To que magazine
volume 3
third issue of Toxique Magazine Toxique Magazine
Toxique Magazine is a free online art magazine which visually tries to describe relevant artistic events internationally. Toxique is a magazine which normally seeks to capture current trends in arts and culture by bringing interviews, reportages and articles about galleries, organisations, art fairs, events and both established and upcoming artists from all kinds of artistic genres and styles. In this third issue of Toxique, the magazine features three new fantastic and very different artists from various artistic genres. Sara Gaardbo is an amazing and incredible talented choreographer for experiemental modern urban dance. Toxique also features another urban artist - but this artist uses the picturesque expression and the city walls as his canvas. Meet the fantastic Finbarr Dac! Finally, Toxique gives you a visual journey through a manipulated and dreamy universe created by Branimir Jardic. Zoom in by clicking at a page and zoom out by clicking once more. Turn pages by using the left/righ arrows on your keyboard. Remember to check out all the hidden links in the e-magazine!
Marie Wengler
editor and contemporary visual photographic artist Marie Wengler www.mariewengler.com
Artist Marie Wengler
Caught In Existence
Q
Quote of the month An intellectual says a simple thing in a hard way. An artist says a hard thing in a simple way. - Charles Bukowski
C
Conversations Sara Gaardbo Finbarr Dac Branimir jaredic
p. 10 - 61 p. 64 - 113 p. 116 - 133
DANCE
Experimental modern urban dance as an artistic language is fascinating and innovative. It changes the way we see dance, challanges the traditional dancing genres by combining these genres and create new untraditional dance forms. Toxique therefore creates an artistic theme - DANCE - to capture some of todys modern dance forms and cheographers. This is the first part of the DANCE theme, but the theme will develop during the coming issues of Toxique.
#1
sara Gaardbo PHOTOGRAPHER Atli Thor Alfredsson
Dear Sara, you are educated as a dance teacher in 1990 at Bjanov’s Danse-institut, have studied at Skolen For Moderne Dans in Copenhagen from 1992-1994 and are educated at Danshgskolan in Stokholm in 1996. Furthermore, I know you have danced yourself from 1938-85.
But I’m curious to know more about how, when and why you became interested in (modern/new) dance? I met a fantastic contemporary teacher in 1990 called Ingrid Buchholtz. She was one of the founders of New Danish Dance Theatre. Her dance vocabulary was very physical and the way she related movement to the music was unique.
How come your own career as a dancer ended in ’85? My own carrer as a professionel dancer ended in 1999 because of to knee injuries.
PHOTOGRAPHER Atli Thor Alfredsson
PHOTOGRAPHER Atli Thor Alfredsson
PHOTOGRAPHER Henrik Ohsten
How and when did you became interested in choreography? Ever since I finished my first education at Bjarnovs Dance institute in 1990 I have been choreographing.
When did you establish you modern/new dance school Danseuddannelsen? And did you establish the dance school by ourself or do you collaborate with others? I established The danceeducation.dk in 2006
PHOTOGRAPHER Henrik Ohsten
Which interests do you have besides dance and choreography? I do collages, knitting, crochet, costumes, visit my house in Sweden, reading and listen to a lot of music.
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
What is your goal for the dance school? To create dancers with open minds and a wider and more interesting dance vocabulary.
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
Have you ever tried to work together with other choreographs and create a collaborative performance? I have collaborated with other choreographers in the commercial dance environment.
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
The education at Danseuddannelsen last 1 year. But could you tell me more about how the education is organized? What do you focus on in your training of the students? And which genres of dance do Danseuddannelsen focus on during the education?
The Danceeducation is devided in moduls. The teaching all the time challenge and lead the students into new areas. I follow the students intensively. The education focus on contemporary dance and Hip Hop and through that how to improvise and create material.
PHOTOGRAPHER Henrik Ohsten
How do you experience working with young and relatively unexperienced individuals as a dance teacher and choreographer?
Every year Danseuddannelsen has an audition for new talented dancers in the age of 17-26. But which criteria do you moreover have to the hopeful aspirants? What do you focus on in your judgement of the young dancers? Besides dancing I see how open minded they are. My education has a strong profile and through that they all know what the challenge will be as well mentally, artistic and technical.
To create a professional dancer in 10 month is very ambitious. It surprises a lot of my students how much is takes to be a dancer. From that perspective I find it very interesting to see how fare I can take them and further more how effective and succesful the result can be if you give them the right teaching and skills.
Have you experimented with other forms of dance genres yourself before modern/new dance? When I was a little girl a was dancing jazz dance only.
Do you have a favorite composition of you own? If so, which piece is it? Why? A finish choreographer called Kenneth Kvarnstrøm and the isralien company Batsheva has been a great inspiration. The dancers are fantastic and especially Batshevas dancers almost dances with the same out going energy that takes place in Hip Hop.
What has been the biggest challenge and best experience in your career so far? How to continue my work in the dance envoriment in spite of my injuries. And of course a challenge, but also the best experience when I established my own education and through that my performances.
What or who inspires you? Do you relate to or consult with other choreographers or maybe the students in your creative process when you experiment with new ideas? I am a very open minded and attentive person realizing that if you look careful enough there might be inspiration to find almost everywhere. But of course music and art are some of my main sources in the creative process and yes the dancers that I work with of course. The inspiration also comes from the challenge how to create “everything out of nothing”. Being creative and ambitious even though you don’t get any financiel support.
PHOTOGRAPHER Atli Thor Alfredsson
PHOTOGRAPHER Atli Thor Alfredsson
What is your creative workflow when creating a new piece/ performance? How do you create a new piece? When I start creating a new piece my preparation is first of all to find the music and then to mix it. I put a lot of effort in all the transitions in the music, to get the right flow and to create a feeling and atmosphere that all the time takes the audience to new places. Then I start to improvise with my dancers, giving them images and pictures to fill into my world.
PHOTOGRAPHER Atli Thor Alfredsson
How has your family and close friends related to your choice of career as a dancer, dance teacher and choreographer and to your choreography in general? I have always got a lot of support from both family and friends. During my career as a choreographer the feedback has all the time been positive.
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
At this moment I have only had the opportunity to enjoy you wonderful piece ON AND ON - one of the best dance performances I have ever seen. As a part of your non-dance audience I feel very drawn by your choreographic style and I will follow your future works without doubt. But I’m curious to get to know, whether you have certain themes and ideas that you pursue? Which emotions or moods do you try to bring out in your pieces? I always have a full picture in my mind . I am loaded with ideas and very clear about the atmosphere in the piece and I always aime for my ideas in the proces. I often have a colaberation with a designer. The input and atmosphere that it gives me combined with my ideas and emotions helps to create the performance and to give the choreography an extra input and dimension. As a choreographer I try to variate and play with different emotions. I like to play with contrastes such as melancholy, humour, overload, simplicity, minimalistic, less is more You will also see it in the way I use my costumes and in my music.
Which performance has been the most difficult for you to create? If I don’ t get anything from the dancers it’ s difficult to create a performance. I tried it once, but still managed to finish the piece.
PHOTOGRAPHER Henrik Ohsten
Sara, you live in the Denmark like myself. But I only have an understanding a small part of the art scene in Denmark and I therefore have a lack of knowledge regarding artistic experimental modern dancing. How would you describe the dance scene and the political incitement for supporting new modern experimental artistic dance in Denmark?
Through my Danceeducation i try to create dancers with a wider dance vocabulary, to combine Contemporary Dance with Hip hop. In Denmark there is a lack of being open minded and from that perspective I find the Contemporary Dance Scene not being as various as it could be. I would love to see the “ underground� dance scene more represented in the so called experimental dance in Denmark. New trends should be accepted, visible and indeed get much more support from the Ministry Of Culture.
PHOTOGRAPHER Henrik Ohsten
Personally, I find that your choreography and performances have a very international approach, and I wouldn’t be surprised to see some of your pieces across border in a very near future. But what are your ambitions and dreams for the future in relation to this? My ambition is to establish my own company and from that platform to invite different kinds of artistic and inspiring people coming from different backgrounds, such as music, design, art installation, visuel art etc. My goal is also to get financial support to my education and extend it from 1 year to 3 years and to go on tour with my student performances.
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
What role does an artist (which I really believe you are) and art in all forms in general have in society according to you? Art in all forms is a “ must� in the society. It brings perspective and make people see things from different angles. In all crises the world has been through, art seems to be able to survive and brings fuel and hope to the people.
Dear Sara, where do you hope to see yourself in the future? I see myself doing what I do now, but being larger, still progressive, more established in Denmark and abroad both as a choreographer and with my Danceeducation.
PHOTOGRAPHER Henrik Ohsten
PHOTOGRAPHER Henrik Ohsten
Urban Art is a new artistic theme which Toxique Magazine will bring focus on in both this issue and several of the future issues. Urban Arts has developed from street art, but is not only concerned about graffiti culutre as an artistic expression. This artistic genre relates to cities and city life, often created by artists who live in and have a passion for city life. The artists tematize urban live style by combining different visual art forms. Sometimes the urban arts are characterized as vandalism in public space, but the urban arts can also be innovative, creative, beautiful and provocative by bringing focus on relevant subjects regarding contemporary urban culture and political issues in todays society.
FinDac
Alabaster
Dear Fin DAC, please make a brief description of yourself. Where are you from, what is your background, how, when and why did you become an urban artist?
I am originally from Cork (Ireland) but, having lived in London most of my life, I am essentially a London boy. I became an urban artist just over 4 years ago: mainly to drag myself out of a very negative period of my life and to help redefine a life that had lost its way completely.
Berlin, Zaza Weisgerber
I’ve read that you’re the creator/a part of the urban/digital art brand called Beautiful Crime. Would you like to give me some more details about this?Â
Beautiful Crime existed long before I had even an inkling of being an urban artist. It was originally the brainchild of 2 urban art enthusiasts and was the first company selling urban art online. It has morphed and changed over the years to incorporate much more and is now a hub for all types of artistic creativity. I got involved on a very ad-hoc basis over 3 years ago but the relationship blossomed very quickly due to our mutual hard work. I am now a partner in the company and the Artistic Director.
Porcelain in Vitry Sur Seine. Copyright Nath Oxygene.
Fin, I know you have developed a unique painting style - an urban artistic language - which you call Urban Aesthetics. Can you tell me more about it?
Urban Aesthetics came about because of a need to differentiate myself from other artists. I wasn’t happy with a lot of what I saw in the English urban art scene and experienced a lot of negativity. I didn’t fit in but, more importantly, I actually didn’t want to. I became an artist to make myself happier... not to keep other people happy. So, getting negative opinions from people who I had nothing in common with and very little respect for was debilitating. Separating myself deliberately from them set me on the path to being a much stronger person: because I knew inside that they would hate me more because of it. I realised I was capable of much more by embracing my outsider status.
Has your artistic style changed over the years and have you ever tried to experiment with other types of artistic genres?
Bogota, Colombia. Copyright Rainbow Nelson
It’s totally changed and that’s a good thing. One of the things I disliked most about street art was how a person could become known for one image or one stencil. That to me doesn’t make u an artist and right from the start I reneged against that way of thinking. I know of artists who still paint the same thing now as they did when I first came across their work... I would never be happy doing that. I experiment all the time... and experimentation was what led me to Urban Aesthetics. I do quite a lot of corporate work to broaden my knowledge base. Designing to someone else’s brief stretches u creatively because u have other minds/eyes to please. I learn way more from those situations where I really have no idea what or how I’m going to deliver.
BlackJack
Have your works been exhibited in galleries (I really believe they should)? And do you have any memorable experiences as regards the public response to your works?
I have pieces in urban art group shows from time to time but I don’t do a lot I have to admit. In London especially, I don’t think my work is appreciated much and is not really the type of thing that people are expecting at those shows. It’s changing slowly but there’s a long way to go. The public response to the street pieces is what gives me the most pleasure. People coming to chat and take pics when ur painting is a unique experience. But, also, when u realise that somebody somewhere has posted something online about u and it’s being liked/reblogged/reposted all over the world... that’s very satisfying.
Blackjack in Bogota. Copyright David Bushell
Terra offices in Bogota Copyright Rainbow Nelson
Agent O
Why did you choose specific to create street art? I mean, it’s an art form which is more easily exposed to damage, but also an artistic genre that adorn the city and bring art closer to ‘ordinary’ people.
In all honesty it was mainly because there was so much bad stencil art in London. I honestly thought I could do better so I set myself a challenge and it worked out. Also, not many artforms have the ability to speak directly to its audience but streetart is one of them. That definitely appealed to me. I was working in advertising at the time and it seemed to me that this was simply a purer format of that.
Agent O in Warsaw, Polnad. Copyright Agata Radzinska
Canine Feline
Dear Fin, you are one of the most recognised street artists today and can be ‘categorised’ with other big street artists such as Banksy, Os Gemelos, BLU, Shepard Fairey, etc. But you have your own very unique artistic style. I’m therefore curious to know more about what or who inspires you when creating art and furthermore whether there are certain themes and ideas in your art that you pursue?
I certainly don’t see myself in that way. In my mind I am a ‘newbie’ and I take very little notice of what people are saying about me. I am a humble person who doesn’t think he has any particular talent: just a determination to be everything that I wasn’t for so many years. The desire not to go back to being desperately unhappy is all the inspiration any man should need
Ever She Comes on a Mountain Breeze in Brest, France
I’ve noticed that you often use (beautiful) Asian looking girls. How come?
I’ve loved all forms of Asian art for so many years and have always been drawn to the softness and mystery of Asian beauty. But being a westerner I struggled to see how I could incorporate that into my work. But I decided to paint an Asian influenced piece on a trip to Paris 2 years ago and needed a particular face. I searched online and found, by pure chance, Nicole Wu (a 15 year old girl who took the most exquisite self-portraits) and luckily she (and her parents) agreed to me using her imagery. When I wanted to expand that repertoire (by doing edgier pieces) I searched for another face and found Meghna Lall who, unbelievably, it turned out, was a friend of Nicole’s. When that kind of synchronicity occurs it just tells u that there are forces beyond our comprehension at work in this universe.
Delicate in Bogota, Colombia. Copyright David Bushell
Generally speaking, what single most important factor is important for you to make a great art piece?Â
Two things: a positive mind and an open heart.
Delicate in a secert location, France. Copyright Nath Oxygene
Tron Geisha (with Morten Andersen) in Brest, France. Copyright Awll
Dear Fin, I already know that you have been involved in different projects - for instance This is Cartagena. Do you often work together with other artists creating collaborative art projects? And would you like to tell me more about your experience as a part of This is Cartagena and the goal for the project?
I do quite a lot of collaborations but, as with the This Is Cartagena project, they are never instigated by me. I guess for me it’s preferable if there is an underlying idea rather than me simply going somewhere to paint. The TIC project came about by chance but the idea of painting with underprivileged kids in a rundown barrio was too tempting to turn down. The TIC people were amazing and really I didn’t have to do anything except paint. Colombia and its people were fascinating to me and I was treated with the utmost respect and kindness wherever I went. A return trip is definitely on the cards to see if we can spread even more goodwill amongst those who are less fortunate than ourselves.
Living in UK as an urban artist I’m curious how you handle the judicial aspect of painting in public space?
To be honest I don’t paint very often in London. Walls are very hard to find and I would rather travel abroad where the attitude to my work is so much better than in the UK. It’s the whole positive versus negative thing again.
Tron Geisha (with Morten Andersen) in Brest, France. Copyright Awll
What has been the biggest challenge and best experience in your artistic career so far?Â
I guess the biggest challenge was starting. I never studied art so I always had an inferiority complex about my abilities (or lack of them) and allowed those feelings to destroy my desire to be an artist. But working in digital advertising (as a developer) where, for the first time in my life, I was surrounded by super-creative people I had an epiphany: none of them were any more creative than I was and all of them were racked with the same doubts as I had all my life. It made me realise that the only thing stopping me from being what I wanted to be was me. Those events coincided with a seismic change in my life that could very easily have destroyed me but, I found strength in moments where I thought I’d have none and slowly but surely I was able to turn my life around. The experience of just being an artist and feeling in my soul that I had finally found my path was nothing short of life-saving
A Pleasure Unknown in Brick Lane, London Copyright Adversmedia
Killer Instinct
How do British culture, politics, social environment, etc. affect your art, if they do?Â
I live a very closed-off existence. I rarely watch TV or read newspapers so I am completely unaware most of the time what is happening in the world outside. But that to me is very liberating: TV and advertising (and society in general) lead us to believe that we need lots of things in our life that ultimately mean little or nothing. It’s only when u eradicate those things that u realise just how negative it all is, how it clogs up ur mind and stifles ur creativity.
Kid Viper
How do your family and close friends relate to your choice of career as an artist and to your art in general?
They couldn’t be more delighted. I think they thought, as I did myself, that I had missed my calling
Tarantina
What role does an artist and art in general have in society according to you?
I can only speak for myself when I say that, in these particularly trying times, I hope what I do brings a smile to people’s faces and maybe a little warmth to their heart... that’s the principal point of departure anyway.
London
Sakuran II in Vitry Sur Seine, Paris. Copyright Zemotion
Where do you hope to see yourself in the future?
There is no plan, nothing in my head that tells me where I need to be within a certain period of time. I take every day as it comes and listen to my intuition to guide me. Somebody, somewhere has a plan for me I’m sure but I’m ok to entrust that power to whatever it is that has guided me this far... I don’t think they’ve done a bad job?
Swagger
Any words of advice for aspiring urban artists?
Success comes not from fitting in... but by standing out.
To que magazine
Want to have your works featured in Toxique Magazine? Send an email to toxiquemag@gmail.com
Branimir Jaredic
United 11
Dear Branimir Jaredic. I know you’re a 28-year-old photographer from Rijeka, Croatia, currently living in Limerick, Ireland. But I’m curious to know more about your background and furthermore how and why you began creating art? I actually started developing my creative expression at early age. I remember me as a kid always drawing something and annoying my older sister to draw me a batman because I was fascinated by that movie. Later in my puberty I was in rap faze and graffiti art, but at this moment am interested in photography and digital art.
United 7
United 5
I have read at the Internet, that your interest for photography began at Christmas 2009. What happened? I had a big desire to express myself creatively, so photography was a logically choice because I suck at drawing. At Chrismas 2009 Santa seemed to have heard my prayers and brought me my first digital camera.
Are you able to live solely from your art? What is your profession besides creating art? No am not, unfortunately, all though I have sold a few prints so far. Instead I have become educated as a hairdresser.
Are you assigned to a gallery at this moment? Not at the moment, but I have had an offer from two galleries one in based in London and other one in Madrid.
Branimir, I assume you use Photoshop in your creative process when creating art. What are your favorite features in Photoshop and which version of the software do you use? Moreover, which photographic equipment do you use? Yes, I mostly use photoshop CS5. At the beginning I was using GIMP, which is a freeware software. My favourite PS-tools are mixer brush, adjustment layer option and clipping mask. As regards photography equipment, I am using Pentax KX, 1855mm lens.
There’s huge amount of photographic art on the market today and it can therefore be hard as an artist to have the best media and galleries featuring your art (I know this from my own career as a digital artist). Therefore, what do you do in order to differentiate your works?
Do you solely use your own images in your creative process or do you also use stock pictures bought from the Internet - or perhaps a combination? It really depends, but mostly I am using stock images because I like to realise my ideas as soon as possible, but sometimes it can really be quite a time consuming process to find right stock image ...
To be honest I stopped worrying about creating my unique style, because everything has been done before. Only thing that I am focusing on when creating is the quality of finished product - all the rest is unimportant to me.
United 3
How much time do you spend creating a series of images or a single image? When and how do you know that a picture/series of images is finished?Â
It really depends from artwork to artwork. From 3 days to one week. I normally don’t work more than 2 hours in a row per day on project because is too hard to be focused and stare at the computer monitor in a longer period. I like to break my work in 3 steps: 1. composition and adding elements 2. setting right color and mood 3. final touches and fixing the errors
United 9
Dear Branimir, your works have been featured in many various magazines and have won different international photographic artistic competitions and moreover you have had the incredible honor to have your winning work from Saatchy Gallery competition featured in Grand Palais during ARTPARIS in 2011. Therefore, how have the public reaction to your art been in general? Do you have any memorable experiences you want to share? Being part of selected artists to be represented at ARTPARIS showdown was a great thing and I must say that that it was one of my best experience related to my art carrier, but the majority of positive public reaction came trough various magazine presentation of my work.
When I study your pictures I feel both solitude and timelessness. Furthermore, I have often noticed that you use children as models, and for me you thereby create a kind of childlike wonderment of the greatness in the surroundings. Actually, I get an association to the story of The Little Prince by Antoine de Saint-Exupéry! Therefore, I’m very curious to hear from you, which themes in your art you pursue? What is the idea behind each of your different series of images?
Yes, you are right,i often use children to tell a story because the emotional impact on image is greater - it’s easier for me to tell story about loneliness in that way. The Little Prince is such a great story to which we can all related. I personally had a bad childhood, so creating images with these themes becomes as form of therapy for me.
I could not imagine a life without music and I always listen to music when I’m creating a new piece of art. Are you inspired by music and listening to music when you are creative? If yes, what type of music? Yes, I agree, music is my big motivator. My taste of music is wide - from Placebo and Sonic Youth, to Nine inch nails, Interpol etc. are big inspirations, but when I am in a creating process I prefer to work in silence. I find music to be too distracting at that moment...
Which art piece has been the most difficult to create for you? Bridge In The fog was the most challenging for me, because it was my first complicated Photoshop artwork at the beginning of my interaction with photo manipulation. I remember that I took me 2 days to create the fog effect!
Which of your own art pieces is your personal favorite? Summers gone III, Untitled(boy with horns in forest), picture of a male angel, Stay With Me etc.
United 4
Do you have a new series of images in mind for the future? Yes, I do. I must admit, that since I took a break some time ago from my art creating process, my head has been full of new ideas!
United 6
What role does an artist and art in general have in society according to you? Not as big as we often like to think. When it comes to changing things for better in this world artists are helpless compared to the majority of people in the world. For instance, nothing much has changed since we first time saw Kevin Carters picture of starving child in Africa. That image had a shock effect on people for 10 sec. But afterwards each one of us go back to our everyday worries, for some empty fridge or start caring more about what designer clothing to wear again.
A
Art explained Modern dance starting in the early 20th century As a rebellion against the classical ballet, modern dance emerged in the early 20th century and has developed extremely through the years. Instead of using rigid structured steps, techniques and dance rules as used in traditional ballet, modern dance focuses on the dancer’s own interpretation of the dance. Hereby, modern dance become a kind of bodily artistic expression. The dancers use their own feelings and unique bodily expressions to create an experimental movement in their dancing. Before attempting to choreograph a routine, the modern dancers decides which emotions to try to convey to the audience - and in this connection the dancers also choose both the music and clothes that will help emphasise the chosen emotions the most. Besides turing against the traditional rules for the classical ballet, another characteristic of modern dance is the deliberate use of gravity. In traditional ballet the dancers often strive to be ‘unaffected’ by gravity, whereas modern dancers often use their body weight to enhance their movements. Pioneering dancers from the early 20th century are for instance Isadora Duncan and Martha Graham.
R
REPORTAGE FROM THE ART SCENE Want to experience small visuel voyage through Art Copenhagen 2012, the biggest and most regonized Nordic art fair at todays art scene? The following photographic reportage is only a small excerpt from the entire reportage from the art fair with more than 100 different art pieces and more detalis about the art fair. Read the entire reportage in this special edtion of Toxique Magazine.
ART COPENHAGEN 2012
14th - 16th of September
The different participating galleries, art institutes, museums, etc. at Art Copenhagen 2012 at ground floor and first floor in Forum
a unique nordic art fair Art Copenhagen 2012 runs from 14th of September - 16th of September 2012 in Forum Copenhagen for the 16th year in a row. This unique Nordic Art fair has existed since 1997 and last year the art fair had more than 11,600 visitors, including art collectors, artists, galleries, curators and other art lovers. For the first time Art Copenhagen 2012 has a more international profile. Several of the participating foreign galleries has never exhibited in Denmark before. In the past years national or Scandinavian galleries have been in focus on art fair, but this year there have been some major changes and welcomed galleries form outside Scaninavia. This means that among the 71 galleries at the art fair 2012 visitors are able to meet both upcoming and established galleries from around the world. The new international profile is created in a collaboration between the Danish galleries and Art Copenhagen. The 10 new international galleries are: ALICE (BE), Jochen Hempel (DE), Paul Andriesse (NL) Work Projects (GB) and Neon Parc (AU), Laden für Nichts - Leipzig (DE), Mario Mazzoli - Berlin ( D), Martin Kudlek - Cologne (DE) and TYD - Berlin (DE) and Rolando Anselmi (IT). In addition, you can of course still meeting the leading Danish and Nordic galleries and a collection of museums and exhibition venues - including ARoS and the National Gallery of Art. Another significant change at Art Copenhagen 2012 is a special focus on solo presentations. Actually, 18 galleries have chosen to showcase a single artist’s works and not selected works by several of their artists.
Jacob Rantzau
Galleri Wolfsen
Galleri lars olsen
Galleri Oxholm
Hans Alf Gallery
Galleria heino
Want to read the entire reportage?
click on the image above