First Photograph Ever

25th of March 2021

Researching for an article on the hybrid forms of contemporary photography many years ago, I came across a version of Niépce’s - and the world’s - first photograph, which I had never seen before: A documentation photograph of the 20 x 25 cm pewter plate covered with bitumen emulsion, on which Nicéphore Niépce rendered the view from his window in Saint-Loup-de-Varennes in 1827.

Here it is!!!.

Previously I had only seen the regular black and white rendition of this photograph, and so I was excited to see the round corners, bluish hue and scratched surface of the tin plate, which has lived through nearly two centuries of world history.

The original, metal plate appeared to me to be an object incorporating a highly poetic and productive gap. On the one hand, there is the object, the metal mélange with the layer of bitumen, which the sunlight has solidified onto the surface, scratched and irregular and with three strange dents pushing through the image plane.

On the other hand side, there is the represented view of a French country estate. The sensual materiality of the plate anchored in space and time reaching out towards the visually traced memory of daylight on a roof in France many years ago.

Interestingly all early photographs bore a fat stamp of materiality, in that they were difficult to see, poisonous to develop, and hard to preserve. However ephemeral the images must have seemed, the object itself belong very much to the material world.  

Historically the materiality of photography took the backseat, and we have loved photography mainly for it representational properties. In line with the recent developments in photographic practice, photography could be reemerging as phenomenons, which hold a productive gap open: the gap between the materiality of the photographic object and the photograph as a representational tool, a memory holder, and a document?

“The Boy’s Femur” in new exhibition

27th of January 2021

“The Boy’s Femur” will be part of the exhibition “Aftryk og Spor” at DGI Byen in the spring.
The exhibition is curated by Linda Hansen and Mette Juul Søndergaard on the concept of showing works, that combine text and photography. The other exhibiting artists are Tina Enghoff, Linda Johansen, Kristina Bengtsson - And Mette and Linda themselves. Linda has worked with writer Majken Abildgaard on a collaborative project. 

Here are a few more images of the book

The exhibition is expected to be up around April - all depending on the pandemic. 

“New Tactics - moving in a soft field” in new book

3trd of February 2021

I am thrilled to see the exhibition “New Tactics - moving in a soft field” mentioned in the new and gigantic book on contemporary Danish art, “Berørt”, written by art historian Maria Kjær Themsen. 

I curated the exhibition as Galleri Image’s contribution to Fotobiennalen 2018 and it featured new works by Kristoffer Ørum, Nanna Lysholt Hansen, Sandra Vaka Olsen and Valérie Collart. 

For the exhibition, we created a book of interviews in Danish and English, and this can still be purchased through Galleri Image. 

One of the artists, Valérie Collart is currently exhibiting a sibling to the work in “New Tactics” in the exhibition “In a Slow Manner” curated by Henriette Noermark Andersen in Paris. 

Webinar on the Danish Pboto Art Scene

2nd of February 2021

About this time last year, Beate Cegielska of Galleri Image and myself were very busy curating a new project “Soil Studies”, which was meant to be shown in China in 2020. It was such a disappointment to have to postpone the project, but we are still making plans to show it - as soon as the world is open again. 

However, in the meantime, it was fantastic to get an invitation from Fotografie Forum Frankfurt to present the project in their seminar “Photography Players: Danish Photo Art Scene” this week. I think all of the involved parties felt like the project got new blood in this webinar. 

The presentations can be seen in this replay: 
“Soil Studies” as part of Fotografie Forum Frankfurt

The artists in the project are: Lotte Fløe Christensen, Ditte Knus Tønnesen, Inuuteq Storch, Veronika Geiger - and myself. I am co-curating with Beate Cegielska, director of Galleri Image.

Also, I have to say, to pause a project for a really long time is difficult. How does one keep the energy flowing in the project, when nothing happens for months? In this case, I think the pause was timed in a way that makes it possible to revive it. The team of artists has been set, some groups of works selected, and the concept is written down, the first funding has been secured (Thank you, Statens Kunstfond). But.. had the whole exhibition been boxed and stored, ready to ship, when covid hit, I think it would have been a lot harder to pick back up. 

I feel like the project is still new enough that it is super exiting. I am still getting that tingly feeling of potential, when not all is set in stone and there are still lots of discoveries to be made. 

For my own contribution, I am super happy to be showing work from the series “Arché”, here with a slide from the presentation: // +45 219 219 77