Ditte Knus Tønnesen (b. 1982) is a Danish artist working with photography, video, objects and installations. Working in a field between images and spatial constructions she tests and investigates how different interpretations and world views becomes the accepted understanding of things – and how our understanding of ‘reality’ depends on our context, culture, religion and political standpoints. With a great understanding of the qualities and histories of different materials she mixes materials with a strong aesthetic outcome. She works with photography in a much conceptual way – and tests, questions and expands the medium.
Knus Tønnesen graduated from The Glasgow School of Art (UK) and Kyoto Seika University (Japan) in 2008. In 2011 she founded GREEN IS GOLD an artist-run, non-profit exhibition room & publisher house in the old part of Copenhagen together with artist Amalie Bønnelycke Lunøe. For more information on GREEN IS GOLD see:
Among Knus Tønnesen's recent exhibitions are: Nature Encounters, J.F. Willumsens Museum, Frederikssund (2015/16), Dissolving Boundaries, solo show, Gether Contemporary, Copenhagen (2015), JCE Biennale (2015/17), If it's fixed, break it,
Galleri Christoffer Egelund, CPH (2015), Inner and Outer Landscapes, Centrum För Fotografi, Stockholm (2015), Everything Is Connected, Neter Proyectos, Mexico City (2014), Warm Moving Bodies, Kunstvlaai, Amstel Park, Amsterdam (2014), The Naked, Marrakech Biënnale, Morocco (2014), Twin City, Seydisfjordur/Iceland & Melbu/Norway (2014), Young Danish Photography '13, Fotografisk Center, CPH (2013), knock rock, solo show, Holodeck, Oslo (2013).
NORMALITY SHOWED THROUGH LAYERS OF REALITIES
Because of individual understanding there is never really one reality. Therefore reality should always be understood as layers of understandings in different contexts.
As the work itself is physical and present, it is considered reality. It is therefore not illustrative of something that once existed (memories are questionable) neither does it symbolise a story. Because when something is presented as a story it is taken out of reality, and is therefore not happening. Instead it represents an opportunity or possibility for change in an individual as well as collective reality.
My work originates from those moments of coincidence where realities join in a collage to speak of a second or parallel understanding. Often this creates a cultivated naïveté, since working with the extraordinary in the ordinary happens to bring out this sly abnormality.
Certain rawness can appear in communication. Especially when a link to an uncensored fantasy appears, as for example when a child speed-talks, in a direct but not always understandable language. An awareness of how one communicates and experiences reality awakes my interest in curious ways.
/Ditte Knus, Glasgow 2008
The Law Forbids Rich And Poor Alike To Sleep Under Bridges
A collaborative project between Ditte Knus (b. 1982, DK) and Amalie Bønnelycke Lunøe (b.1981, DK) for GREEN IS GOLD at SUPERMAKET 2013 – Stockholm Independent Art Fair
We, Ditte Knus Tønnesen and Amalie Bønnelycke Lunøe, asked Therese Kellner (freelance curator. b. 1984, SE) to write a piece on our collaborative project The Law Forbids Rich And Poor Alike To Sleep Under Bridges. We asked of her to attempt to enter the written project description rather than the finished work, we sent her a handful of sketches and a brief material description. Kellner therefore only had the first stage of the collaborative project to work with, before the process of the making and installing alters the initial idea.
Lunøe and Knus Tønnesen introduced me to several sketches carefully describing the space and possible ways of installing the work. This text is about an exhibit that takes place in the mind of the three of us, since Lunøe and Knus Tønnesen has not yet seen the space and I have not seen the work. I won't describe what you see, since you now stand in the space and can see for yourself, and since at this moment of me writing, the presentation has not yet been realized. Here I give you one interpretation of the project that I've read out from the two artists point of entry to the subject, context and space.
I'm informed that the starting point for this project came from a quote by French author Anatole France, the full quote is as following: “The law, in its majestic equality, forbids rich and poor alike to sleep under bridges, beg in the streets or steal bread”. At first, I felt the seconds running by faster when I saw myself having to read up on France in order to write this. But reading the quote again it hit me with its brutality and I realized that this strong combination of words was enough for me to bite into this project. The quote is a statement soaked in irony as a law goes for anyone regardless of social status and background but as declared here it is only relevant for some. This statement did for Lunøe and Knus Tønnesen set off an exploration of how we understand our built environment and served as a defining question of by who and how our constructed social body is used.
From the sketches, I read that the body of work will include 3 larger photographs by Knus Tønnesen printed on long banners. The banners appear to be framed by, and resting on wooden structures, that serve as an extension of the photographic depictions. Knus Tønnesen shows us abandoned building sites at a resort area in Egypt. What could become luxury holiday homes or hotels here appear as ruins or monuments of the failures of consumerism. The land is left robbed of the possibilities of its intentional use and torn apart by piles of bricks and temporary roads. It's given back to nature disrupted and past expiry date. A financial collapse with a global domino effect has left grand structures like this towering up and spreading out over great areas of land regardless geographical location. We've seen it in Russia, Iceland, the US and here within a biking distance. The sight is familiar but yet not.
Lunøe translates what is encountered in the images into wooden structures that refer to an aspect of human construction and use of the land even more familiar in our geographical context. The use of trellis (commonly used for gardening) points at a use of land of smaller economic scale, but the material and structures carries a legacy of a bourgeois tradition that involves substantial funds (ie time) and high maintenance. As in Knus Tønnesen's images it plays with desire of control, power and questions who are to control the land and the earth. In Lunøe 's hands the materials used for decoration and leisure divides the space as bars telling us we're in a restricted area.
As the world sees short-term real estate investments for commercial purposes increasing, not at least in within event culture with its massive arenas, buildings, uncompleted constructions and land is left “on hold” leaving empty gaps in our city's body. Resulting in situations in the bizarre housing situations in both Copenhagen and Stockholm. How can our man made environment open up spaces that include everyone regardless of background and invite people to use all “gaps” of it? How can architecture creates spaces of intimacy and security, and can we build spaces in which we are all equal?
In an unsentimental formal aesthetic Knus Tønnesen uses similar straightforwardness as in Bernt and Hilla Bechers objective documentations of industrial structures. Symmetry, repetition and regularity detach and alienates. Lunøe's structures uses the power symbols of watchtowers, gates and fences but what I imagine that we encounter in the space, is resisting anything fixed or permanent as in a totalitarian structure.
Knus Tønnesen and Lunøe play with the aesthetics of power and capitalism to point at its failures and question what role of architecture has on human behavior and customs. What was the original aspiration with the buildings we live in and use everyday? And most importantly -who were they built for? With the structures disrupted, the trellis dyed black and temporarily piling up against the wall, this displays and invites us to the cracks in the social constructed body that is open for everyone to use.
This is further developed in the gesture of the banner -the scale and material plays with strategies of consumerism by anticipating and expecting attention of our desires. Here it now hangs loosely attached or has been thrown on the fence with its message ready to be replaced or displaced by You or me. There is a multitude of spaces and “gaps” in our cities that are “on hold”. Sure, many of these are not very obviously useful or easily accessible, but there has been many examples of how courtyards, alleys, wastelands, industrial spaces or abandoned rail tracks (as the High Line in NYC) has been occupied by citizens for non profit initiatives and transformed into communal use. An essential aspect in the context of this project is that the two artist themselves manages a non profit project space.
In The Law Forbids Rich And Poor Alike To Sleep Under Bridges the ”gaps” and voids in the body of work appear as playing an as active role as the solid structures, resulting into a provisional entirety that activates the space with its divisions; manipulating our movement and thus pointing at how our organization of spaces can restrict or allow - encouraging us to keep an ongoing dialogue and active relationship with architecture.
Knus Tønnesen and Lunøe's disrupted structures appear to me as building materials in a transient phase speaking of its prospective possibilities. The brutal is juxtaposed with the poetic. The grand houses in Egypt could be seen as a stage waiting for someone to enter. The fortress-like bare structures become sites on which to project new aspirations and dreams. What I see in this imagined installation is desire to explore the social body as an organic organism where all components are treated as equally crucial for the ensemble.
Therese Kellner, Stockholm, February 2013
Living with Ghosts
It is not one reference without fragments that the slavish goes imbeciles can a limited work or to
integrating diverse way of any out-of-date saying into a new one; one also works correcting the meaning of those in alter appropriate fragments, leaving their to to to “citations.”
Let us for a moment consider (”us”... – already this invocation of a confederacy of readers) what it means to inhabit. In a number of langaugies, to inhabit, or to dwell, is related to being. Inhabiting does not merely mean to be located – a house is not necessarily a home, as Dionne Warwick
reminds us –, it implies a certain praxis of appropriation, but one that is ready to rearrange and shuffle. Even the most provisional shack can be inhabited, furnished. Perhaps we could say that furnishing a room is an improper appropriation, a pragmatic production – in short: making do.
An vacated house is something like the Wunderblock that Freud used as an analogy for the mind’s
perceptual apparatus. The Wunderblock, a modernized version of the ancient palimpsest, was a
device made up of a slab of wax covered with a double sheet of celluloid and wax paper, which, when pressed onto the slab with a pointed stylus, would produce writing. The wonder of the device was that lifting the sheet would efface the writing and leave the surface ready for fresh notes.
However, Freud noted, when closely inspected in the appropriate light, the slab itself retained faint but permanent traces – an unconscious murmuring behind the pristine wall of the white page.
If, as is claimed, we have moved beyond a mode of appropriation that operates through strategic
attacks on sites of signification, it seems more instructive now, when copy, parapharsis and parody is the order of the day, to look at the ways in which the appropriated objects are put to use, rather than looking at what they are. And if today, we can no longer speak of appropriation in terms of
property – the proper field of a medium, the clearly delineated space of a cultural object or
commercial commodity –, if we have already ceased to function in spatial terms, but instead
meander through a multitude of temporal axes, radiant with the ghosts of the past, we should
invoke the notion of tactic rather than that of strategy.
A strategy situates itself in its own space, dinstinguishes its proper location from that of others in order to strike a target; it is the privilege of space over time. A tactic, on the other hand, operates within the space of the other, in its cracks and fissures, through transient and discreet maneuvers. While a strategy establishes a place, a tactic is a utilization of time. A tactic lacks a proper site, it is
a praxis; an art of the weak, it makes do with whatever is available.
Appropriation, then, is no longer simply an intrusion into an authorized area; it means seeing every object as a palimpsest furrowed with nearly invisible scribbles, it implies inscribing oneself among a manifold of possible uses and unfulfilled pasts.
By Simen J. Helsvig, Copenhagen, 2012.
Commission for Imago Mundi, Benetton Foundation (2014)
Exhibition and book project.
Artist in Residence at the Danish Art Workshops, Copenhagen (2014)
Review by Agnes Winter in Tubelight.nl (2014)
Read the whole article here (only in Dutch)
Art Festival, Kunstvlaai 2014, Amstelpark, Amsterdam, curated by GREEN IS GOLD (2014)
See more: www.kunstvlaai.nl/2014/
Artist presentation on Fotografisk Center's blog in relation to upcoming group exhibition in August (2014)
See more blog.photography.dk...
Group Exhibition, The Naked in MARRAKECH, curated by The Naked, Marrakech Biënnale, Morocco (2014)
Represented by the Danish Arts Foundation collection, Vores Kunst (2014)
See more on vores.kunst.dk...
Art Event, 2014 Frames, curated by Fotografisk Center (DK), Centre for Contemporary Art, Glasgow (UK)
Public art exhibition, Twin City, Melbu, Norway and Seyðisfjörður, Iceland (2014)
Showcased in PUBLICATION No1, GREEN IS GOLD app, GREEN IS GOLD Studio, world wide (2013)
Get the app HERE...
Group exhibition, Ung Dansk Fotografi '13, Fotografisk Center, Copenhagen (2013)
My contribution was supported by Danish Art Workshops and Danish Art Council. Thanks.
Solo Exhibition, BACK OF, GREEN IS GOLD, Copenhagen (2013)
Artist in Residence at the Danish Art Workshops, Copenhagen (2013)
Solo Exhibition, knock rock, Holodeck, Oslo (2013)
The exhibition was kindly supported by Danish Art Workshops, Danish Art Council for International Art, Culture Point North and Forbundet Frie Fotografer.
Mette Jakobsen about The Jewel on IDOART (2013)
Review & picture reportage about the exhibition The Jewel at Kontor Project's, Copenhagen.
See more HERE...
Featured on Fotobloggen, Information (2013)
Jens Christoffersen has picked a selection of pictures doing Copenhagen Photo Festival.
See more HERE
Exhibition, The Jewel, Kontor Project's, part of Copenhagen Photo Festival (2013)
DITTE KNUS TØNNESEN AND AMALIE BØNNELYCKE LUNØE
As part of the Copenhagen Photo Festival 2013 Kontor Project’s is pleased to present a collaborative exhibition by Ditte Knus and Amalie Bønnelycke Lunøe. The show will feature new wall-based, sculptural and installation based work. This will be the first time that the two artists have exhibited together in Denmark.
For more information please see www.kontorprojects.dk
Interviewed by Chased Magazine (2013)
Ditte Knus Tønnesen (b. 1982 in Århus, Denmark) is an artist working with photography, drawings, objects and installations. After having graduated from Fine Art Photography at The Glasgow School of Art, Scotland in 2008, she founded the Green Is Gold Studio in 2011.
The studio is an artist-run, non-profit exhibition room in the old part of Copenhagen together with fellow artist Amalie Bønnelycke Lunøe.
Ditte told us more about her art and her work. Read more here..
Artist in Residence at MoKs - Center for Art and Social Practice, Estonia (2012)
For Oct - Nov - Dec. I'm in Estonia working with the project Forgotten Art.
MOKS – Center for Art and Social Practice is a cultural center in Estonia situated in the rural community of Mooste, located 40km southeast of Tartu and 20km west of the Russian border. MoKS was founded as NGO Mooste KülalisStuudio in January 2001 to develop local and international cooperation in the fields of arts and environmental research in the rural context of post-soviet Estonia. Apart from managing the international artists in residence program, organizations activities range from arranging of different events such as international contemporary arts symposiums to the beginners and practicing artists’ workshops for digital media.
The MOKS residency studio is located in the renovated space of the Mooste manor governor house. With its broad scope and focused environment, MOKS is the first and still the only program of its kind in Estonia. Since its inception, MOKS has belonged to the Baltic Sea Residency Network, which links the artist-in-residence programs of the countries bordering the Baltic Sea.
The residency is kindly supported by Nordic Culture Point – Mobility and Residency Program, The Danish Art Council, Estonian Cultural Endowment and Estonian Ministry of Culture.
Danish Arts Council’s International Masterclass, mentor: Lilibeth Cuenca Rasmussen (2012)
Open Studio & artist talk by current Artists in Residence Asle Lauvland Pettersen (N) & Ditte Knus Tønnesen (DK) (2012)
The Bookshop Projectspace, Seyðisfjörður.
The 19. - 22. Sep. from 13.00 - 16.00 / Wed. 26. Sep. from 13.00 - until late.
The 27. - 29. Sep. from 13.00 - 16.00 / Sat. 29. Sep.
Artist Talk: 16.00 - 16.30 (free cake & coffee).
Artist in Residence at Skaftfell - Center for Visual Art, East Iceland (2012)
In september 2012, I'm artist in Residence at Skaftfell - Center for Visual Art, East Iceland.
Twin City is going to be a photo, video and live / interactive video installation in Melbu, Norway and Seyðisfjörður, Iceland. Perhaps this project is the first link in a reunion of two Twins separated by 110 years and 1500km Atlantic Ocean. Through a pseudo scientific history research project, we will prove a historic tie between the two cities, which do not necessarily have a historic commitment to each other.
The cities Melbu and Seydisfjordur has many striking similarities what comes to size, look, historical origins, environment, development, geography and social structural situation. This and surely many more are the apparently secure evidence we want to document in our Pseudo Scientific field study in Melbu and Seyðisfjörður. We want to find similarities in the two communities, and with the similarities bring people in these communities together in a search for their common history and create a common understanding of each other.
Asle Lauvland Pettersen (b.1978) is a Norwegian Artist, Director and Theater Scenographer. Graduated from National Academy of Arts, Oslo and Royal Danish Theater Academy, Copenhagen.
Ditte Knus (b. 1982, DK) graduated with a first class BA (hons) Fine Art Photography from The Glasgow School of Art, Scotland. She has since exhibited in Ireland, The United Kingdom, Mexico, Germany, Norway and Denmark.
The Twin City project is kindly supported by Arts Council Norway, Culture Point North, Tilbakestrøm
Press Review in Information (2012)
by Micheal Jeppensen
De skal flytte fra deres lejlighed på mandag, men laver lige et galleri i ugen op til som de propper med kunst af ret høj klasse fra kunstnere de har mødt i ind og udland. Her er et værk af tyske Dirk Wackerfuss der kunne blive til hipsternes udgave af PIK-fænomenet. Wackerfuss fotograferer sit ansigt spejlet i forskellige situationer i butiksvinduer og lignende. Det er sjovt. Det er et kamera på mavsen, en lommelygte i bøtten og så ellers afsted. Hans hoved kan ses på en zebra, Jesus, en statue osv.
Salomeh Grace har lavet en energisk film om at stå i køkkenet. Danilo Stankovic har lagt et hvepsebo på en hylde under en mystisk cirkel og en russisk præst. Telefon til Chefen viser et fascinerende arkiv og Johan Rosenmunthe springer ud som spændende kunstner med fem sjældent gode billeder af sten.
Vi krydser fingre for at Kristina Bengtsson og Kevin Malcolm også snart skal flytte fra deres næste lejlighed.
Hour Projects presents: Living with Ghosts, Istedgade 92, 1 th, hver dag fra 12 – 17 til den 25. august.
Group exhibition, Living with Ghosts, curated by Hours Project, Copenhagen (2012)
Rob Churm (UK)
Salomeh Grace (US)
The Hour (SE/UK)
Johan Rosenmunthe (DK)
Danilo Stankovic (SE)
Telefon Til Chefen (DK)
Ditte Knus Tønnesen (DK)
Dirk Wackerfuss (DE)
Appropriation has long been a common strategy in the production of art but what it means today is laid upon a shifting cultural landscape. If we believe that historical time is fractured and in motion then many, if not all things are present in more than one place and at more than one time. However, when invoked in a particular place and time, we can no longer be sure of how the appropriated thing will behave. As we well know, once a spirit is called forth it rarely does what we want or expect it to. What do these phenomena say to us and to each other when summoned to an empty apartment with ghosts of its own?
Hour Projects is a new curatorial collaboration between artists Kristina Bengtsson (SE) and Kevin Malcolm (UK) based in Copenhagen.
Istedgade 92, 1TH
1650 Copenhagen V
Group exhibition, 1,000,000 Acres Of Sky, LungA Art Festival, Iceland (2012)
’There are now new experiences of space and time; new tensions between globalism and regionalism, socialism and consumerism, reality and spectacle; new instabilities of value, meaning and identity – a dialect between past and future. How are we to understand these?’
Quote from "MAPPING THE FUTURES: Local cultures and global change".
Economy sustaining the community or community sustaining the economy?
For the LungA Festival 2012 Green Is Gold, and it’s four affiliated artists, wish to each present individual works that examine and reference social and economical issues in small communities. These issues include the outside perception of a community existing in apparent isolation, its acceptance of geographical constraints and the natural elements, varying methods of local and global communication in a small independent society and the perspicacity of isolated peoples regarding distance and time and the effects such conditions have on the society. The works will consist of photography, video and sculptural installations and will incorporate locally sourced and found materials, which reference the highlighted issues and distinctly characterise each artist’s relevant practice.
The exhibition is supported by Nordic Culture Point – Mobility Program
Solo Exhibition: EKSKURSION, GREEN IS GOLD, Copenhagen (2012)
The solo exhibition ‘Ekskursion’ by Knus Tønnesen sees her createa body of new work based on a new interpretation of traditional Danish attractions such as specific places, objects or identities. Ditte Knus Tønnesen challenges the national characteristics and asks which of these the Danes can identify with in 2012.
For more information www.gigstudio.dk
Duo Exhibition: NEVER EXPRESS YOURSELF MORE CLEARLY THAN YOU ARE ABLE TO THINK, Denmark (2011)
Krabbesholms is proud to present the exhibition
NEVER EXPRESS YOURSELF MORE CLEARLY
THAN YOU ARE ABLE TO THINK
An exhibition of two individual art projects of the Norwegian Artist and Scenographer Asle Lauvland Pettersen (educated from the National Art Academy, Oslo and the National Theatre School, Copenhagen) and the Danish Artist and Photography Tutor at Krabbesholm Højskole Ditte Knus Tønnesen (educated from The Glasgow School of Art).
The exhibition consists of a pseudo scientific deconstruction of known and unknown scientific principles, staged through installations consisting of readymades and low-tech analog interactivity.
As well as photographic work based on the vast land between culture versus nature. The work is questing our contemporary understanding of the cultural landscape, while being a take on it at the same time.
For pictures of the show:
The opening of the artist-run non-profit project room GREEN IS GOLD (2011)
GREEN IS GOLD is a newly added exhibition space to the Danish art scene, dedicated to encourage and show contemporary art from up and coming artist as well as established.
GREEN IS GOLD is an artist run, non-profit exhibition space, funded in autumn 2011 and run by Ditte Knus and Amalie Bønnelycke Lunøe, both visual artists educated from The Glasgow School of Art.
The exhibition Lunar Society by Asle Lauvland Pettersen (N) is the first showcase in the space. www.gigstudio.dk
GREEN IS GOLD announced in Kunsten.nu (2011)
The danish web-site Kunsten.nu about the opening of our project room GREEN IS GOLD.
Group exhibition, POSSIBLE REALITIES 4, Sommer-Melbu, Norway (2011)
Ditte Knus Tønnesen (DK), Silja Leifsdottir (N/IS), Marius A. Johansen (N), Asle Lauvland Pettersen (N)
Welcome to the Nordic art project
"Possible Realities 4 meets TECHNOLOGIE, Joie De Vivre! meets Binaural BIG BANG "
Neptun, Norsk Fiskeriindustrimuseum. Sommer-Melbu 2011.
Daily open from 10.00 to 17.00, until the 9th. of July doing Sommer-Melbu Festival 2011.
Now teaching at Krabbesholm Højskole, Denmark (2011)
I am now teaching in fine art photography at Krabbesholm Højskole, an art school based in the northwest of Jutland.
" ...At Krabbesholm we believe that working with art, architecture and design is the best answer to the energetic and ever-intensifying world we live in. We are constantly striving to push the boundaries of convention between art, architecture and design, providing students with the opportunity to work in an environment with resources to make powerful statements about our world, both practically and theoretically.
The teaching environment attempts to develop students' personal perspective and individual identity while also providing a place to explore relationships between people in general..."
Visit www.krabbesholm.dk to see whats on here!
Group Exhibition, WE JUST LIVE HERE, the Forgotten Bar, Berlin (2010)
WE JUST LIVE HERE
Like a bag of glitter in the face of a stumbling drunk trying to find his keys, the beautiful and merciless Berlin autumn has once again hit us hard. Now, we´re regaining the warmth by making way for a boiling and unforgettable Forgotten Bar-show. Suggesting an open structure of story, where playful and dynamical concatenation of images, fortified by must-see artists, makes up a surprisingly multi?interpretable whole, spanning all ends of the spectrum. It is everything you need to come good and hard!
Brent Wadden (CAN)
Audun Mortensen (N)
Anouk Kruithof (NL)
Hanne Ulla (N)
Martin Kohout (CZ) & Jaakko Pallasvuo (FI)
Randi Nygård (N)
Ditte Knus & Silja Leifsdottir (DK/N)
+ DJmix-installment from Sonic Pieces label manager Monique Recknagel (DE)
Presented by Hanne Ulla and God Willing!
28th October, 19-23PM
The Forgotten Bar
Boppstrasse 5, Berlin
Solo Exhibition, POSSIBLE REALITIES 3 - DARK CASTLE, Germany (2010)
Ditte Knus & Silja Leifsdottir met five years ago while studying at The Glasgow School of Art.
Earlier collaborations from the artist duo counts exhibition at One Night Gallery in Oslo and Hóll- The Birgir Andresson Residency, Seydisfjordur, East Iceland.
Most of the inspiration for the exhibition at Roter Pavillon is taken from the Icelandic landscape.
Galerie und Kunstverein Roter Pavillon
18209 Bad Doberan
Supported by The Danish Art Council for International Art
Featured at the online art magazine: www.morgenrøde.dk (2010)
Velkommen til Morgenrøde nummer 1.
Morgenrøde, selve ordet, det mytologiske, det konkrete, det farverige og fantasifulde ord har i dette nummer af tidsskiftet været udgangspunkt, startskud og endemål for redaktionen og bidragyderne. Vi besluttede os for at efterprøve rummeligheden af begrebet, og bad en række digtere, forfattere og billedkunstnere om at deltage, således at vi kunne bore os gennem, finde veje ud og rundt i den verden det tidlige morgenskær kan frembringe bag frontallappens forgreninger.
Vi er i redaktionen glade og stolte af at kunne præsentere Morgenrøde nummer 1, med så alsidige og forskellige værker og bidrag, og vi håber at det endelige resultat vil blive set, nydt, læst og diskutteret.
Godt forår! /Redaktionen
Artist in Residence, Hóll - The Birgir Andresson Residency, Iceland (2010)
Hóll - The Birgir Andresson Artist in Residency
Birgir Andrésson (1955 – 2007) was one of Iceland’s most important artists of his generation and his legacy is an important part of the history of Icelandic art. Hóll was Birgis house where he spent some time every year, working. The residency is for artists and scholars and it is run in the memory of Birgir. Hóll is situated in Seydisfjordur, East Iceland:
Invited by Skaftfell to work on the collaborated project Possible Realities II with Silja Leifsdottir.
Supported by Det Letterstedtske Selskab
Solo Exhibition: Possible Realities, One Night Only, Norway (2009)
Ditte Knus & Silja Leifsdottir first met in Glasgow in 2005 when they studied at The Glasgow School of Art. Sadly they went separate ways after graduation, but as a promise to keep in touch they bought a piece of Scotland and the title Lady.
Finally the time has come to use their title, when One Night Only presents their first of a series of collaborative installations, to be continued in Germany and Iceland.
The exhibition will consist of drawing, video, photography and sculpture.
Participating in Alt_Cph 2009, Copenhagen (2009)
The artist run Gallery SPARK, will be hosting a Photo-marathon at the alternative art-fair: Alt_Cph09 in Copenhagen, where I will be ready to "run" with them on Saturday.
For more info see:
www.spark-art.dk (closed in 2011)
Group Exhibition, Campeche, Mexico (2009)
On December the 1. 1999, in the twenty third session of the Committee of the Organization of the United Nations for Educations, Science and Culture (UNESCO) its members unanimously decided to include the historic-fortified city Campeche in the list of Cultural Patrimony of Humanity due to its historic, commercial, military and religious context, as well as for the high degree of conservation, integrity and homogeneity of its architecture.
A decade away from such relevant event, the Government of the State of Campeche is pleased to sponsor the VI Euro American Exhibition of Visual Art, with the intention to bring about an encounter where visual artists from America and Europe make the most out of synergy as well as of their outstanding artistic proposals.
And, what could be a better setting than the state capital! Founded in 1540, it was a key piece in the conquest of the Yucatan peninsula and, during the XVI and XVII centuries it was besieged by the assault of pirates who made necessary the construction of a defense system composed of walls, bastions and other military arts of which a great part are still preserved splendidly for the everyday admiration of locals and visitors.
Campeche is the ideal scenery for the conjunction of visual artists because of its light and colorfulness. Its beautiful sunset are world famous for the array of colors and set of lights and shadows they display.
Exerting our proverbial hospitality, we cordially receive almost one hundred participants to create bonds of friendship and forward artistic exchange among countries from America and Europe, in benefit of the population of Campeche.
Through this event, my government seeks to broaden and diversify the presence of Campeche on an international level through visual arts expressions and an active and reciprocal exchange with other nations.
Jorge Carlos Hurtado Valdez
Constitutional Governor of the State og Campeche
Supported by Ragnvald & Ida Blix' Fond
Group Exhibition, MV Inspiriert, Germany (2009)
CHINA - DÄNEMARK - DEUTSCHLAND
Exhibition at the Kunsthalle Kühlungsborn from 15th of March - 12th of April 2009.
Press: Interviewed by the danish art magazine Billedkunstneren (2009)
Press, Ostsee Zietung (German Newspaper) (2009)
MV inspiriert sogar Chinesen
Vier Künstler aus China und zwei aus Dänemark sind Gaste der regionalen Initiative Internationaler Tourismus.
Von Lutz Werner
Kühlungsborn. Dass in der Kühlungsborner Kunsthalle eine Ausstellung professionell vorbereitet wird, ist eigentlich selbstverständlich. Aber das Geschehen gestern Nashmittag fiel doch ein wenig aus dem Rahmen, signalisiere: Kunst ist international, kann Menschen zusammenführen und verbinden, die sich vorher noch nie gesehen haben.
Denn Han Ymeng, Dong Junru, Shao Junming und Wang Jing aus Harbin im Nordosten Chinas und Ditte Knus Tønnesen aus Kopenhagen brauchten keine fünf Minuten, um sich in der schönen Halle heimisch zu fühlen und planten dann mit Franz N. Kröger, dem Leiter dem Hauses, wer wo und wie viele seiner Malereien, Skulpturen und Installationen hängen bzw. aufstellen kann.
Das wirkte so, als ob Kröger and die Künstler sich schon lange kenne und hatte auch mit der Gastfreundschaft zu tun, die die fünf Künstler in den vergangenen Wochen bereits in Künhlundsborn und Bad Doberan erleben konnten. Eine zweite Dänin wird noch dazukommen.
International Artist in Residence Program, Art at the Baltic Sea, Germany (2009)
‘Art at the Baltic Sea - International Artist in Residence Program’
Situated in Mecklenburg-Vorprommern, Bad Doberan at The Friedrich-Franz-Palais. The keywords are to increase awareness; understanding & tolerance of cultural differences & with the exchange program investigate how to foster a mutual trust through intercultural dialogue.
In the end of the program will there be an exhibition at
the Kunsthalle Kühlungsborn from 14.-29. of March 2009.
The exhibition includes new artwork from
Ditte Knus, Dong Junru, Han Yumeng, Zhao Junming, Wang Jing
Press: Though The Looking Glass, Kopenhagen.dk (2008)
The online danish art magazine, kopenhagen.dk, features at picture reportage from our group show at the Studio Warehouse, Glasgow.
Group exhibition, ANONYMOUS DRAWINGS N°9, Kunstraum Kreuzberg / Bethanien, Berlin (2008)
ANONYMOUS DRAWINGS N°9
december 20 & 21 / 2008
opening: december 19th / 7 pm
Sale of Anonymous Drawings for a unit sales price of 150 Euro
opening hours: 12 - 7 pm
Kunstraum Kreuzberg / Bethanien
Group exhibition, Catalyst Arts Student Show, Belfast, Ireland (2008)
Catalyst Arts presents its annual Student Show. featuring the work of this year's best and brightest students and graduates,.
Showcasing a selection of artists from across the UK and Ireland producing the best work in photography, sculpture, drawing and multi-disciplinary practise.
Catalyst Arts is committed to promoting and nurturing the artistic talent of tomorrow and providing support and opportunities for emerging artists. The Student Show is our finest expression of this.
Catalyst Arts looks beyond traditional forms, questions received logic and develops innovative ways of enhancing the vocabulary of the artistic medium.
Helen Tubridy (Glasgow School of Art)
Elliott Wilcox (Newport School of Art)
Tristan Fennell (Goldsmiths College, London)
Ditte Knus (Glasgow School of Art)
Rachel Adams (Edinburgh College of Art)
Joseph Noonan Ganley (NCAD, Dublin)
John McLaren (Glasgow School of Art)
Cecilia Sandrini (Norwich School of Art and Design)
Group Exhibition, Through the Looking Glass, Studio Warehouse Glasgow (2008)
STUDIO WAREHOUSE GLASGOW / + 44 141 GALLERY presents
An exhibition by DUNK! - Copenhagen, featuring:
Zven Balslev (DK),
Søren Brøgger (DK),
Rasmus Danø (DK)
Rose Eken (DK)
Sonja Lillebæk Christensen (DK)
Thorgej Steen Hansen (DK)
Sian Kristoffersen (DK)
Sören Hüttel (DK)
Daniel Milan (DK)
Andreas Poppelier (SE)
Jakob Rød (DK)
Louise Sparre (DK)
Hartmut Stockter (DE)
Ditte Knus (DK)
DUNK! is an artist run exhibition space located in Copenhagen, Denmark. Founded in September 2005, it is dedicated to showing work by both emerging and more established Danish and international artists, across all medias and genres.
Since 2006 they have participated in Art Fairs across Denmark and Europe. In 2007 they began representing a selection of contemporary artists through their website, in the style of a commercial gallery. In January 2008 they were included in Flash Art International’s list of the Top 100 Galleries worldwide.
Through the Looking Glass represents DUNK!’s first major international group show outside of Copenhagen. The show at SWG3 (Studio Warehouse Glasgow) will feature new work from DUNK!’s represented artists, including three Danish guests artists who have all studied at The Glasgow School of Art.
Through the Looking Glass represents a magnified cross section of Copenhagen’s progressive art scene, providing a snap shot of the city’s contemporary critical climate. The work will investigate a diverse range of media from painting, drawing and sculpture, through to installation video and photography.
DUNK! asked each of the participating artists to focus on phenomena particular to Glasgow, referencing in one way or another aspects of the city’s recent cultural history. This open-ended thematic framework has been established as a point of departure, acting as a catalyst for the production of new work.
Through the Looking Glass is the second exhibition in an exchange between DUNK! and SWG3. Coordinated in Glasgow by resident artist Dan Miller, the project started with Miller’s solo show at DUNK!, during September 2008.
Group exhibition, Artistit? , Galway, Ireland (2008)
WENJEI CHENG (TW)
GEIR HELGI BIRGISSON (IS)
SILJA LEIFSDOTTIR (N)
KYUSUNG JO (KOR)
DITTE KNUS (DK)
PETER CAUL (UK)
SARAH INGERSOLL (UK)
SOO JUNG CHOI
ARTISIT? developed as a means to bring together young artists from around the world, emerging from college, with the aim of creating a platform for them to begin their professional careers and in turn, showcase some of the finest art currently in the making. This year’s event will be presented in Galway and with an offshoot in Glasgow, Scotland.
For two consecutive weeks, both cities will entertain a myriad of disruptive events courtesy of some of the best up and coming talent on the global art scene. The event will feature a selection of artwork from national and international art schools and it offers a unique opportunity to see the most current developments in the world of contemporary art. There will be innovative activity spread across a range of eclectic events and exhibitions featuring site-specific artwork, installations, discussions, video, photography, drawing, print, painting and music performances involving alternative locations around Galway and Glasgow.
1—5 Merchants Rd.
Supported by the British Art Council
Degree Show 2008, The Glasgow School of Art (2008)
'Degree Show 2008 continues our proud tradition of producing exhibitions of the highest possible standard and across the widest spectrum of art.
In the School of Fine Art we challenge our students to question what they see themselves, and in the world around them. We encourage our students to explore new ideas, and to find new way of expressing them; to say important things about the world; and through visual language, help others interpret what they see. This approach can often make the finished work challenging for the observer.
We encourage our students to be curious – curiosity lies at the heart of all good art and good artists.'
Professor Klaus Jung
Head of the School of Fine Art
The Glasgow School of Art
Online Art Auction, Glasgow (2008)
Glasgow school of art present
fundraising auction for the
end of year fine art photography
BA (hons) publication.
The auction will have students
work as well as specially invited
Solo exhibition, A Psycho Piece – the Dragons and the Shed, the Cell, Glasgow (2008)
Group exhibition, Homesick, the Cell, Glasgow (2008)
An Exhibition by Ane Østrem (N), Ditte Knus (DK) and Ina Tyrdal (N) at the Cell, Glasgow.
Duo Exhibition w/Ina Tyrdal (N,) I tell you tell me, the Vic, Glasgow (2007)