at the ROOF TOP BAR

AND as a special closing event:

3 pm GUIDED ART TOUR of the FUTURES Nordic Talents exhibition at Til Vægs in Lundtoftegade with festival director Maja Dyrehauge Gregersen and Søren Emil Schütt from Til Vægs.

We hope to see you this last festival weekend!


Meet Krista Svalbonas – solo artist 2022 under the Framing Vision category

"I think there's an importance to this work right now, especially since history is repeating. We are seeing the war in Ukraine, which kinds of mirrors this story as well."⁠

The Baltic-American artist Krista Svalbonas is the woman behind the exhibition "Displacement" which won this year's open-call in the category Framing Vision and which is the amazing, thought provoking and scarily relevant result of an intensive research process into the history of her family's Baltic roots. Her parents fled the Russian regime after World War II and Svalbonas project excavates this history.⁠

We were happy to have the chance to meet and interview Krista when she was visiting the festival for the install and opening last weekend. ⁠

Svalbonas' laser-cut photographs can be experienced at the festival until this Sunday, so don't hesitate to stop by!⁠

Video credit: Sonia Tomegros Regalado


Meet Alexandra Rose Howland – solo artist 2022 under the Framing Society category

"With my work I'm trying to relook at things that we've already seen before, and to rephotograph them in a way that challenges our perspective and challenges the narrative that we've already formed in our minds about these locations."⁠

Alexandra Rose Howland (US/UK) has spent the last decade living in the Middle East. Throughout this time, Howland became aware that what a foreigner views and photographs does not always embody the lived reality of locals, and Howland began asking to download first-person accounts; from selfies to family photos, to Snapchats. The resulting Leave and Let Us Go is an intimate and multi-dimensional portrait of Irak and Iraqis that returns the narrative power of an often-misunderstood country to its own citizens.⁠

We were happy to have the chance to meet and interview Alexandra when she was visiting the festival for the install and opening. You can experience Alexandra's work at the festival until tomorrow evening, so don't hesitate to stop by the Festival Center this weekend!⁠

 

Video credit: Sonia Tomegros Regalado


Let's Celebrate Photography Together

Join us for a festive afternoon to celebrate the opening of Copenhagen Photo Festival 2022!

We invite you to celebrate the grand opening of this year’s festival at our Festival Center FRAME on Refshaleøen and celebrate the beginning of our 12th festival 2 June from 5 to 8 pm. With a host of exhibitions expanding our knowledge on photography as the main attraction, we hope you want to join us for an evening brimming with great photography, people, talks, music and drinks in the afternoon sun!

Meet the international solo artists

The Grand Opening is a chance for you to meet our three solo artists, Hien Hoang, Alexandra Rose Howland and Krista Svalbonas. Also the Ukrainian artist Olena Morozova presenting her project 'Granny' will visit the opening as well as many of our partners from the Festival Partner Venues and the many creative, dedicated people from the Danish and international photo scene.

Explore the exhibitions

At the opening we invite you to explore the nine exhibitions presented at the Festival Center. This year we will host two exhibitions presented by Odesa Photo Festival as well as exhibitions by our three open call winners. But we also host the exhibition Inside-Out curated by TOFU collective, the group exhibition A Female Gaze curated by Norwegian artist Charlotte Wiig, selected works by three talents from DMJX school of photography and of course our five Futures Nordic Talents Oscar Scott Carl, Inuuteq Stork, Tine Bek, Iben Gad og Luna Scales.

Beer from Schwesterbrau and Music by DJ Shymon

The micro brewery Schwesterbrau established by two engaged sisters from Aarhus will provide cold beer for the opening and DJ SHYMON will set the musical tone from 5-8 pm.

The event is free and open for everyone – come join us for art meetings, drinks, talks and enjoyment!


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.


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.


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.