Mobile Emergency Magazine

mobile magazine On the 13th of March 2015 an exhibtion of Mobile Emergency occurred in front of Vor Frue Kirke and was hosted by artist and creator of the format Thierry Geoffroy and artist Trevor Allan Jensen.

In a temporary urban site an ULTRACONTEMPORARY exhibition emerged from artworks made of chess pieces, glass, tape, sound, newspapers, flags, photographs, knittings, trash, drawings and writings; all for people to be inspired, informed, receive insight and maybe even have an epiphany.

The Biennale The exhibition space Google maps Hartmut Stockter Salim Assi Maria Sparre Petersen Dagmar Radmacher Maia Hauser Aga Paulina Mlynczak Mikkel Haynes Jon Niemi Jonathan Ussing Magyar Paula Oropeza Trevor Allan Jensen Thierry Geoffroy

The mobile exhibitions are warmups for COPENHAGEN ULTRACONTEMPORARY BIENNALE. During the biennale in 2017 there will be three different platforms for exhibiting the ULTRACONTEMPORARY art. The mobile emergency exhibitions follow PLATFORM 2 and uses the public space’s many alternative exhibition spaces. This brings art out of the established institutions, into the public sphere and closer to the common citizen. During the exhibitions the art is debated amongst the artist and bypassers to gain insight, understanding, experience, inspiration and nontheless to train the Awareness Muscle up to the biennale.

PLATFORM 1 The established and existing exhibition spaces in Copenhagen will daily host changing exhibitions, where artists will be able to display works on the same day as they are created. The daily curating during the biennale will give the institutions the opportunity to welcome the audience to a new exhibition, every day. A very large number of works will be shown, and the daily work replacement, will create a unique dynamic exhibition that will attract both an audience as well as the press.

PLATFORM 2 COPENHAGEN ULTRACONTEMPORARY BIENNALE will also use the public space and activate the many alternative urban spaces as well as buildings that are not normally used for art. This will draw focus on art’s potential to also act outside the institutional framework. It will create artistic interventions, which can bring art closer to citizens in the form of surprising and eye-opening encounters.

PLATFORM 3 Media platforms will not only be used as channels of communication, but also as active distribution platforms, which include a critical art spot in daily news before the weather forecast. During COPENHAGEN ULTRACONTEMPORARY BIENNALE we will be able to experience how art can become an inseparable part of a news broadcasting interface.

www.copenhagenbiennale.org

On the 13th of March 2015 an exhibtion of Mobile Emergency occurred in front of Vor Frue Kirke. The art was placed various different places on and around the construction site, which served as an urban gallery.

If you search for Vor Frue Kirke in Copenhagen on google, you will be able to see that we also expanded the exhibition to virtual territory.

Not only did the temporary construction site involuntarily become an urban galleri for ULTRACONTEMPORARY art, but also google maps got to feel our presence. If you are one of the lucky ones who participated in the exhibition on the 13th of March, you are also welcome to write a review on google. Just type in ”Vor Frue Kirke” and you will find some pictures from the event and be able to write your own review.

The exhibition is a warmup to COPENHAGEN ULTRACONTEMPORARY BIENNALE

www.copenhagenbiennale.org

Hartmut Stockter brings a two-sided blackboard, whereon he at the spot starts his artwork. His focus is on pigs in Denmark, because he heard in the news that it doesn’t pay off to use pigs anymore and that the producers reaction to that is to get even more pigs.

Hartmut comments on the slaughtering of pigs by illustrating alternative ways to use the pigs. As he says and draws: They can be used for finding truffles, pig riding, as pets and also for leading the blind.

On one of the blackboard sides he creates an almost sci-fi narrative and writes: ”menneskene bygger stalde til et stort antal grise, som bliver fodret og passet indtil de slagtes og deres kød forarbejdes og spises. Da dette ikke kan betale sig længere, lukkes slagterierne og svinefarmene bruges fremover til griseridning. Grisene bruges desuden som føregrise, trøffelfindere og kæledyr”* In the corner it says ”TILBUD”

On the other side his skilled hand, draws pigs and men together in more peaceful scenarios than the ones we see and hear about today. *translated from Danish: “men build housings for a large number of pigs that are fed and cared for until they are slaughtered and their meat is processed and eaten. As this is not worthwhile anymore, the slaughterhouses close and pig farms are used to for pig riding. The pigs are also used as lead pigs, truffle finders and pets”

Artist: Hartmut Stockter

Overnight Salim Assi paints three paintings. On one of the paintings he writes with Arabic letters and language: “If you want to understand what is written then ask” in Danish: “For at forstå hvad der står, må du spørge”. On the second piece he writes the same with Arabic letters, but in Danish language. So when pronounced it sounds Danish.

The last piece he does is a combination of Danish, English and Arabic letters and numbers.

The artist believes that his pieces together construct a bridge between people from different cultures, different languages and different identities. It symbolizes understanding and appeals people to ask if they do not understand, instead of judging what they don’t know. Furthermore, it gives the viewer who actually asks a sense of accomplishment and therefore the piece rewards the curious and non-judgmental.

“People have to live together in peace and in love, because we are people first, before nationality or religions. We are people and we have to save our humanity”.

- Salim Assi

si Artist: Salim As

Marie Sparre-Petersen is an artist who works with glass and for the mobile exhibition she creates four square glass cobbles. Each with a letter inside: The letter L, an O, a V and an E. While the construction site is being transformed into a gallery she digs the cobbles into the ground, so they become one with the environment. The reason she chooses the word LOVE is because love is what we need more of in

the world, so now she creates a little bit to start the revolution. The context wherein LOVE is placed is essential for it not to become a consumer product, but something more; something that transcends the market and enters our hearts as art.

Artist: Maria Sp arre-Petersen

On the day of the mobile exhibition Dagmar Radmacher reads a story in the news about 280 Danish Crown workers getting fired from their jobs. This makes her want to nit 280 men, but isn’t able to in the short span of time she has. Instead she gets to around twenty that she hangs from a hook. Dagmar had decided that she wanted to make something fragile, because of the un-fragile setting of the space.

The piece doesn’t stand alone, but knowing the story about the workers losing their jobs, makes us reflect on the system, where hanging around might be all of our futures.

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a m d a R r a m g a D Artist:

Maia Hauser creates a product that you can’t find anywhere else: A pharmaceutical pill that eradicates the fear of terror. During the exhibition she hands the pills out to the audience, but the fact that the pills aren’t prescribed by a doctor but by an artist and that the audience doesn’t know what it is, creates discomfort and mistrust, which is exactly what the pills are said to eradicate. The oxymoron underlines the question of trust, which is the opposite of what terror is.

So if you trust enough to swallow the placebo pills they might actually work.

Maia wishes that the pills were available for the rest of the world, now that we are bombarded with fear of terrorism through the media.

Is the solution for the fear of terror a pill?

Artist: Maia Ha us

er

Aga Paulina Mlynczak brings four pieces of wood whereon she places pictures, draws and writes. The artwork is a personal emergency for Aga. She shares photos that she just had developed and attempts to share the effect they have on her. On the grey paper she writes:

‘The story goes, a woman cared about a man - a man without a story. She tried to get to know him but he was elusive. Yet she was only provoked and so, that was the point when she started imagining. The time that she spent on him made her care so much, that by the time she realised the embarrassment of it all - she was in love.

She couldn’t sleep. She couldn’t draw energy. She was drinking her favourite alcoholic drink vodka redbull.

Her body started growing hair that she didn’t care about. Her skin began to sag - especially around the eyes - uncovering the eyeballs almost ironically, as if it was trying to force her to experience, break her out of the numbness, see for herself. Yet she couldn’t.

Her knees swallowed and began growing. Her heels expanded.

ynczak l M a n i l u a P a g Artist: A

Suddenly, she new why. Because, as she realised standing in front of a mirror for the first time in a month, she turned into him.

Hence, she went out, met another her that she cared for, fell in love with and stayed together with for a reasonably long time. Another one/two months.’

‘Ogre’ Aga Paulina Mlynczak, 2015

Mikkel Haynes brings paper, scissors and a marker to the exhibition site and writes different words and half sentences on six yellow pieces of papers. “TRUTH THAT LACK” “LYRICISM” “REFUSE TO DISCUSS” “GENDER EQUALITY” “THAT IS NOT” & “YOUR HORSE”.

He places them together as he sees fit, but gives the audience the opportunity to rearrange them as they wish. The sentences nourish debate especially when the sentence “REFUSE TO DISCUSS GENDER EQUALITY” is displayed for the audience.

Artist: Mikkel H aynes

Jon Niemi gives his piece the title “Now Next Move”. The narrative behind the piece is that it’s a very large and complicated chess game, where everything isn’t black and white, but where the chess-pieces have multiple colors and the battle takes place on a church’s staircase and on a painting.

“I think it’s going to take forever this game of chess” -Jon Niemi

i Artist: Jon Niem

Jonathan Ussing Magyar creates two posters for the Mobile Emergency exhibition. He reflects upon the Danish flag and feels that the flag as it is doesn’t represent Denmark as he sees it. Therefore, he fills in the empty squares with people that are doing gestures with their hands and giving spirit to the flag.

The revising of the flag is done as a reaction to the reason shootings on the 14th of February, where an so-called attack on the nation of Denmark took place.

The second poster in the same way is a reaction to the shootings, but more in the way of what happens simultaneously or how Copenhagen also looks like, while ugly things happen.

Artist: Jonathan Ussing Magyar

From elements found at the location Paula Oropeza does a composition that she sees as a symbol for oil.

We need oil to live the life that we do, because everything is packed in materials created from energy and transported to us using energy. We enjoy the life, we need the things, we like the things, but it has a cost and that cost is an emergency.

“There are artworks everywhere if you look at things together and reflect�.

-Paula Oropeza

peza o r O a l u a P : t s i t Ar

A small white flag and a looping voice is what Trevor Allan Jensen exhibits to put focus on nationality and that he feels that nations and flags are used to divide people. The looping voice repeats: “I pledge allegiance to the flag, I pledge allegiance to the flag�, which has an almost chanting feeling to it. The idea of a nation coming together under a flag needs to be revised. Instead Trevor feels that nations in plural should surrender and come together under the white flag of peace.

Artist: Trevor A ll

an Jensen

Thierry Geoffroy calls his piece “How many flags in one picture” and points to five Danish flags that together can be translated into propaganda. He feels that the pictures spread logos and in this specific picture; war logos. The picture looks cool, sexy and baywatch-like, which distracts the viewer from seeing what it really is; war. Thierry is afraid that people will see these pictures and want to go to war too. To be sexy.

Thierry questions the word “expert” in this context: Who is the expert? How can we trust the expert,when we don’t even know his or her name? Could the expert or the journalist have a motive?

Furthermore, he questions “No doubt”, when doubt is what every person should always have. Asking questions is essential, especially when an unknown expert declares a common enemy. In this case: Russia.

y o r ff o e G y r r e i Artist: Th

Thanks to all participants: Exhibiting artists, observing artists, general public, friends, friends of friends and also to David for keeping us company.

www.copenhagenbiennale.org

* The magazine is created by Trevor Allan Jensen * Photos taken by Mikołaj Lewandowski, Trevor Allan Jensen & Thierry Geoffroy