I was born in Denmark in 1976 and I currently live and work in Copenhagen. I graduated from Funen Art Academy (DK) in 2007 and have been studying one year (05/06) at the MFA program at California College of the Arts in San Francisco (US). I am an interdisciplinary artist, whose work explores the lives of ordinary individuals and the public and private spaces that we daily travel through. The medium is primarily manipulated or displaced everyday objects, site specific installations and interventions, which often refer to a personal experience and to some extent contain a political perspective.
Aside from my own practice, I am working on various curatorial and self-organizational projects. Since 2004 I have been co-operating the independent project space, Koh-i-noor in Copenhagen. We have since then been producing a number of exhibitions, discussions, film screenings, and performances. The focus of Koh-i-noor is to create a space for experimentation and non-commercial art and to have an influence on the discourse of contemporary art. Similar ideas are found in the residency and artist-apartment, The Berlin Office in Kreuzberg (Berlin), which I’ve been co-directing since 2006 with a group of international artists. Common for both of the spaces are that they’re non-profit, and we’re working voluntarily. Besides my work at Koh-i-noor and The Berlin Office, I am working on various independent, curatorial projects. One example is Local-Global-Plan, which I am co-organizing with Stine Hebert (DK) and Jens Axel Beck (DK). It is a public art project that will take place in the street of Ålekistevej in my former neighbourhood in Vanløse in Copenhagen, and which will involve a range of national & international artists. The Danish Arts Foundation has awarded the project. Another example is Deadpan Exchange, which I am coordinating with Jonn Herschend (US). That is a range of international exhibitions and events, which among others has been sponsored by the Danish Arts Council Committee for Visual Arts. Deadpan Exchange started in Denmark in 2007 and has since then been to Germany, US, Turkey and is now on its way to Macedonia. In each exhibition seven artists are individually reacting to one of the seven works from the previous exhibition.
Common to all the mentioned artistic and curatorial projects are that they’re mostly independent and non-commercial activities, which involve a lot of economical uncertainty. Therefore, it’s necessary for me to have a steady income for doing my artistic and curatorial work. My mother is a social worker and she is taking care of children in her own home. As long as I remember there has continually been a lot of social activities in my childhood home – and I think that my interest for social relations started here. I’ve always been curious by nature and interested in other cultures, human conditions and environmental and societal issues. Therefore, it came naturally to me to work within the social field, and at this moment, I am a carer for a disabled woman, who suffers from a brain damage. Here, I am not only able to work in flexible hours and to abstract from artistic issues, it also gives me the opportunity to look at the reality from another perspective, and it enables me to focus, observe, communicate, comment and be able to gain a clearer empathy for other people and to question our surroundings. In my curatorial and artistic work, I also realize, that the autonomous artwork has become less important to me. Instead, I am more interested in the context and to present work both inside and outside the institutions – in private as well as public spaces for communicating with various groups of people; from the random passers-by to the regular art viewer. In other words, working in a place where art and life meet.
3.03.2010
Aside from my own practice, I am working on various curatorial and self-organizational projects. Since 2004 I have been co-operating the independent project space, Koh-i-noor in Copenhagen. We have since then been producing a number of exhibitions, discussions, film screenings, and performances. The focus of Koh-i-noor is to create a space for experimentation and non-commercial art and to have an influence on the discourse of contemporary art. Similar ideas are found in the residency and artist-apartment, The Berlin Office in Kreuzberg (Berlin), which I’ve been co-directing since 2006 with a group of international artists. Common for both of the spaces are that they’re non-profit, and we’re working voluntarily. Besides my work at Koh-i-noor and The Berlin Office, I am working on various independent, curatorial projects. One example is Local-Global-Plan, which I am co-organizing with Stine Hebert (DK) and Jens Axel Beck (DK). It is a public art project that will take place in the street of Ålekistevej in my former neighbourhood in Vanløse in Copenhagen, and which will involve a range of national & international artists. The Danish Arts Foundation has awarded the project. Another example is Deadpan Exchange, which I am coordinating with Jonn Herschend (US). That is a range of international exhibitions and events, which among others has been sponsored by the Danish Arts Council Committee for Visual Arts. Deadpan Exchange started in Denmark in 2007 and has since then been to Germany, US, Turkey and is now on its way to Macedonia. In each exhibition seven artists are individually reacting to one of the seven works from the previous exhibition.
Common to all the mentioned artistic and curatorial projects are that they’re mostly independent and non-commercial activities, which involve a lot of economical uncertainty. Therefore, it’s necessary for me to have a steady income for doing my artistic and curatorial work. My mother is a social worker and she is taking care of children in her own home. As long as I remember there has continually been a lot of social activities in my childhood home – and I think that my interest for social relations started here. I’ve always been curious by nature and interested in other cultures, human conditions and environmental and societal issues. Therefore, it came naturally to me to work within the social field, and at this moment, I am a carer for a disabled woman, who suffers from a brain damage. Here, I am not only able to work in flexible hours and to abstract from artistic issues, it also gives me the opportunity to look at the reality from another perspective, and it enables me to focus, observe, communicate, comment and be able to gain a clearer empathy for other people and to question our surroundings. In my curatorial and artistic work, I also realize, that the autonomous artwork has become less important to me. Instead, I am more interested in the context and to present work both inside and outside the institutions – in private as well as public spaces for communicating with various groups of people; from the random passers-by to the regular art viewer. In other words, working in a place where art and life meet.
3.03.2010
